Antero KareCLUSTER OF SITES ROCK PAINTINGS IN FINLAND Only paintings Compared to the Fennoscandian neighbours Norway, Sweden, Kola or Karelia the rock art material in Finland from the Stone Age and the Bronze Age is different. 1. We do not have any carvings, only paintings. 2. The number of figures is much smaller. There are 105 sites in Finland, and the total number of images is 1 300 – 1 600, depending on the interpretation of the small detailed dashes of paint, which may once have formed a complete image. Onega has the same number (1 300) of figures on a shoreline of only 30 kilometres, Nämforsen in Sweden has 2 000 images along one rapid, and Alta in Norway has double our number with 3 000 images. 3. Most of the Finnish paintings seem to be some sort of individual images, kind of small poems. There are no large panoramas or epic tales as the whale hunt on sea at Zalavruga or the grandiose animal fence in Alta or the village scenes at Valcamonica in Italy. 4. The paintings are on vertical, inside tilting surfaces, mostly facing a lake. There are no rapids or seascapes, or horizontal rocks with images. And we do not have caves with images. 5. The locations of the Finnish sites form a cluster on the shores of ancient lake routes, on the Ancient Great Lake of Finland. This geographical map reminds of a system and a pattern. This shore cluster explains much of the use and utility of the paintings. 6. The images lack agrarian aspects. Most researchers agree that Finland does not have rock art from the Bronze Age. This means there are no grounds for comparing images from the Stone Age and the Bronze Age, as is the case at the major sites in Norway, Sweden and Karelia, where there can be many time layers on the same panel. Total number of figures in Finnish rock paintings I have given a close reading to the Finnish painted panels counting every paint unit individually. There are 85 sites with figurative themes and 20 sites with abstract paint splashes. My tables were made when 70 figurative rock art sites were known. New discoveries follow this general pattern and have not revealed new or sensational themes or modes of depiction. This statistics does not include the panels with only abstract paint splashes, which probably have all had figurative themes before diluting. Figures in Finnish rock paintings 1. Human being 201 2. Elk 138 3. Boat 67 4. Animal (unidentified) 63 5. Abstract 28 6. Hand 22 7. Fish 8 8. Antler 8 9. Snake 7 10. Animal footprint 6 11. Trap 5 12. Ring 5 15 Line 29. Tree 21. Peculiar natural phenomena still have special meanings for various cultures. Astuvansalmi is our most magnificent rock art environment. Bear 16. 1980´s. but they are diluted and worn-out leftovers from previous figurative signs. Human head 23. Comb like 20. Elk head 19. Many of the rock painting rocks have anhtropomorphic characters. and 1990´s. It is said that the sleeping good of the rock is present here. Swan 18. The statistics for the finding new sites goes: 1970´s. lakes. The Astuvansalmi rock has a shape of a very specific human head and face. 17 sites. Fig. Bird 17. 16 . rocks. E-figure 28. This event can be seen as the beginning of the boom in new rock painting sites and especially as the starting for the snowballing thirst for information in Finland. or in some other way individual hills. Box like 26.1. Anthropomorfic. Lizard 22. S-figure 25. 31 sites. Group of prints 15. Triangle 27.13. 31 sites. Ring 24. trees or sculpture pieces represent the ruler of the area. springs. The prey was given by the stem mother of the animal or the ruler of the place. Colour splashes Total units 5 4 2 2 2 2 2 1 1 1 1 1 1 1 1 493 383 1453 Astuvansalmi rock Pekka Sarvas found the handsome Astuvansalmi painting in 1968. Unrecognised 14. The profile of Astuvansalmi from the lake (copy: Kare). One of the most known traditions is the seita objects of the Saami. The two last groups of figures have not been painted on purpose as abstract images. we could further add a stick helping to direct the elks. a line or some other expression near the ears. Some of the animals have something else also in the head. as. harassed or running nervously. which is rarity in rock art. These areas are like contemporary informalist paintings or very abstract expressionistic brushstrokes and splashes of paint on top of each other. where the tradition is to show a side view of the animals with two legs. All the elk images are depicted by a contour line. as a boomerang. legs bent a little. The heads of these elks are oversize. a throwing weapon. Astuvansalmi is very expressionistic. But in our imagination we can see much more of it 6 000 years ago. and the painters have emphasized the ears. one 17 . or walking to the left. here the figures have very individual heads. The composition and positions of the animals is reminiscent of a herd walking. One has a round ring head. Compared to the human images at other sites. the third has a full head with two sticks growing on it. All the elks except