Looking at the petroglyph, it is easy to discern two separate carvings. Possibly the representation of two Belugas or another species of whale, swimming side by side, or possibly a mother and it's calf. Either of the two possibilities is simply an amazing discovery. The patina of the carvings makes one believe that they were carved at the same time and are extremely old. What is more amazing is that the only other petroglyphs discovered around the globe that is believed to represent Beluga whales are in northwest Russia. These whales have been revered in that part of the world for thousands of years. Beluga comes from the Russian word belukha, which means "white one." Three hundred miles due north of Saint Petersburg in Russia, the Belomorsko River empties into the finger. The countryside surrounding Sorokka possesses a continuous history, some might even stretch the point and say a written history, that reaches at least as far back in time as any in Egypt or China. The many Petroglyphs carved into cliff faces and boulders throughout this land are ascribed to Finno-Ugrian tribes people who have inhabited this northern land for at least the past four or five thousand years. Petroglphys can be seen on cliffs scoured smooth as ceramic by the retreating glaciers that fled this land after the last ice age. They chronicle the daily life of an advanced hunting culture.
Writer and environmental activist Jim Nollman noted in his 1996 book “Not Talking to Beluga” about these particular petroglyphs, “Several petroglyphs show the hunting of Beluga Whales. One of the most dramatic and artful of these drawings shows twelve men in a boat of indeterminate construction. A man at the bow holds a harpoon aloft. Several thick lines already lead from the boat into the back of the wounded animal. Other pictures show the villagers cutting up a whale for distribution. Moose, geese, swans, reindeer can also be seen, these are the common species upon which Northern hunters have always relied for subsistence. Another unique picture dated to 3000-3500 BC, displays the life of a single individual, perhaps a mythic hero, painted in panels traced along a counter clockwise spiral. The outer edge displays what could easily be interpreted as a birth. Then, traveling down ward along the spiral, our hero acquires various tools. He also starts to interact with other people, the heavens, begins to hunt birds, then small mammals, finally moose. The spiral starts to climb again, perhaps signifying that his hunting days are starting to wane. Strange objects appear that look like ping-pong paddles and whose meaning and purpose can only be guessed. Finally, turning inward again, we arrive at the center of the spiral. This is a place signifying death or secondarily, spiritual transformation. Here, the human is depicted at the end of his life’s journey riding on the back of a whale. Casting this final symbol onto the web of ancient Finnish religion, we learn that the culture of these ancient tribes people was totemic in spirit, and shamanic in leadership. Just as eating the prey was considered an act of taking the animal spirit into oneself, so reincarnation was likewise was understood as a cyclical transformation from predator to prey back to predator, over and over again, forever.”