Abstract
This chapter examines the transpersonal experience of traveling to the heavens as expressed in world rock art. Relying on a model now favored by many anthropologists, a “complex geometric motif” in perhaps the oldest rock art can be explained as a facet of the psyche in the transpersonal experience of the creators of such art. The most common direction of a shaman’s passage to other worlds is to the “upper” world. Representations of this passage are sometimes representational (a human figure connected by a line to an object in the sky) but more often metaphoric expression (lines arched around a human figure’s head). Issues discussed will include: internal and external realities; bodily orientation; the heavens; dreams and heightened states; and union with the heavens. These states recorded as rock art in part reflect social meaning, including religious meaning, such as “spiritualized” animals, and are brought back to society, such as geometric design. Yet in our dreams and shamanic trances, what is flying in the heavens?
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Notes
- 1.
Mircea Eliade, Shamanism, Archaic Techniques of Ecstasy, trans. Willard R. Trask (Princeton: Princeton University Press, 1974), p. xiv.
- 2.
David S. Whitley, A Guide to Rock Art Sites, Southern California and Southern Nevada (Missoula: Mountain Press Publishing, 2001), pp. 20–21.
- 3.
Gaston Bachelard, Air and Dreams: An Essay on the Imagination of Movement, trans. Edith R. Farrell and C. Frederick Farrell (Dallas: Dallas Institute of Humanities and Culture, 2002), intro.
- 4.
American Indian Rock Art, vol. 36 (2010), cover image.
- 5.
Jean Clottes, World Rock Art, trans. Guy Bennett (Los Angeles: Getty Conservation Institute, 2002), p. 85.
- 6.
Alex Patterson, A Field Guide to Rock Arts Symbols of the Greater Southwest (Boulder: Johnson Books, 1992), p. 61.
- 7.
Ibid., p. 199.
- 8.
Ibid., p. 139.
- 9.
Ibid., p. 76.
- 10.
Ibid., p. 156.
- 11.
http://cogweb.ucla.edu/ep/Art/BlombosOchre.jpg (Retrieved 10/23/2010).
- 12.
http://sirismm.si.edu/eepa/eep/eepa_07533.jpg (Retrieved 10/23/2010).
- 13.
Whitley, Guide to Rock Art, op. cit., p. 171
- 14.
Patterson, Guide to Rock Art Symbols, op. cit., p. 159.
- 15.
Edward J. Lenik, Picture Rocks, American Indian Rock Art in the Northeast Woodlands (Hanover: University Press of New England, 2002), p36.
- 16.
F. A. Barnes, Canyon Country Prehistoric Rock Art (Salt Lake City: Wasatch Publishers, 1982), p. 231.
- 17.
Ibid., p. 241.
- 18.
Ibid., p. 259.
- 19.
Ibid., p. 211.
- 20.
Patterson, Guide to Rock Art Symbols, op. cit., p. 155.
- 21.
Ibid., p. 116.
- 22.
Ibid., p. 160.
- 23.
Jean Clottes and David Lewis-Williams, The Shamans of Prehistory, Trance and Magic in the Painted Caves, trans. Sophie Hawkes (New York: Harry N. Abrams, 1998), p. 17.
- 24.
Ropes to God, Experiencing the Bushman Spiritual Universe, ed. Bradford Keeney (Philadelphia: Ringing Rocks Press, 2003), p. 33.
- 25.
Ibid., p. 62.
- 26.
Ibid., p. 65.
- 27.
Lenik, Picture Rocks, op. cit., p. 145.
- 28.
La Pintura, Newsletter of the American Rock Art Research Association 36, no. 4 (Dec. 2010), p. 1.
- 29.
Lenik, Picture Rocks, op. cit., p. 48.
- 30.
Ibid., p. 50.
- 31.
Barnes, Prehistoric Rock Art, op. cit., p. 134.
- 32.
Patterson, Guide to Rock Art Symbols, op. cit., p. 209.
- 33.
Clottes, World Rock Art, op. cit., p. 43.
- 34.
Ibid., p. 71.
- 35.
Garrick Mallery, Picture-Writing of the American Indians, vol. 2 (New York: Dover Publications, 1972), p. 593.
- 36.
Personal photo, September 2003.
- 37.
Patterson, Guide to Rock Art Symbols, op. cit., p. 174.
- 38.
Barnes, Prehistoric Rock Art, op. cit., p. 223.
- 39.
Patterson, Guide to Rock Art Symbols, op. cit., p. 161.
- 40.
Ibid., p. 188.
- 41.
Personal photo, September 2003.
- 42.
Ibid.
- 43.
Ibid.
- 44.
Ibid.
- 45.
Barnes, Prehistoric Rock Art, op. cit., p. 213.
- 46.
Clottes and Lewis-Williams, Shamans of Prehistory, op. cit., p. 28.
- 47.
Barnes, Prehistoric Rock Art, op. cit., p. 220.
- 48.
Whitley, Guide to Rock Art, op. cit., p. 112.
- 49.
Barnes, Prehistoric Rock Art, op. cit., p. 291.
- 50.
Lenik, Picture Rocks, op. cit., p. 145.
- 51.
Whitley, Guide to Rock Art, op. cit., p. 22.
- 52.
Ibid., p. 51.
- 53.
Patterson, Guide to Rock Art Symbols, op. cit., p. 86.
- 54.
Ibid., p. 84.
- 55.
Ibid., p. 84.
- 56.
Whitley, Guide to Rock Art, op. cit., p. 23.
- 57.
Patterson, Guide to Rock Art Symbols, op. cit., p. 113.
- 58.
Ibid., p. 88.
- 59.
Ibid., p. 144.
- 60.
Barnes, Prehistoric Rock Art, op. cit., p. 213.
- 61.
Harry Andrew Marriner, “The Columbian rock art spiral. A shamanic tunnel?” http://www.rupesstreweb.info/espiral.html (Retrieved 11/14/2010).
- 62.
Ropes to God, op. cit., p. 28.
- 63.
Ibid., p. 47.
- 64.
Whitley, Guide to Rock Art, op. cit., p. 24.
- 65.
Barnes, Prehistoric Rock Art, op. cit., p. 197.
- 66.
Patterson, Guide to Rock Art Symbols, op. cit., p. 67.
- 67.
Sheng Yen, Footsteps in the Snow, the Autobiography of a Chinese Buddhist Monk (New York: Doubleday, 2008), pp. 126–127.
- 68.
Ibid., p. 26.
- 69.
Kenneth S. Cohen, “Taoists, Doctors and Shamans,” The Empty Vessel, Journal of Taoist Philosophy and Practice (Fall 2010), 31.
- 70.
Clottes and Lewis-Williams, Shamans of Prehistory, op. cit., p. 16.
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Ross, B. (2012). Traveling to Other Worlds: Visitation to the Heavens as Transpersonal Experience in Rock Art. In: Tymieniecka, A. (eds) Art, Literature, and Passions of the Skies. Analecta Husserliana, vol 112. Springer, Dordrecht. https://doi.org/10.1007/978-94-007-4261-1_20
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