one are looking to the left. Nine of the elks have the heart marked. The outline is very descriptive and nothing like a primitive straight line. and the totality would look more like sea than a lake. None of the elks are alert or listening. But the legs are not running. The Astuvansalmi people exhibit another very peculiar phenomenon. so this number could be still bigger. directing the animals. The pose reminds of humans making a fence line with hands and positioning the legs to the ground strongly like wrestlers. none are filled with paint. Most of the elks have four legs. and much of the nowadays land was under the water after the pressure of the Ice Age. If we agree with the animal drive theory. Some of the rock surfaces are worn out of images and the extant figures mark the limits of the original painting area. In these I can define 65 figures: • • • • • • • • elk human being boat hand fish animal footprints animal (which?) vertical lines (as a group) 19 15 11 4 3 2 1 7 The Astuvansalmi painting area is 15. The heads are horizontal or bending down a little. Astuvansalmi people The human beings have a strange common factor: all are standing in a frontal position. As if all the people were doing the same. There are new interpretations of the bow. when the vast waterways dominated the landscape. We would be nothing without a boat.My technical reading of the Astuvansalmi painting gives 250 individual paint marks. If we stand on the cliff above the painting we can see a lot of water. This pose is the other reason to interpret the totality as an animal drive. As if all of them were characterised as individuals. even the poses of the animals are lively.5 meters long and 5 meters high. Here we have cowboys directing their herd. hands raised a little from the hips to the sides. The current small bays and peninsulas would be missing. for example. This total composition is one of the reasons for interpreting the scene as an animal drive. images very elegant and thus open to interpretations and imaginative readings. The most confused areas are difficult to interpret. On the left of the panel is the only exception to the hands-to-sides posture. another has not a head but two sticks like antlers are growing in place of the head. Only one human has an object in her hand. Here the human being has both hands on the waist. Many figures in the panel have totally merged with each others during the time. the person with two handsome breasts has a bow in the left hand. Astuvansalmi elks It is easy to describe the existing elk figures. are the elks at the Tom river in Siberia. elk • umber pendant. Finland does not have any umber. one head is painted as a square ring. Archaeologist Juhani Grönhagen wanted to research the waters in front of the Astuvansalmi rock painting.Fig. Here the waters and routes from the north and from the west of Savo meet. hats or masks? Or is the intention to describe not concepts or generalisations of humans. but real time individuals in the family with different appearances and characteristics? Four umber sculpture pieces Two findings have been made in the terrace under the Astuvansalmi painting. Astuva woman • umber pendant. The titles are of course given by the crew and the bear interpretation is the most open.The other one is flatheaded and of quarts from the Bronze Age. a bear. Also the issue of the only route for the waters from the Ancient Great Lake to the Bothnic Sea through the Kalajoki valley is significant here. 1300-500 B. Do these people have hairstyles. Astuva man • umber pendant. sandstone • piece of bone. Astuva boy • umber pendant. nowadays Estonia. One is produced of grey slate and its type is from the end of comb ceramic period 2200-1800 B. 2. . The places around Saraakallio are one of the oldest inhabited areas in Central Finland.C. This trade continued most probably through the Stone Age. To listen to his tales of the practical obstacles and everyday problems in the diving process. Both are broken arrowheads. Latvia and Lithuania. Saraakallio Saraakallio is located at the northern part of Lake Päijänne in the county of Central Finland. one has a longish head with a triangle hole in the upper part as a hairstyle. The crew found the 18 following archaeological objects in the lake bottom in front of the painting: • stone object. Umber was imported during the comb ceramic period from the Eastern parts of the Baltic Sea. but in Astuvansalmi all the heads of humans are individual as if telling of the different personalities of the group (copy: Kare). But this patience was rewarded with the most beautiful collection of art pieces. Grönhagen was diving in 1991-93.C. Most of the human depictions are very stick like without detailed characterisation. and especially the wishful expectations is like a handbook story of a stubborn scientist. seems to have a curly hairstyle. A little to the right there is reddish rock and the largest flotilla in Finland: eleven boats in my interpretation. The animal is running and the posture