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Symbolism


We would like to say something about symbols, that we use in our work. In some cases, we are dealing with signs, which undertook some development and change their meaning over the millennium, or they might have fallen on a meaningless decorative ornament. Even though in some cases the conscious use of the symbolism, described below, cannot be demonstrated entirely, this symbolism has in the most of cases its meaning in our work. This article does not have a scientific level. It serves only to illustrate that some of the symbols are already documented in the Stone Age and they are practically accompanying us today.

 

Once upon a time

 

Then sought the gods | their assembly-seats,

The holy ones, | and council held;

Names then gave they | to noon and twilight,

Morning they named, | and the waning moon,

Night and evening, | the years to number.

 

(The Poetic Edda, Voluspo, by Henry Adams Bellows, [1936])

 

In the first picture, there are drawings of bowls and containers of linear culture from the 6th millennium BC from the findings in the Czech Republic. The drawing of the bowl in the second row on the right side is from the territory of Germany (Köthen-Geuz). We read a theory that, for example, a branched isosceles cross could symbolize the mother of the family and children at this time. In the symbolism of an isosceles cross, we could also imagine four sun holidays of the year, solstices and equinoxes.

 

 

About the World Tree

 

“A birch with three leaves is growing,

There is a path of the Sun on the side.

In one of the leaves the day is in dawn,

In the second leaf the Moon is rising,

And in the third leaf

the shining Sun is rising.”

 

(Encyclopedia of Baltic Mythology, Marta Eva Běťáková, Václav Blažek, 2012)

 

 

Old nations imagined the world around you as a huge tree. Of course, this also applies to our Indo-European ancestors. In our creation, this motif appears as the World Tree or the Tree of Life. We consider both of them as the same one. This tree usually has its roots in the underworld, its trunk in the middle world of humans (Middle-earth, Midgard) and its crown spreads out in the upper worlds of the gods and the bright elves (Alf, Alb). Perhaps the most famous interpretation is Scandinavian ash tree Yggdrasil or Saxon Germanic Irminsul. In the left picture you can see Irminsul in the Germanic rock shrine in Externsteine. If this is truly a credible representation of Irminsul, then the bend symbolized the defeat of the Old Religion in the conflict between Paganism and Christianity. Nowadays, this form of the tree is not bent anymore. The Tree of Life also appears on the forging of the Slavs from the Great Moravian Empire (on the second row on the left picture) and probably on folk embroideries and Easter eggs. The theme of the World Tree can be complemented by the symbols of the Sun, the Moon and the Stars (optionally Ostara or Vesper). Sometimes the depiction has changed into a flower, where the blossoms can symbolize Sun and stars. Around the flower occasionally fly birds or stand deer. The tree in our creation can symbolize the connection with the ancestors, the family tree, the connection between the Earth (roots) and the heavens (crown), the order and the fixed axis of the world.

 

 

About the connection of Heaven and Earth

 

“The Heaven became a husband of the Earth; he is the father of gods and men, who is sending rain to fertilize Earth.”

(Zarathustra, Otakar Klíma, chapter Arian religion, 1964)

 

Heavens

 

Among the most important gods of the Indo-Europeans are Heavenly God – Dyeus, heavenly father. From this original Heavenly God, later, after the break-up of the Indo-Europeans, the gods of successive pantheons were created. Greek Zeus, Roman Jupiter, Germanic Tiwaz, and so on. This god was later replaced by the Germanic Wotan-Odin and in the Greek and Roman mythology, on the contrary, apparently merged with the idea of ​​the God of Thunder. There is engraved on the helmet from Negau. It is certainly interesting that the Baltic nations retained this god under the name of Dievas (Dievs), as well. For the Slavs, Svarog functionally resembles this Heavenly God. According to the Baltic interpretation, the symbol of Heavenly God is a triangle pointing his peak upwards, which is a symbol of the heavenly roof. For the Germans, this description corresponds to the Tiwaz rune in the form of an arrow that expresses the same as the Baltic triangle. In our work, the Heavens symbolize the heavenly roof, the celestial vault with stars, the Sun, the Moon, and Ostara.

