$ Translated by Inna Laricheva,
rits esteemed by shamanists. Further he shows that in the petroglyphs of Baikal one can reveal some ideas in common with ideology of shamanism: dancing idolizing shamen, shaman as dead man, spirit, cult of snake in shamanism, magic of fertility and sexual motives connected with it.
On the Baikal rock-drawings is also reflected the myth about swan — ancestor, surviving in Buryat genealogical legend of Khori—Buryat tribe. Then one can trace semantic ties between the petroglyphs of Baikal and those of the West — up to Karelia (swan, fish, woman in childbirth, ritual fight, cult of snake and «spring», «May tree»).
The author thinks that such deep connections between the petroglyphs of Baikal (Sagan-Zaba, Aya bay) and Karelia, as well as Scandinavia, are not sporadic. He supposes that at the beginning of Bronze Age the distribution of culture, as well as western tribes, took place. Those tribes had to belong to the forest—dwellers, ugrofinn, which moved independently and in parallel with Iranian language tribes from west to east and brought with them their Sejminskaya culture of the Bronze Age to the east up to Baikal, where they met the aboriginals — glazkovtsev. In the result of their mixture and synthesis of cultures the Baikal petroglyphs of Sagan-Zaba and Aya bay were formed. At the same time in the Eastern Siberia designed the base of modern shamanism.
It is quite possible that the analogies with Buryat shamanism are explained by the fact that into Buryat nationality composition, whose ancestors were from the Mongolian steppes, somewhere in X —XI centuries of A. D. were included also aboriginals, preserved during thousands of years their traditional religious beliefs and world outlook, the fragments of which were to become one of the most important elements in Buryat shamanism and mythology.
ТАБЛИЦЫ
Табл. 1. Саган-Заба (1/9 нат. вел.). Рис. б состоит из налегающих друг на друга изображений: древнего и позднего—с прямыми ногами^
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| Табл. 2. Саган-Заба (1/6 нат. вел.). |
1
Табл. 3. Саган-Заба (1/6 нат. вел.). Рисунки скопированы Т. И. Савенковым.
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| Табл. 4. Саган-Заба (1/5 нат. вел.).9 А. П. Окладников |
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| 2 |
| Табл. 6. Саган-Заба (1/9 нат. вел.). |  |
Табл. 7. Саган-Заба (1/8 наг. вел).
132
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| Табл. 8. Саган-Заба (1/9 нат. вел.). |
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| Тлбл. 9. Сагап-Заба'(1/8 нат. вел.). По кальке 1969 г. |
Табл. 10. Саган-Заба (1/8 нат. вел.). Рисунки скопированы Т. II. Савенковым (ср. табл. 9).
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| Табл. 11. Саган-Заба (1/10 наг. вел.). По кальке 1986 г. (ср. табл. 12). |
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| Табл. 12. Саган-Заба (1/9 нат. вел.). Зарисовка Т. И. Савенкова. |
Табл. 14. Сагаи-Заба (1/8 нат. вел.).
Табл. 15. Саган-Заба (1/5 нат. вел.). Нижняя часть композиции.
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| Табл. 16. Саган-Заба (1/4 нат. вел.). Верхняя часть композиции. |
Табл. 17. Саган-Заба (1/10 нат. вел.).
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| Табл. 18. Саган-Заба (1 — 1/6, 2 ». 1/7 нат. вел.). |
Окладников
Табл. 20. Саган-3аба](1^4 нат. вел.).
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| 10* |
| Табл. 23. Бухта Ая. Детали (1/2 нат. вел.). |  |
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| Табл. 24. Бухта Ля. Детали (1/2 нат. вел.). |
Табл. 25. Бухта Ая. Детали (1/2 нат. вел.).
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| Табл. 26. Бухта Ая. Детали (а — 1/2; б — 1/3 нат. вел.). |
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| Табл. 28. Сахюртэ (1 — 1/9; 2 — 1/10; 3 — 1/5 нат. вел.). |
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| Табл. 29. Орео (1/3 иат. вел.). |
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| Табл. 30. Орео (1/3 нат. вел.). |
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| Табл. 31. Орео (1/2 пат. вел.). |
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| Табл. 32. Орео (1/5 нат. вел.). |
Табл. 34. Елгазур {1 — 1/3; 2, 3 — 1/3 нат. вел.).
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| Табл. 35. Елгазур (1/6 нат. вел.). |
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| Табл. 36. Елгазур (1/2 нат. вел.). |
11 А. П. Окладников
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| Табл. 37. Елгазур (1/5 нат. вел,). |
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| Табл. 88. Елгазур (1,6 нат. вел.). |