gives a strong impact of movement. a human with a bird mask. There we have seven sticks in a mathematical pattern. some areas have much chemical reactions from the rock on them. Saraakallio has about 300 paint units all together. In 1989 Pekka Kivikäs found the second part of the Saraakallio monument to the southeast of the main panel. triangles. an elk. some have strong lichen growth on paints. Some walls are still totally clean of vegetation. a boat. a snakelike image. so nearly every aspect of the natural cycles exist here.8 meters above the water level.The head and mouth are the most realistic with the soft upper lip. boat and elk dominate the statistics. Saraakiallio II has about 50 traces of paint. has four legs. heights. It is impossible to see all the images from one position or with a single glance. and at the most up the beautiful elk and the small images around it. They smash together and are difficult to identify.Saraakallio in Laukaa is a true monument in the Scandinavian rock painting tradition. My close reading of the Saraakallio I painting panels gives 243 paint units. But it also has a set of stick like human beings (five) partly depicted from the side view. This last handsome elk on the top right is about 50 cm long. but the major effect comes from a pattern of animals (long bodies and necks). The painted surfaces reach more than 400 meters of the lakeshore (the distance between Saraakallio I and II is 250 meters) and the images are between 5 – 16. expressive ears and there is a third image like a ring in front of the ears. The physical condition of the animal is perfect and fleshy. If the main human scene were more stick like and located at the most left of the panel. Human being. perhaps a better expression would be to say that it is well trained like a body builder. If we move to the top of the slope we see three humans from the side. different angles of the surfaces and the pictorial richness of Saraakallio make it to a perfect laboratorium for researching the development of ancient conditions. Figures appear often as pairs in Saraakallio. of which about 20 recognizable images. a snake and a lizard. There are many humans depicted in totally different styles and manners. on them is a smaller human and still two more humans. but there are many different kind of panels where the images are scattered as small scenes with quite long distances between each others. On the lower right a large rock grows out of the basic wall as a gestural hump. on the left side. The rock surface is light. The paint has run with the passage of time and the images overlap and mix with each others. humans with bent knees. “röntgen” style animal. The main images are now to the right. This protruding element has a lot of red paint without clear figures. double boat or double antlers and many different lines and dashes of paint. Of these I can recognise 102 images. hand stencils. it would be very reminiscent of the composition at the left of Astuvansalmi in Ristiina. One of the sharpest images is the double boat figure to the north-west end of the monument. The length. The depiction of the group is more important than any of the individual signs on these both sites. stone like velvet and without any lichen or vegetation. perhaps a hand and a human. as would be the case in most Finnish sites. There is not just one rock surface. different depictions of elk. Archaeology and Saraakallio Two archaeological findings have been made in the terrace beneath the main painting of 19 . Here there is also a human figure and a double-headed elk. nearly naturalistic in style. animals. Nowadays the image is very high up on the wall. Human figures are important. The animals are stacked on each other and this composition is most reminiscent of a herd of horses or deer running. most of the animals have four legs. Hartikka. Onega green stone. Here we can also see the human bodies as dancing. and he has found and documented most of the new rock art sites in his area. Vehniä in Laukaa. Also found were some pieces of asbestos ceramic from 4 800 – 4 500 B. The wooden spoon has a bear-head decoration. 25 new sites. The ceramic had traces of red ochre. to the north. The main panel has at least nine elks going in the same direction. confused paints and some lichen on the rock the scenes are like those from a cowboy movie. Verla At the Verla rapid there is the most naturalistic and handsome elk herd. His official position is at the museum in the city of Kotka.Trade. red and white decorative skiffer stones from Norway. There are also three humans and again my interpretation is the animal drive. There are nine stone chisels from Torikka in Laukaa. in groups. in anthropomorfic set ups. because there are so many different visual styles. the County Museum of Kymenlaakso. animals and humans and also unique signs. heights of figures. up the river. appearances of boats. The humans are also in many positions: alone. which is a rarity in rock art.C. Simply the richness of the pictorials