 

 

Earth

 

In the imaginations of the Indo-Europeans, the Earth-goddess was a partner of the Heavenly God or the God of Thunder. In our interpretation, the symbol of the Earth is a square divided by a cross. In this form, the Earth is symbolized by a fertile field. That's why it is in the shape of square. If there are dots in the square, it's a seed motif. On woven belts and embroidery in the Baltics, the Slavs, but also in Scandinavia, you can find a square or a rhombus (sometimes divided into four parts). Interestingly, this symbol also appears on old doors and houses in the Czech Republic, Germany, Austria and possibly elsewhere. In the case of doors, the lower half of the door is sometimes made of planks folded into a rhombus/squares, and the upper part has planks arranged in the form of sun rays - the Sun rises above the Earth. According to the Lithuanian interpretation, a rhombus or a square is a symbol of the Earth, or a fertile field. It is also noteworthy that the divided square symbol appears on the stone goddess statue from the Stone Age (Trypillian culture). In our work, Earth symbolizes the wish for fertility to family, field, nature, crop, and home.

 

 

Dawn

 

“Bellowed Sun, daughter of Gods,

Who made for you,

in the morning or in the evening,

pleasurable fire?

Who made your cozy bed?

Aurora, Venus:

Fire was made by Aurora,

Bed by Venus.

There is a lot of children of mine!”

 

(Lithuanian Songs and Fairy Tales.)

 

 

 

The way for the Sun, according to Indo-Europeans, is prepared by the Dawn goddess. At the same time, this goddess is symbolically identified with the star Ostara (planet Venus). In Lithuania, the goddess Ostara is called Aushriné. The name Aushriné is identical with many other goddesses that originated from the original Indo-European Goddess of dawn. It is related to Aurora, Eos, and so on. As Ostara was identified in the Baltics with an eight-pointed star from folk embroidery, we associate this star with the folk embroidery of the Balts, Slavs, and Scandinavians just to the goddess Ostara. In addition to dawn, this goddess is also the goddess of spring, so she is always associated with various new beginnings - a new day, spring, and so on. Various star kinds have been documented in prehistoric times, but this eight-pointed star is known to us in Roman mosaic floors, the Middle Ages, and later folk embroidery, where it can still be found today. In our creation, Ostara symbolizes a new day, new beginnings, spring, hope.

 

 

About the Sun and the Moon

 

“The only gods they recognize are visible objects with obviously beneficial effects, such as the Sun, the Moon, and Fire. They have not even heard of any other gods.”

 

(Gaius Julius Ceasar, De bello Gallico.)

 

In the Norse mythology, the Sun and the Moon are siblings, but in the Baltics the Moon sometimes appears as the bridegroom of the Sun. In both cases, the Sun is a female, and the Moon is a male.

 

The Sun

 

The Sun sign has been a cross in a circle since the Stone Age, but more is beginning to appear in the Bronze Age, both in the metallic form of pendants, needles and, as a sign engraved in bronze. It is also known from the petroglyphs in the Bronze Age in Scandinavia. The symbol appears even today, often unconsciously. It can be seen in home shields, even on pies. Pies played an important role in the pre-Christian religion when the round shape of the pie symbolizes the Sun. The pie ritual is documented, for example, by the Polabian Slavs in Arkona, near the Baltic Sea. The cross in the circle also appears on folk embroidery; in some cases, it's in the form of a flower. The four arms of the sun cross symbolize the four solar holidays of the year: the Winter Solstice (Christmas/Yule), the Spring Equinox, the Summer Solstice, and the Autumn Equinox. In our work, the Sun symbolizes light, warmth, the celebrations of sun, the light half of the year, and abundance.

 

 

The Moon

 

The Moon is another heavenly body deified in ancient times. In the Germanc Mythology they are associated with a male divine figure named Máni. The Balts called him Mēness. In other Mediterranean myths, he is also associated with various goddesses. The moon is depicted on the well-known disk from Nebra from the Bronze Age (around 1600 BC). In the Bronze Age, pendants of the lunar shape are documented. Lunar pendants are also documented by Germanics around the 5th century and Slavs in the early Middle Ages. According to Baltic interpretation at the folk embroideries, the lunar symbolic is represented by angularly shaped C's (Sometimes, this C's can be interlocked into each other in mirroring form). That could symbolize the waning and growing moon. The C symbol can be seen in the picture on the right side. Here, similarly to the embroidered sun symbols, it could be a combination of blossom (from the side view) and the moon motif. In our work, the moon symbolizes the night heavenly pilgrim measuring time, turning us into our inner space for meditation.

 

 

Heavenly horses

 

The daughter of the Sun waded in the sea,

Only her crown was seen from her.

Row the boat, sons of Diev,

save the soul (of daughter) of the Sun."

