Prehistoric Light in the Air

Author(s):  
Emilia Pásztor

Depending on the geographical position of the observer, several atmospheric phenomena can be seen quite often in the sky. The visibility of the sun and the moon, and the phenomena generated by their light, might also have attracted the attention of peoples in Bronze Age Europe, as many artefacts decorated with celestial symbols (luxury items in particular) attest. I posit that the depiction of different atmospheric phenomena can be found among the abstract symbols that flooded most of Europe, especially the Scandinavian and Carpathian regions, in the second half of the Bronze Age (from c.1600 bce onwards). I further argue that various symbols generally considered as solar differ from each other, as they either represent the sun with various accompanying atmospheric phenomena or it is likely that some of them are actually lunar rather than solar symbols.

Author(s):  
Татьяна Юрьевна Сем

Статья посвящена мифологическому образу космического оленя в традиционной культуре тунгусо-маньчжуров. В работе рассматриваются материалы фольклора, шаманства, промысловых и календарных ритуалов, а также искусства. Впервые систематизированы материалы по всем тунгусо-маньчжурским народам. Образ космического оленя в фольклоре эвенов имеет наиболее близкие аналогии с амурскими народами, которые представляют его с рогами до небес. Он сохранился в сказочном фольклоре с мифологическими и эпическими элементами. В эвенском мифе образ оленя имеет космические масштабы: из тела его происходит земля и всё живущее на ней. У народов Амура образ оленя нашел отражение в космогенезе, отделении неба от земли. Своеобразие сюжета космической охоты характеризует общесибирскую мифологию, относящуюся к ранней истории. В ней наиболее ярко проявляется мотив смены старого и нового солнца, хода времени, смены времен года, календарь тунгусо-маньчжуров. В результате анализа автор пришел к выводу, что олень в тунгусо-маньчжурской традиции моделирует пространство и время Вселенной, характеризует образ солнца и хода времени. Космический олень является архетипичным символом культуры тунгусо-маньчжуров, сохранившим свое значение до настоящего времени в художественной культуре This article is devoted to the mythological image of cosmic deer in traditional Tungus-Manchu culture. It examines materials of folklore, shamanism, trade and calendar rituals as well as art and for the first time systematizes materials from all of the Tungus-Manchu peoples. The image of cosmic deer in the folklore of the Evens has its closest analogy in that of the Amur peoples, reflected in the image of a deer with horns reaching up to the sky. This image is preserved in fairytales with mythological and epic elements. In the Even myth, the image of a deer is on a cosmic scale, as the cosmos issues from its body. Among the Amur peoples, the image of a deer is also related to cosmogenesis, to the separation of the earth from the sky. The plot of a cosmic hunt is reflected in pan-Siberian mythology, dating back to the Bronze Age. It clearly illustrates the motif of the change of the old and new sun, the passage of time, the change of seasons, the Tungus-Manchu calendar. The author comes to the conclusion that deer in the Tungus-Manchu tradition, in depicting the image of the sun and the passage of time, model the space and time of the Universe. The cosmic deer is an archetypal symbol of Tungus-Manchu culture, which has retained its significance in artistic culture to the present day.


Antiquity ◽  
2007 ◽  
Vol 81 (312) ◽  
pp. 267-278 ◽  
Author(s):  
Emília Pásztor ◽  
Curt Roslund
Keyword(s):  
The Sun ◽  

The Nebra disc is one of the most sensational European discoveries of the decade. It appears to carry symbols of the sun, moon and stars wrought in gold on a flat bronze disc just over a foot across (320mm). It is not only very strange, but, famously, appears to be winking, initially raising the suspicion that it may be a hoax. Scholars have, however, claimed it firmly for the Bronze Age, and the debate now moves to the matter of its meaning. Here the authors offer a subtle interpretation that sees it as the shamanistic device of a local warrior society.


2010 ◽  
Vol 76 ◽  
pp. 1-29
Author(s):  
John Coles

The rock carvings at Knarrbyn in Dalsland, Sweden, lie high on a rocky ridge and consist almost entirely of multiple circles in various groups. In both location and imagery the panels at Knarrbyn provide a contrast with the varied figurative images on a majority of large rock carving sites of the Bronze Age in southern Scandinavia, which are mostly set low and near the contemporary seas. The paper aims to explore both shape and place of the Knarrbyn discs, with new recordings and landscape assessment. In contrast to the general opinion that Bronze Age carvings of circles had some close relationship to concepts of the sun, the Knarrbyn discs, by their unusual internal shaping and their position here on the high rocks, offer an alternative concept, that these particular carvings had close physical and ideological relationships with Bronze Age burial cairns in this isolated part of Dalsland. These and other late prehistoric monuments are mapped in the paper and include several previously unrecorded sites on the Knarrbyn ridge. The precise landscape location of the carving sites suggests they were part of a sacred passage in the Bronze Age, leading southwards to the major cemetery and rock carving sites at Tisselskog; such a passage may have foreshadowed and influenced the emergence and orientation of thePilgrimsledenthat traversed the same landscape some 2000 years later.


2021 ◽  
Vol 18 (1) ◽  
pp. 79-103
Author(s):  
Richard Bradley ◽  
Peter Skoglund ◽  
Joakim Wehlin

The paper compares the Bronze Age ship settings of Gotland with the vessels portrayed in rock carvings on the Scandinavian mainland. It also makes comparisons with the drawings of vessels on decorated metalwork of the same period. It considers their interpretation in relation to two approaches taken to the depictions of ships in other media. One concerns the use of boats to transport the sun, while the other emphasises the close relationship between seagoing vessels and the dead. A third possibility concerns the distinctive organisation of prehistoric communities on Gotland. It seems possible that the largest of the ship settings were equivalent to the Bronze Age cult houses found on the mainland and that they may even have represented the island itself.