has prompted many interpretations. etc. mainly elks (not deer) and humans.Saraakallio: a piece of an arrowhead and a piece of a polished slate arrowhead. which leads the discussion to merchandise and ritual offerings. merchandise and business were stronger than our image of the Stone Age allows to imagine. Animal drive At Verla and Astuvansalmi actors are few. Verla was found in 1974 by Timo Miettinen. In the history of symbols there is an important spoon found in the neighbourhood. The dating of Saraakallio is difficult. umber from the Baltics and sembra pine from the Urals are some of the imported materials in the Stone Age. Flint from Denmark and Russia. dating 5 300 – 4 800 B. one hand raised. With the diluted. both hands raised.C. Saraakallio includes many humans depicted from the side. from the side. as profiles. However. dust hanging in the air above 20 . The animals are depicted in a skilful and realistic way with an outline and of course without any three dimensionality. from the front. 15 burials and the settlement have revealed pieces of ceramic from the typical comb ceramic II period. Only five kilometres from Saraakallio is the famous settlement and red-ochre sanctuary. Here too nature beats the art.The humans are funnelling the animals. The natural images seem to depict humans hands raised up. hard to nominate) • 1 boat. Here the theme of animal drive is strong and the animals characterised in a skilful manner. The panel of painted images spans an area 11 meters long and 2. In Sweden the number of the pits is 30 000. Their main skill was knowing the behavioural habits of their prey. Colour Rock The Colour Rock is situated near the Polar Circle on the lake of Somerjärvi. From the distance the natural hues and saturations of the red in the stone build up images that are much stronger and larger than any of the art figures. parts of it have dark and grey lichen on them. larger than houses or boats or other built objects. I identified 59 figures: • 23 human beings • 23 elks (deer encountered) • 13 animals (which species. heaven and hell in the same picture. 3.the powerful movements of the animals. If you would stay under the wall long enough it would bring all the stories of life to your mind. 21 . Elk and reindeer have their own paths.6 kilometers and 70 pits at Manamansaari near the city of Kajaani.3 meters high.The task is hard.crossing site for elk. with a length of 1. especially when moving from summer pastures to winter sites. With my close reading methodology I counted 271 units at the Colour Rock. The rock surface is light. Detail of the Verla painting. Are they directing the animals to the water here in Verla? Are they directing them to hunting pits? Deer and in some places also elk were hunted in the north using huge systems of hunting pits. Next to the rock carving site atTomskaja Pisanitsa on the river Tom is a traditional river. which they generally use. because there is a lot of strong natural red from the stone in the panel. kilometres long and consisting of hundreds of pits. These systems are the largest human-made constructions. But in Alta there are strong fences for the animals. but the major effects come from the redness of the stone. Hossa. This summer one of the systems was protected in Finland by cutting off the trees. glows in the sunshine. Stone Age hunters had thousands of years experience behind them. Fig. or then in some sunshine situation the large wall shimmers with pure abstract expressionism that is open in all its connotations and denotations. especially the handsome moose at the left (copy: Timo Miettinen). There are no corrals here. Fig. Hallström published a study of the net images in Scandinavia in 1960 (Hallström).Fig. 5a. The first found rock painting in 1911 caused strong discussions. 5b. especially because we did not have any research expertice. 22 . Gustaf Hallström from Sweden was asked to help and he made a copy of the Vitträsk paintings (Hallström). 23 . The humans have triangle heads. The unidentified strokes and splashes seem to have once been parts of figurative images. they are performing in fur dresses and wear antlers or ear masks. their eyes are depicted. The most striking resemblance with Vitträsk was found in Alta (Kare). gestural poses of animals with characteristic head poses. not consciously abstract gestures. new born deer calves. Here we have the most elegant elks. Fig. 5c. and perhaps there exists also a birth giving scene.Fig. In Valcamonica there are quite similar images than in Vitträsk (Anati). 