 

(Jaan Puhvel, Comparative Mythology, Chapter The Baltic and Slavic Myths)

 

Divine Twins are part of the Indo-European myths. These divine twins may be of different origins and may not necessarily be completely related. Sometimes, they appear directly in the form of horses; sometimes, they are just connected with horses. The Germans have preserved the memory of the twins called the Alcis. According to the Indo-Aryans, there are horse riders called Ashvin (Ashvins). In Lithuania, there are two horses pulling a carriage of the Sun goddess, like two. This is offering a similarity to the horses dragging the carriage of the goddess Sol. According to the Germanic myth, they are called Árvakr and Alsviðr. Equine symbolism also echoes in two mythical kings of Britain known from the Germanic taking of the land, Hengist and Horsa. In Latvia, the symbolism of the Divine Twins is related to the sons of Heavenly God (sons of Diev) called Dieva dēli and also to the god of fertility Jumis. In Greek mythology, they correspond to the figures of the Dioscuri. According to the Baltic interpretation, the symbol of the Divine Twins is the sign of two crossed hooks. This character can be found on the ceramics already in the Stone Age, where there's not certain of its significance. Later it can be found, for example, in Hallstatt ceramics between the 8th and 5th centuries BC. This emblem is still present on folk embroidery to this day. On the houses, the symbol of heavenly horses - the Divine Twins are associated with the habit of placing two carved horse heads on top of the roof. This habit is probably most widespread in Germany and in the Baltic Area, but it can be found elsewhere. It's historically documented even in the Czech Republic, albeit only marginally. Jaan Puhvel, in the book Comparative Mythology, assigns to the Indian Asvins the protectionist and healing functions. Otherwise, they are also associated with solar symbolism. This meaning can be found in our work.

 

 

Water

 

"This precious cold water,

through nine boundaries led,

Whoever washes with it,

he's gaining health."

 

(Antonín Václavík, Annual Customs and Folk Art, 2010)

 

According to some interpretations, different vertical hatching on prehistoric ceramics could symbolize rain; then horizontal wavy lines could then symbolize running water in streams or rivers. Here are some examples that could relate to the theme of water on old ceramics and folk embroidery. On the left is a ceramic vessel from about 3200 CE. On the right side is a Slavic vessel from the early Middle Ages. In our work, it's possible to find the symbolism of water in the form of wavy lines or spirals. In connection with the river and water, it's worth noting that the goddess of the rivers Danu belongs among the Indo-European goddesses. The name of this goddess echoes in the mythical Irish people of the goddess Danu (Tuatha Dé Danann). In the names of some East European rivers (Don) and perhaps also in the Greek Danaans. In our creation, water symbolizes the source of life. In the case of rain, water can symbolize the union of Heaven and Earth. In fairy tales there occasionally is a combination of water and forest beings or fairies and may be the boundary between the Worlds.

 

 

Swastika

 

"But we must now also state that on the underside of one of the six beautiful statues of birds, made of mammoth and found in this place, there is an engraved swastika, which we have already mentioned. It is the oldest swastika ever discovered in the world."

 

(About Mezina in Ukraine, 10,000 BC.

From the book Primitive mythology; masks of the gods; Joseph Campbell.)

 

 

The Swastika has been more documented in Europe since the Stone Age in the 6th millennium BC. It's known by The Vinča culture and the culture of Tripoli (Tripoli culture) in the Neolithic. At that time, it also appears under the Black Sea (Samarra culture in Mesopotamia). The oldest use of Swastika in the Czech Republic is from the 6th millennium BC on linear pottery. Its use is in Europe in the Bronze Age, Hallstatt and for Greeks, Romans, Celts, Germanics, Balts and Slavs. Its occurrence has been documented in houses and folk heights until today. The oldest use of Swastika is assigned to discoveries of Ukraine, Mezinu, from the period of 10,000 BC (picture above). These are Swastikas geometric ornaments engraved into mammoths.

 

The Swastika can be perceived as:

 

1. The Symbol of Heaven "spinning" around the star Polaris.

 

2. The symbol of the heavenly fire and the God of Thunder. The Scandinavians have flying Thor's hammer.

 

3. The symbol of Sun

 

4. The Symbol of cyclic perception of time, curved shoulders symbolize rotation, movement.

 

5. The Symbol of sacred fire (during the ceremony).

 

6. The Symbol of happiness.

 

The swastika appears in various variants. It's in a geometric style, sometimes, in Slavic and Baltic altitudes and woven belts, with rich branched shoulders. It's possible to find it in the Bronze Age (pictured on the bottom, right side) and in folk culture with its shoulders either spiral or loosely curved. In addition to archeology and folk culture, the Swastika can also be seen on old houses.

 

 

 

About The God of Thunder, The Master of Thunder

 

"Perun was portrayed as a celestial warrior who moved along the vault with a war wagon — a war chariot pulled by horses. He was armed with an axe (or hammer) and threw it at the enemy – this is the cause of thunder and lightning. The appearance of Perun was also copied by the appearance of an elite Indo-European warrior."

