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Roman Officer Ancient Miniature Art |
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ANCIENT ARMORER'S TRAINING DEVICEThis is a 1st to 4th C. AD Armorer's Training Device. It is 6.1 cm in length. It is made of bronze, silver / lead wash, niello, and sand with resin, it is also weighted with lead. It is made to look as a pendant. The device is weighted so that when it's beard is tapped it will wobble almost to the point of vibration for several seconds and then come to an abrupt stop, it is an artist's/craftsman's (an armorer smith is both) visual training device for focusing on miniature detail. As a pendant it shows a face with a long pointed beard and a tooth that has large round bear ears. If it is viewed from the side the beard's curve will make the tooth's shape appear as a fang. Upside down it will appear as another face with a wide triangular beard, The pointed beard will appear as a flaming spear head. Both faces look somewhat Asiatic. There is miniature work in the ears and on the top loop, therefore the smith was schooled in this technique. On the back there are various scenes, a few are highlighted in niello. This tool was used by a specific type of iron weapons smith, he was also a warrior. The tooth symbolizes that he was of a pedigree that claimed to be descended from the first iron metal smiths that worked in meteorite iron. The slang used to identify this type of armorer would have been: Iron tooth, Black tooth, Blue tooth, Biter, or Bite. The fang shows that he was, or was capable of being a warrior, slang names would have been similar as the tooth slang except fang would replace the tooth. The sand that is seen symbolizes fire. The back of the piece shows the power of this smith, it shows a mountain forge and various figures. On the left there is a meteor / meteorite falling from a triangular shape to a forge on the bottom, some of this is highlighted in niello. There are various forms of swords or sword hilts in different areas, any cruciform swords seen show either a knowledge of or a connection to peoples of the Eastern Steppes and, or the ancient Chinese. It is likely that this armorer was either an Alan, or Sarmatian, or associated with those ancient people. Near the bottom right there is a symbol that is highlighted in niello. This symbol shows a mounted warrior in eastern armor holding up a sword or sword like weapon. He is on either a two or three headed horse, or this is a group of warriors. It is distinct and more three dimensional than the rest of the work, in my opinion this is the personal mark of the metal smith. In summary this piece belonged to a warrior shaman type armorer that could be seen in modern terms as a technician / craftsman / artist, mystic, and physical combatant. There is little doubt that this was one of the most feared individuals in the ancient barbarian world, it is also very possible that he was a weapons smith of a legionary auxiliary unit. Copyright 2007 David Xavier Kenney |
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PREHISTORIC MINIATURE ARTI have been asked by several esteemed individuals in science as to how I came about this branch of study, and would like to extend a special thanks to Jim for his comments. Essentially my answer is that I started this in order to further verify the authenticity of certain Roman and Migration Period artifacts (particularly those of the Balkans). During the course of examining these artifacts I discovered that most ancient metal smiths used miniature art regularly. I do not know how much this was known or understood by their clients, etc. This led to noticing that there was similar miniature art on Neolithic stone artifacts (particularly of Northern European and ancient Anatolian cultures). Then to the 40,000 to 30,000 year old Upper Paleolithic stones from the Aurignacian Culture of Germany and France (who evidently had access to some form of magnification). These stones (most are not tools, but purely art recordings) and others like them are an awe inspiring discovery, as they are a type of prehistoric European library. From there I began to study Lower Paleolithic stones and rock tools (plus one rock art tablet) from the 800,000 (others claim 600,000) to 250,000 year old Heidelbergensis homo erectus ("Heidelberg Man") of Germany and France, some are dated at 600,000 years old and others are dated at 800,000 to 400,000 years old. These are truly the most astounding discovery, as these stones and rocks and others like them give clues as to what the first Europeans actually looked like: how they lived and what they believed in; they are the most ancient of prehistoric libraries to date. The dating with these prehistoric artifacts was done by others, I have no expertise in this area. Next I found similar art (in the style of the Roman period) on many medieval artifacts of Northern and Eastern European peoples. I then found similar art on certain jewelry items and gilded bronze statuary pieces of the 18th to 19th C. At some point in the late 19th C. this technique appears to have disappeared, although in certain circumstances it may have continued up until 1918. Posted On: 