5d. and the most interesting human beings. We had no authorities in the research field of rock paintings. The net is very similar to the one at Vitträsk. Astuvansalmi. Vitträsk to Valcamonica about 1900 kilometres. Shamanism of Colour Rock The largest and the most important images of the composition are the dancing man dressed in fur coat and equipped with two oversized ears. There is action and anarchy. the artist Oscar Parviainen. The geographical distances are: Alta to Vitträsk about 1 500 kilometres. and much speed and strength. The main personal skill of a shaman is his individual capability to travel in time and in between different levels of the universe. But after Hallström the most interesting new net images were excavated when the grandiose Alta in Norway was found. There especially the Ole Pedersen XI site has an interesting image of the net and a reindeer together. Animals and humans are combined. Hallström published an informative table of Scandinavian net-like patterns in 1952 (Hallström 1960). Is this Colour Rock a depiction of a shamanistic ritual? 24 . Sibelius found the net like. In 1911 composer Jean Sibelius had a walk near the summer home of a friend.R. Vitträsk The first officially discovered rock painting in Finland makes a nice history to it. or as was said in those days “ryijy rug-like” images on the terrace shores of Lake Vitträsk. Vitträsk is dated to 5 000 – 1 500 BP Alta 5 600 – 4 700 BP and Valca. few other dancing figures and the two (or three. guided by Äyräpää. or four) humans with triangle heads. and we needed the help of the Swede Gustaf Hallström for the interpretation. Similar net figures are pecked to Bardal and Hinna in Norway and Valcamonica in Italy. The shaman needs the assistance of helping animals and spirits to navigate the route through obstacles and different world layers to get the information needed. Vitträsk (three different figures). Finland has six net-like images. Hallström visited Vitträsk in 1939.C. There are many detailed humans in the panel and one of the interpretations is the experience of a shaman on the way to the other world with the assistance of helper animals (copy: Kare). Sarkavesi Haukkavuori and in the loose stone of Nästinristi. monica to 2800-2000 B. 4.One of the major acts of a shaman is his or her journey to the other world. The famous archaeologist J. He telephoned the State Office of Antiquity. Here we have the most expressionistic rock painting in Finland. Fig. all of them together nearly 3 500 kilometres. not standing still or stagnated horizontally on their legs as in rock art usually. The Colour Rock at Hossa is the most expressionistic scene in Finland. but travelling up and down.Aspelin made a note of the announcement. they interact to build up the active and productive primordial soup of life and togetherness. The figures of Colour Rock build true compositions. and many are in a diagonal position just as thought to show movement. The animals are lively. It took six years before Aarne Europaeus (Äyräpää) went to the site in 1917 and made an official report of the painting. The Vitträsk area is known for its dense Stone Age findings. Only four kilometres from the rock painting is one of the most known Early comb ceramic site. the square-type patterns over the animals in Palaeolithic cave art such as at Lascaux also remind of the use of this Vitträsk–Alta type symbol. One explanation for the Lascaux patterns is that they would be the traps for the souls of the animals. Could it be an animal trap? For me. This reasoning comes from the animistic and shamanistic worldview. Especially when the net is pecked in Alta together with the reindeer.Fig. 6. 25 . The net explanation for this figure is very possible. The patterns of the Vitträsk paintings have often been compared to the images of comb ceramic idols and their decorations. Juusjärvi locates only four kilometers from Vitträsk and has the most lively scenes of dance by people decorated with bird masks (copy: Kare). Sperrings. especially the strong and very naturalistic looking animal fence. But are they only for souls? Could they also be for real animals? These images also call into question the history of housing and the cultivation of animals. the search for other meanings for the image has become topical. but because Alta has other images of animal cultivation. from the late Mesolithic time. the pictorial laws mainly represent a human vertically. In Zalavruga the people have even decorated poles with hands as if they were marching in a celebration and in some scenes they are even raising celebration bowls. this time Vultures and birds of prey. the images are lively and moving. a fish. The Juusjärvi scene rather suggests a dance. He would even like to see the two layers of paintings at Juusjärvi as being from two periods of geology. hand images. Ville Luho writes that there has twice been a strait to the sea from Juusjärvi.Three have very clear bird masks over their heads. but we might think of this tilted human together with the fully inverted image of a human being. Such dress performances and scenes of event are very realistically depicted in Zalavruga at the White Sea. For example. there are wall paintings with the Goddess of Death. They seem to be falling. Saraakallio c) Elk.5 meters long and 2 meters high.Fig. Juusjärvi was the second rock art site found in Finland. and they all seem to be dancing. the worship posture. with the head down. Saraakallio e) Elk and human. a human falling. in 1963. in Catal Hüyük. The adorational figure. and zigzag imagery of indefinite connotations. There are seven humans in the panel. In ancient Anatolia. In general. with head erect. Saraakallio (copies: Kare) Juusjärvi Only about five kilometres from Vitträsk there is a lively painting of about 40 figures. The reasons for this Juusjärvi position stays open. Two of the other Juusjärvi humans are in a tilted position. 