 

(Michal Téra, Perun, The God of Thunder, 2009)

 

The idea of God of Thunder is known to all Indo-European nations. If we assume that the split of the Indo-Europeans has taken place since the end of the Stone Age, we can assume, that as the main weapon and thus the original symbol of the God of Thunder was considered to be stone battle axe. This symbolism has evolved over the last millennia, and nowadays, the notions that are known from the classical pantheons have stabilized. For our needs we'll briefly mention these traditions:

 

1. Germanic (Nordic) tradition, Thor, Donar, hammer, Swastika

2. Slavic tradition, Perun, axe

3. Celtic tradition, Taranis, a wheel with rays

4. Baltic tradition, Perkūnas, Pērkons, Swastika, axe, hammer

 

The picture below shows Thor's hammer, Perun's axes, and Taranis's wheel. The symbols are from various archaeological finds.

 

In our work, an axe or a hammer symbolizes The God of Thunder, protection, and safety.

 

 

Thunderbolt

 

The symbolism of The God of Thunder, suitable for example, for the protection of houses or rituals, we consider so-called Thunderbolts. These are, in fact, the stone battle axes of the Stone Age, the Neolithic and the Eneolithic. In prehistoric times, they were sometimes added to graves at a time, when they were no longer in use. There is also evidence of their use in the folk culture as protective items, thence comes the name Thunderbolt. It was believed that stone, that's drilled through, found in the field, was perforated by lightning. In the picture below is a stone battle axe from Sweden, which is secondarily used and engraved by runes and hatching. The other Thunderbolt on the right side is from our work.

 

 

About the numbers three and nine (Triskelion and valknut)

 

In the Norse tradition, there is the Tree of the World, Yggdrasil, with nine worlds in which the gods, elves, people, dead, giants dwell. Beneath this Tree resides three norns that symbolize the Past, Present and Future…

In our work, threes and multiples of threes (three times three) generally symbolize happy numbers.

 

The number three – Triskelion

 

Indo-European ideology was manifested through triplicity represented by sovereignty - warfare - fertility (Georges Dumézil). According to this division, old gods and goddesses can also be perceived. Some Gods show signs of mainly one of the functions. For example, the God of Thunder is primarily a warrior and protector. Sometimes the functions may overlap. The triplicity of the goddess is most often interpreted as a virgin – mother – crone. To do this, we can add an interesting note (Ivo Budil, Cultural and Social Anthropology of Indo-Europeans) on the triplicity of goddess functions: “Greek Athena, called Hygieia (health goddess), Polias (protector of the city) and Níké (victorious in battle) ensured health, sovereignty, and victory." Kings have either three sons or three daughters. A hero, for example, must accomplish three tasks on his way, etc. In the sky, the triplet can be seen as a sunrise, noon, and a sunset. Even the Moon can have its triplicity in the form of Increasing Moon, Full Moon, and Waning Moon. In time, triplicity manifests itself as the beginning - the center - the end, or the birth - life - death. The World Tree, mentioned above, also has three levels, roots in the underworld, a tribe in the world of humans, and a crown in the heavens with the gods. The triplicity itself can be expressed as a sign called Triskelion (Triskelions). Triskelion has been documented since the Stone Age (ceramics Tripillia-Cucuteni). It was known since the Bronze Age and appears more in the period of Hallstatt culture in the 8th to 5th centuries BC. In the picture below, Hallstatt is represented by a ceramic Triskelion from Germany and a ceramic pot from the Czech Republic. It can also be found on Easter eggs. Besides, the Triskelion can be found in the Celtic archeology. The Germans have it in the form of three eagle heads, or on the tips of the lances from around the 3rd century.

 

 

The number three – Triskelion

 