16 March 08. Dave Kenney The following artifacts show prehistoric miniature art. Over the past eight years certain individuals in Italy have been pioneers in an attempt to gain recognition that man created sophisticated art in the Lower Paleolithic (2 million to 120,000 years ago), Middle Paleolithic (300,00 to 30,000 years ago), and Upper Paleolithic (40,000 years to 10,000 years ago) ages. Their work shows that the earliest representational art form many have been bi-faced sculptures that probably had a religious significance. These examples are rather weathered but clearly show what these pioneers describe. The following miniature art is of a prehistoric era and is nothing short of amazing. The most amazing is the 600,000 year old miniature art on several artifacts that show that pre-historic man in Europe was much more advanced than ever thought previously. These primitive people appear to have lived in tribes, built huts, had boats, concocted special beverages, smoked, and had a complex religious belief system. It also hints that the current theories of a linear evolution in Europe is not necessarily so. It appears that there were several species of man in Europe at the same time, which included: a type of ape man; a type of man who was closer to what modern humans appear like today; and a perhaps a mix of the two. There may have been even more species. There is also a legend of a meteor event that is given credit for the dawn of a "type of modern man." This meteor event appears to be associated with a bear dragon combination creature. Other prominent totems are the cave lion man and the horse. The mammoth was held in special reverence as was the European bison. The meaning of the art on these artifacts appears to show that many of the legends and myths that were written by the "higher" cultures of the ancient Middle East and the Mediterranean may have been of Western and Central European origin and may be as old or older than 600,000 BC. The art also shows that these early beings had rope. A leap in progress for prehistoric man that is associated with various types of stone tool making may have in fact been have due more to the invention of rope from animal hair (most likely horse hair) or plant fibers. A great leap appears to have been the invention of the lariat (and the lasso technique); this was probably when man became secure enough to begin developing higher social and artistic endeavors. This is seen on the front of the "Paleo Rodeo Cowboy Statue" with this collection, Remington would have been proud. The twisting or braiding of two strands to make rope may be in part what the first bi-facial figures truly represent. This appears to have had a religious significance and an association with barbering and healing (therefore the twisted motifs used in the symbol of the barber shop as well as medicine), it may also have been that a barber / healer was a shaman who was the maker of a tribal leader (a type of king maker). These first cowboys may have been the first great prehistoric artists, and they appear to have been well groomed too (we may now know the real reason why the barber is so important in some Westerns). With rope prehistoric men could take down the largest of land creatures, the mammoth, and even the fastest of creatures such as the horse could not escape. In essence "primitive" man had the power to capture, kill, or even harness; he had the means to an unlimited supply of meat on demand. The elite symbolic significance of the rope or knot is seen in symbolism throughout history with the "Hercules knot" or the "Gordian knot" being the most well known. The knot, tassel, or lanyard is still used symbolically in various religious traditions and with various military insignia or decorations, most notably the officer's sword knot or tassel. At some time this must have also applied to making nets such as fishing nets. Art on prehistoric Nordic artifacts shows that at some time 7,000 years ago great whales such as the sperm whale were viewed as a type of sea mammoth, and that these sea mammoths were in fact hunted. The twisted shape of the narwhal horn at this time appears to have been associated with the rope and its related religious significance, this can be seen with Pictures 80 and 81 with the "Nordic Royal Stone" that is with this collection. Copyright 2008 David Xavier Kenney Revised Mar 2008 |
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PALEO "ART MASTER'S STONE"The information with this artifact comes with a statement: Of all the regions of the world the artist and art are held in the highest esteem in Western, Central and Southern Europe, although historically at times this has been just as so in Northern and Eastern Europe. After you view this artifact you may see why this is true. I have the background, experience, and travel to make such a statement. 