7. it is rare for a human figure to be depicted tilted. more than fifty years after Vitträsk. but on the contrary. (Luho 1971). The painted area is 4. On Saami . together with the human being head down. There is nothing stiff and stable here. is one of the oldest and commonest ways of showing 26 humans in ancient art internationally. There are dancers dressed in bird masks. Different images from Finland: a) Double boat. Juusjärvi and Vitträsk paintings are at the same height above sea level. Valcamonica has an entire large panel full of them. theatre performance or procession. All four have hands raised as if in adoration. In Siberia this position means a dead person. at lake Juusjärvi. Uittamonsalmi d) Elk. Four of them form a group. Saraakallio b) Elk. Totemism. boat of renewal. Timo Miettinen with a thorough research at Kymenlaakso. 6 800 the second route was born at Ristiina (the rock painting community). The rock paintings and carvings are only a small portion of the acts and events performed at the rock art sites. Il Linguaggio Delle Pietre. Research history There are about twenty researchers who have published materials of rock art. and a clear distinctive interpretation is now impossible. This is still the major source of information of the maps. sites and backgrounds of rock art in Finland. and the multi-leveled world view and its representatives present in every scene have been active issues. even the dates of the new outbursts for the water directions are quite certain: Saimaa was born from the Ancylus lake phase 10 000 years ago. Editioni del Centro Valcamonica. which is always water bound. guardian helpers. Issues The major facts in researching the physical geographical conditions and also the timing of the paintings are the Ancient Baltic Ice Sea and together with the land uplift the Great Lake of Finland with its nowadays lakes Päijänne. elks with lines on head. vätte. seidand saijva institutions. Hahlavuori. halde. but on water.drums it means a shaman flying in a trance. Saimaa and Puula. Antero Kare Virtaintie 5 B FIN-00510 Helsinki antero. 1994. however. The Kivikäs – Ancient Images Centre was founded to Jyväskylä to honour his work. The archaeological information of the ancient shorelines is still vaque. The paint in the area has. The most interesting part of the Juusjärvi painting is the right-hand side of the monument. who gave out a book Kalliomaalaukset – muinainen kuva-arkisto in 1995. Here we have many images: humans. This was the time of the beginning of the typical comb ceramic period. Ethnographical and material conditions of life are searched. and 6 000 years ago the great river of Vuoksi was born to the south-eastern part of Saimaa. Still today many of the painted rocks raise straight from the water and 75% of the rocks lay less than ten meters from the water. animals. 7100 years ago the water levels in the two lakes become the same to form the Ancient Great Lake of Finland. from a boat or on the ice. The six examples I have introduced here represent only a small part of the material and approaches. and is the best institution to find more information. diluted and travelled with time and the images have moved on top of each others. the only physical evidence of human action there. rings. Water is totally necessary for understanding rock art. gods and spirits of all sites.fi Reference Anati.kare@kaapeli. 6 900 years ago the waters forced a route through the Heinola ridge. even the land has uplifted much from the times of producing the paintings. nature conditions. Päijänne 9 000 years ago. Emmanuel. travelling to the other worlds. Rock art is thoroughly environmental in character. who has written much of the relations between rock art and other visual heritages as for example saami shaman drums. border between life and death. environmental situation. double boat as an antler image. sun. themes and compositions has raised up magnitude of topics. and the water levels went down rapidly. We have four of these upside-down images Finland: Verijärvi. snakes. The major ones have been Eero Autio. The majority of the rock art in Finland was not made on the ground. Sarkavesi Haukkavuori and Pyhänpää. Environmental art The major factors in rock art are the site. The discussion of the figures. and. after them the concepts and reasons for making art. and Pekka Kivikäs. 27 . images. Iskos. Atena Kustannus Oy. Pekka . 1917. Heino. .1997. Porvoo. Keuruu. . Vorhistorische Felsmalerei in Finnland. 1994.1962. . Kare.I. Klippmålningen vid Juusjärvi. 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