Author(s):  
Robert Hannah

While the moon naturally featured in Mediterranean cultures from time immemorial, principally noted in the earliest literature as a marker of time, time-dependent constructs such as the calendar, and time-related activities, awareness and recognition of the five visible planets came relatively late to the Greeks and thence to the Romans. The moon underlies the local calendars of the Greeks, with documentary and literary evidence from the Late Bronze Age through the Imperial Roman period, and there are signs that the earliest Roman calendar also paid homage to the moon in its divisions of the month. However, although Homer in the 8th century BCE knows of a Morning and an Evening Star, he shows no indication of realizing that these are one and the same, the planet Venus. That particular identification may have come in the 6th century BCE, and it appears to have been not until the 4th century BCE that the Greeks recognized the other four planets visible to the naked eye—Saturn, Jupiter, Mars, and Mercury. This awareness probably came via contact with Babylonian astronomy and astrology, where identification and observations of the planets had figured from the 2nd millennium BCE and served as a basis for astrological prognostications. But it is time, not astrology, that lies at the heart of Greek and Roman concerns with the moon and the planets. Indeed, the need to tell time accurately has been regarded as the fundamental motivation of Greek astronomy. A major cultural issue that long engaged the Greeks was how to synchronize the incommensurate cycles of the moon and the sun for calendrical purposes. Given the apparent irregularities of their cycles, the planets might seem to offer no obvious help with regard to time measurement. Nonetheless they were included by Plato in the 4th century BCE in his cosmology, along with the sun and moon, as heavenly bodies created specifically to compute time. Astrology then provided a useful framework in which the sun, moon, planets, and stars all combined to enable the interpretation and forecasting of life events. It became necessary for the Greeks, and their successors the Romans, to be able to calculate as accurately as possible the positions of the heavenly bodies in order to determine readings of the past, present, and future. Greek astronomy had always had a speculative aspect, as philosophers strove to make sense of the visible cosmos. A deep-seated assumption held by Greek astronomers, that the heavenly bodies moved in uniform, circular orbits, lead to a desire over the centuries to account for or explain away the observed irregularities of planetary motions with their stations and retrogradations. This intention “to save the phenomena,”— that is, to preserve the fundamental circularity—was said to have originated with Plato. While arithmetical schemes had sufficed in Babylonia for such calculation, it was a Greek innovation to devise increasingly complex geometric theories of circular motions (eccentrics and epicycles) in an effort to understand how the sun, moon, and planets moved, so as to place them more precisely in time and space.


2006 ◽  
Vol 16 (2) ◽  
pp. 191-207 ◽  
Author(s):  
Lionel Sims

Recent archaeological research now views the northwest European Neolithic and Early Bronze Age as a period of separation from a resilient complex of traditions of Mesolithic and even Palaeolithic origin. Extending this insight to recent findings in archaeoastronomy, this article treats the sarsen monument at Stonehenge as one among a number of monuments with lunar–solar alignments which privileged night over day, winter over summer, dark moon over full. The aim of the monument builders was to juxtapose, replicate and reverse certain key horizon properties of the sun and the moon, apparently with the intention of investing the sun with the moon's former religious significance. This model is consistent with both current archaeological interpretations of burial practices associated with the monument, and with recent anthropological modelling of hunter-gatherer cultural origins.


1900 ◽  
Vol 6 ◽  
pp. 117-124
Author(s):  
F. B. Welch

The influence of the Aegean civilisation on South Palestine can hardly be said to be appreciably felt before the latter half of the Bronze Age. At this period the Mycenaean civilisation, though already decadent, was still flourishing very vigorously in the East Mediterranean, especially in places like Rhodes and Cyprus, the latter of which chiefly concerns us here. In the case of Cyprus this is natural, since, owing to its geographical position, the island served as an intermediary between East and West, and was peopled, partly at least, by representatives of the Mycenaean civilisation—though, of course, this says nothing as to the racial affinities of the area in question—and here seemingly this civilisation lasted on later than in the actual Aegean area.


2012 ◽  
Vol 12 (2) ◽  
pp. 237-251 ◽  
Author(s):  
Peter James ◽  
Marinus Anthony van der Sluijs

Abstract It is proposed that the story of the Hurrian deity ‘Silver’, as portrayed in the Late Bronze Age Song of Silver, is a plausible precursor to the classical myth of Phaethon. Shared motifs include the teasing of the young hero, the revelation by his mother of his father’s divine identity, a temporary assumption of power in heaven, a clash with the god of thunder, a disastrous episode involving the Sun and the Moon, and an etymology meaning ‘radiance’. As the Phaethon myth also seems to contain Semitic elements, it is argued that the source of the classical story was the region of northern Phoenicia to Cilicia, or Cyprus.


Author(s):  
Chris Green ◽  
Chris Gosden

We start with history of past work on field systems, as well as an outline of different fields, starting with the so-called Celtic fields to the medieval open field systems. We undertake a computer-based analysis of the layout and orientation of fields from the Bronze Age to the end of the Roman period, showing that there are persistent orientations, which probably had to do with the rising and setting sun, which lasted millennia. The landscape was used for pragmatic reasons, primarily the growing of food, but was also laid out following long-lasting cosmological principles probably linked to the movement of the sun and perhaps other bodies in the night sky. The biggest change in the layout of the landscape occurred in the early medieval period, when strip fields had quite different orientations from fields of earlier periods. At important element of this chapter is the presentation of a methodology which can be used on digital versions of other field systems in Britain or elsewhere.


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