31 Dec. 2007 David Xavier Kenney Art Seen On This Stone Is Made To Change With Movement. It Is A Type Of Prehistoric Manual Animation. This is a Homo Erectus Heidelbergensis (Heidelberg Man) Quartzite Artifact from the Lower Paleolithic Period; it is 6.9 cm in length. Careful examination shows that it is a knife, but the tip may have been used for rope making or as an applicator for face paint, or both of these. It is from a well known old German collection and originates from a famed site in Battenberg (Palatinate / Germany). The site is scientifically dated at 600,000 years old. The artifact has carvings and appears to include among other images, a portrait of a man who is possibly wearing a headdress. It is painted with red, blue, black, yellow, and white paint from minerals. Some of the painting is layered; this technique is not seen again until the Late Roman Period; it then disappears, and then reappears in Late Medieval Times. The art shows many figures and themes, but most importantly it is a first view at the first and only known Paleolithic portrait. In effect, one could say based on what can be seen on this artifact, "Meet Mr. Heidelberg, the First Art Master." The man's portrait can be seen in Pictures 11 and 12. Pictures 3 and 4 show a cave lion man and a horned figure in profile; the cave lion man may be the artist as a shaman. You may view this Art Master working in his studio (or on "public art") in Pictures 41 through 46. The slightly slanted area that was used to apply the paint has carvings. This area shows facing a figures, at another angle is a figure holding a cup. Overall the image is in the shape of an evergreen tree with a animal dragonesque head on it's base. When turned sideways, this area shows a fish; inside the fish there are figures. Above this is a thin adjunct panel that when placed upside down shows a bear dragon man or bison man and a man, both are drinking from cups. The spruce tree information hinted at in this artifact may be scant evidence for a highly speculative theory that I have on the possible origin of blonde hair*. The Stone Age animation on this artifact is scheduled to be reproduced via pictures and computer, the results to be announced on this website. *My speculative musings on the origin of blonde hair are as follows. That blonde (yellow) hair on humans did not occur as same as yellowish fur on animals. Among ancient animals the coloring may have evolved solely due to camouflage, but with humans it may have been an accidental process. That this may have occurred because a group of an unspecified species of the Lower Paleolithic who worshipped the bear and the dragon had for tens or hundreds of thousands of years been regularly drinking a concoction made from needles and/or cones of a type of spruce tree; perhaps this was something like a spruce "beer." That this group also connected the drinking of the spruce concoction and their hair color to a celestial event that had to do with a meteor / meteorite. The evidence for this is very scant and has no scientific basis, instead it can only be theorized due to ancient art depictions of a bear, a dragon, a cup or a drinking horn, an evergreen tree, and a meteor / meteorite event which feature blondes. On other artifacts in this collection aspects of this can be seen, specifically with Pictures 38 and 39 of the "Resurrection Stone" Back, and the "Nordic Arthor (Arthur) Stone". Aspects of this theme can be seen on ancient Thraco Dacian, Germanic, and Finnic art up until the end of the Migration Period and then after that only with art that has to do with legends and children's stories. Concerning later prehistoric drinking vessels: On Side 3 of the "Nordic Royal Stone" that is with this collection there is near the area that is shown with Picture 87 an art depiction that suggests that the ancient Nordics of 4000 BC to 2,500 BC may have been made two beverages from the birch tree and an evergreen tree, this would have occurred sometime between February and March. It may have been a type of birch beer and spruce beer. Copyright 2007 David Xavier Kenney Revised Jan 2008 |
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PALEO "MASTER CARVER'S KNIFE"This is a Homo Erectus Heidelbergensis (Heidelberg Man) Quartzite Knife from the Lower Paleolithic Period; it is 6.7 cm in length. It is from a well known old German collection and originates from a famed site in Battenberg (Palatinate / Germany). The site is scientifically dated at 600,000 years old. It has carvings and a small amount of paint from minerals mixed with resin. The first pictures show a cave bear's head or a combination cave bear cat head with carvings. The carvings have a couple of figures and a serpentine creature or creatures (much like the later Celtic art). Pictures 8 thru 12 show a large beaver with two human heads for teeth. The bear and beaver theme with prehistoric and ancient art can be seen with the "Nordic Beaver / Bear Knife" of 6,900 to 4,400 BC with this collection and the later "Anglo Saxon (with Briton influence) Bronze Carving Knife Handle" with the King Arthur Banner Collection" on kingarthurbanner.com. These human figures may be two women or a man and a woman, they are holding a small child with a roundish face. In turn the small child is the hair or hat of a man that is under these figures. The man is presenting a smaller long haired standing figure with a staff or a standard with a disc finial. Pictures 13 and 14 show figures and faces, these may represent a group or a tribe. Pictures 15 thru 19 show