Indo-European ideology was manifested through triplicity represented by sovereignty - warfare - fertility (Georges Dumézil). According to this division, old gods and goddesses can also be perceived. Some Gods show signs of mainly one of the functions. For example, the God of Thunder is primarily a warrior and protector. Sometimes the functions may overlap. The triplicity of the goddess is most often interpreted as a virgin – mother – crone. To do this, we can add an interesting note (Ivo Budil, Cultural and Social Anthropology of Indo-Europeans) on the triplicity of goddess functions: “Greek Athena, called Hygieia (health goddess), Polias (protector of the city) and Níké (victorious in battle) ensured health, sovereignty, and victory." Kings have either three sons or three daughters. A hero, for example, must accomplish three tasks on his way, etc. In the sky, the triplet can be seen as a sunrise, noon, and a sunset. Even the Moon can have its triplicity in the form of Increasing Moon, Full Moon, and Waning Moon. In time, triplicity manifests itself as the beginning - the center - the end, or the birth - life - death. The World Tree, mentioned above, also has three levels, roots in the underworld, a tribe in the world of humans, and a crown in the heavens with the gods. The triplicity itself can be expressed as a sign called Triskelion (Triskelions). Triskelion has been documented since the Stone Age (ceramics Tripillia-Cucuteni). It was known since the Bronze Age and appears more in the period of Hallstatt culture in the 8th to 5th centuries BC. In the picture below, Hallstatt is represented by a ceramic Triskelion from Germany and a ceramic pot from the Czech Republic. It can also be found on Easter eggs. Besides, the Triskelion can be found in the Celtic archeology. The Germans have it in the form of three eagle heads, or on the tips of the lances from around the 3rd century.

 

 

Pentagram

 

We're talking about protective symbol five-pointed star - pentagram. In Moravia in the Czech Republic, the pentagram was painted on Easter eggs. It's also known in Germany as "Drudenfuß''. This sign is documented as a protective sign of children's cradles. In Germany, it can be found as a protective symbol on old houses and also appears on coats of arms. In our work, the pentagram symbolizes happiness and protection.

 

 

 

The serpent, Protective serpent, Serpent king - queen

 

The symbol S in folk embroidery is according to Baltic interpretation the snake Žaltys (grass snake). The serpent can also symbolize immortality because it symbolically rejuvenates itself by shedding their skin. The motif of the serpent ''S'' has been documented since prehistoric times. According to one Czech interpretation (Moravian Ornaments, 1888), this could be the so-called solar serpents. In folk embroidery, this motif can be found in the form of a square ''S''. In the Bronze Age ''S'' appears in the form of a double spiral. The double spiral can be seen carved on the beams of houses in Germany. The spiral, sometimes even with its head, is also known from the home shields in the Czech Republic (Peasant Baroque). Sometimes, the theme of the serpent king or queen appears in the fairy tales. In many countries, even in the Czech Republic, it was customary to breed a domestic serpent ''Protector''. It's, therefore, rather a positive symbolism of the snake. In our creation, the serpent symbolizes a protector of health and family happiness.

 

 

About the Six-petal star, The Hex-star

 

The six-petal blossom is usually carved on Slavic and Baltic woodcarvings, on beams in Germany and Austria, on gables of houses in the Czech Republic, on woodcarvings in Scandinavia and on products made by Eastern Slavs. The oldest known representation of this emblem is from Mycenaean Greece from the Bronze Age. In the Czech Republic, we have the oldest evidence of a six-petal blossom on a Germanic ridge from the time around the 5th century. Later it appears in the time of Great Moravia and more in the folk culture of recent centuries. The symbol is sometimes displayed with rays. In this case, it's a solar symbol. However, it could also be a symbol of the circle of the year or a symbol of fertility (blossom). In our creation, it's a symbol of the Sun, the annual cycle, fertility, and vegetation.

 

 

Circular symbols

 

Whirl motif

 

On houses and folk woodcarving in Russia, on houses in Germany, but also elsewhere in Europe and sometimes even in the Czech Republic, you can sometimes see solar symbols in the form of swirling multi-armed ornaments. These symbols also appear on pre-Viking era painting stones on the island of Gotland, where they are called “Wirbelrad”. However, similar motifs can be found already in the Bronze Age and much later also on folk embroidery and Easter eggs.

 

 

Wheels with rays

 

Wheels of six or eight spokes appeared already in the Bronze Age. Mostly it's about solar symbolism, but perhaps these signs could be assigned to the circle of the year. In the case of the eight-shouldered symbol, it could be a representation of eight holidays of the year. For the Celts, these wheels are sometimes called the Taranis Wheel, so it is somehow associated with the Celtic God of Thunder. These signs can sometimes be found on the bottoms of Slavic receptacles from the early Middle Ages and on folk embroidery. In the country houses, it's probably a solar significance.

 

 

Germanic circular characters

 

Around the 6th and 7th centuries, bronze symbols were popular to Germanic girls and women. They were used to be found in the waist area. They could probably have been a part of their handbag or were secured to their belt.

 

 

Runes

 

In our work, we sometimes use runes. In our case, it's almost always so-called Elder Futhark. We use the runes either individually if we think that their meaning is appropriate (e.g., Algiz), for short inscriptions, or writing (carving, engraving) the whole Futhark.

 

 

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