Reindeer shaman’s iron crown worn by the son of the shaman, Kellog Village 1976
I’ve found this photo in a fascinating article on Ket shamanism, which I highly recommend! It was originally published in Shaman, which is the journal of the International Society for Shamanistic Research.
Ket shaman’s drum. Painting by Freda Heyden
A bit of info about the symbolism on the drum - the lines on the side symbolize the seven layers of the sky, and that gap on the bottom is the entrance to the Underworld. The stick figure in the middle is Doh, the first great shaman of the Ket people.
Rāi shamanic séance, Solukhumbu
Even during the rite - and particularly its opening phases - the presence of the shaman’s own human master is required on several occasions. Once the officiant has entered a self-induced trance, the human master’s role is to assist him to move succesfully and without risk during this experience, preventing or neutralising any related potential dangers.
Tamang shamanic séance, Kathmandu valley
The female Tamang shaman Som Maya Lama accomplishes the invocation to the spirit-guides, using the two-headed drum (dhyanro) as a ritual evocatory instrument. Although this séance did not involve wearing the complete shaman ritual garments, the mere presence of some specific paraphernalia connected to the figure of the spirit-guides themselves - the bandoleer of bells (ghanta mālā), the black necklace (kala mālā) and the necklace of elaeocarpus ganitrus (rudrākṣa mālā) - was deemed sufficient by the shamaness to guarantee the effectiveness of the rite and ensure that a full ecstatic condition would be induced.
Gennady Pavlishin’s illustration to a storybook titled Tales of the Amur, which contains folk tales collected amongst the Nanai people by Dmitry Nagishkin. The illustrator was quite fascinated with traditional motifs of peoples living in the region of the river Amur and he integrated a liberal helping of these patterns into his illustrations.
Mongolian shamans don’t always use circular drums - a variety of polygonal shapes are also in use. On these photos you can see examples of triangular drums.
Buryat shamans’ outfits, drums and tools hanged up on a wooden framework before the beginning of a Tailgan held in Tunka valley in 2010. Photo taken from Anna Kjellin’s article titled Tailgan in Buryatia last summer:
"The Tailgan is a yearly ceremony to reaffirm the spiritual connection between the clan, the ancestors and the land. It links the living and the dead together with the landscape. This is an unscientific account for a beautiful shamanic ceremony on a warm summer day in Tunka
Actually, I experienced this method of purification on my own skin when I met shaman Adygzhi last year. Well, it was a peculiar experience since I’m not really used to being whipped by a Tuvan shaman, haha. x)