two roe deer or wild goats in profile facing a man in profile. Pictures 20 and 21 show figures and faces. Picture 22 may show a wooly mammoth head. Pictures 23 thru 25 shows a Janus face (bi-face), one face has features that look like a modern man, the other face has features of an ape man. This may mean that Heidelberg knew that he was of two species, or that he understood a concept of scientific evolution? Picture 26 shows a bear or bison head, on the top there is an animal Janus head, these appear to be of a cave lion and cave lioness. There are carvings on this shown in the detail with Pictures 27 thru 29. Pictures 30 and 31 may show a horse's or a wild sheep's head. With the carvings there is a crouched man in profile, he is holding a rope, it is as if harnessing or riding, or both of these. Pictures 32 thru 34 show a long snouted bear's head with carvings. Pictures 35 thru 64 are a repeat of the pictures of the back of the knife, but were taken with less natural light. These show the detail with the small painted area and other contrast. Pictures 35 thru 39 show the area that is painted as a blonde woman. She may be a goddess of rope; in essence, a goddess that binds; but she also may be a horse goddess. and or the mount of a storm god. This will be explained in the information with the next group of pictures. As in Pictures 23 thru 25, the knife shows a Janus face. The blonde woman is angled towards the left; this side shows a modern man's profile. In Picture 36 the blonde woman appears to have a line or rope over the modern man's mouth. This hints that women were the first to learn to speak, or that it was thought that women had the ability to control others' speech. In another position, Pictures 40 thru 53 show a bearded figure that is above the painted area. In Picture 41 it begins to show the painted area as a horse's head. In Picture 42 it begins to show that there is a hut with a triangular roof under the horse's head; there are figures in front of this scene. It is as if the bearded figure is riding a horse above the hut that has a congregation gathered in front of it. In Picture 43 it shows that the there are flames and or smoke emitting from the horse's nostril (lightning). There are four or five balls on top of the roof (thunder). This is similar to the horse / bull seen with the flag pennant on the "Euro Stone" that is in this collection. All this may suggest that the first huts were seen as protection against the elements, but it may also suggest that there was a special hut that was seen as protection against thunder and lightning, and was associated with a horse riding storm god. This may be a first look at what the first temples were like. Interestingly enough the region where this artifact came from is near where the Germanic tribes worshipped their thunder god at Thor or Donar's Oak; this tree was felled by the Christian missionary Winfrid (St. Boniface) in 723 AD. The painted area in another position with Pictures 54 thru 59 may show a dark haired woman in a horizontal position; she may be a fertility goddess. In another position Pictures 60 thru 64 may show figures in a horizontal position; this once again may have to do with fertility. It should be noted that up until the Middle Ages, certain Nordic tribes still thought that thunder represented a fertility rite, and that roundish stone age crushing stones were thought to be the result of thunder bolts; they were called "thunder stones." Copyright 2008 David Xavier Kenney Revised Jan, Feb 2008 |
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PALEO "BLOOD STONE" 2007 FRONTThe photos of this Picture Group and the following other three were taken in 2007, the information from that time period has been archived. Updated pictures and information of this artifact is linked on the Home Page as: THE PALEO "BLOOD STONE" " WITH THE BELIEFS OF A TYPE OF HEIDELBERGENSIS THAT WERE IN FACT SAPIENS (MODERNS) OVER A HALF MILLION YEARS AGO. |
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PALEO "BLOOD STONE" 2007 BACK |
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PALEO "BLOOD STONE" 2007 SIDE & TOP |
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PALEO "BLOOD STONE" 2007 Additional Pictures |
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PALEO "EURO ROCK"This photots of this Picture Group were taken in 2007, the information from that time period has been archived. Updated pictures and information of this artifact is linked on the Home Page as: THE PALEO "EURO ROCK" " WITH THE BELIEFS OF A TYPE OF HEIDELBERGENSIS THAT WERE IN FACT SAPIENS (MODERNS) OVER A HALF MILLION YEARS AGO. |
