Siberian shamanism, which serves as an implicit referent for any discussion of these questions, has been the object of a large number of studies, the most recent of which consider it a set of techniques of the imaginary, placed in the service of a “journey” to the invisible world (Stépanoff 2019), and a particular ontology based on the principle mors tua, vita mea (your death, my life), involving a system of alliances and negotiations with the spirits and masters of the animals (Hamayon 1990, Descola 2005). Yet none of these essential characteristics can be identified merely by looking at images, particularly when they are Palaeolithic, hence forever mute.