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PALEO "ARTHUR STATUE"This is a c. 800,000 to 400,000 BC Quartzite Statue that is free standing in four different positions, it is also a cutting tool much like a billhook type of sickle. It is 12.3 cm in the length. It most likely was made by a Heidelbergensis. It originates from a German collection and was found south of Toulouse, France along the high gravel terraces of the Garonne River. The art on the front of the statue as seen with the next sement of this posting (PALEO "ARTHUR STATUE" MYTH AND LEGEND) appears to have themes that may be the absolute earliest origins of stories that would eventualy become the influence for the Arthurian legends, the pictures were taken with less daylight. With this segment the pictures were taken during increased daylight, they show that there are faint carvings on much of the statue, these carvings depict a horse goddess that may be similar to the later Gallo Roman horse goddess Epona, this goddess is thought by some to be ancient, but is only known during the Roman Imperial Era.* When put on it's side it shows a sculpted large horse's head, when turned upside down it shows another horses's head. The front has carvings and a painting. This painting had been made using mineral/resin paint and charcoal/resin paint. It shows a line figure with a club and a lariat throwing a lasso, there is a white steak going through the figure (most likely symbolizing lightning). Turned upside down the figure transforms into a sitting line figure on and in a horse (the horse with this is faintly carved), the white streak is over the head and under a bird head, it as if the bird's head is a shaman's totem headdress being cut off. On the back it has carvings and a small amount of paint. Overall the depictions appear to be of a goddess of oats (carved) with an oat god (painted). There is a mountain or mountain range, serpents, and a grave or a bin. It would appear that this Heidelbergensis may have had an understanding of agriculture. Initial speculation is that this prehistoric man may have believed that the horse had taught man agriculture, perhaps specifically with the planting and harvesting of oats. When the back of the artifact is seen from another position the images transform as a meteor / meteorite event with a plant or flower. This appears to be the fennel plant, the shape of the meteor / meteorite itself is similar to a fennel bulb. The yellow disc face on top of the stalk (above the meteor streak) may represent a flower of that plant, but it may also represent the sun. If so then it suggests solar worship. This symbolism may be the origin of the Greek story of Prometheus and the bringing of fire in a fennel stalk. More information to soon be provided. *For reference with one image of this goddess (there are several different types) go to the kingarthurbanner.com artifact collection and access the "Miniature Statue Bust Of Vercingetorix, Artifact Picture 2 "Gallo Roman Bronze Artifact of the Goddess Epona" For speculation with Epona as an influence with the iconography of a later artifact go to the "Viking Horse Pendant" that is also with that collection. Copyright 2008 David Xavier Kenney Revised Jan 2008 |
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PALEO "ARTHUR STATUE" MYTH AND LEGENDThe pictures for this segment of this posting were taken with less daylight. They show that along with the carvings and paint, another technique had been used. The technique involved taking charcoal and applying it in different thicknesses and shades. Due to the techniques used, a central carving of an eye becomes a prominent feature. Various themes contained in this object allude to a very ancient prehistoric Arthurian type story. The art on this stone may represent what is absolutely the most ancient origin for the inspiration for the Medieval Arthurian stories. Part of this involved what appears to be a sacred hazel tree of a huntress goddess who is associated with the celestial and animals; a red bison; and a red spear that is associated with a vessel that pours. This vessel may have had the same meaning as a type of grail cup. There is a young man or boy who is associated with the bear (in my opinion similar to an Arthur figure); then a figure with a pointed beard that is a master of animals (similar to a Druidic Merlin figure). It is well known to folklorists that the hazel tree was most sacred to the Gauls and the Celts, but it was also sacred to the Germanic tribes. In my opinion the theme portrayed by the art on this stone is seen nowhere more clearly than in the ancient Irish and Welsh stories, which are thought to have derived from the Gauls. If this is of interest then it is suggested that you may also want to view the information and pictures about the Euro Stone "Aurignacian Grail and Sword In The Stone," also found on this website. These suggest that there may have been at least three great belief transitions in European history. The first occurring C. 800,000 to 400,000 years ago; the second occurring C. 30,000 years ago; and the last occurring during the 4th to 5th C. AD. More information will be posted soon. The art on Picture 1 shows a figure with a lightly carved disc face. Superimposed at an angle on this face is a large eye that is in a triangle; this image was created with paint. Picture 2 shows a woman's face (huntress goddess) with a large eye with a staff (or club); over her and on facing left there is a large bear in profile, that is biting the head of a staff. Picture 3 shows the same, but with a standing bison (in red paint) with an ear that is a spear head. There is a white and yellow stream emitting from the bison's mouth. On the back of the bison is a faint standing figure that may be a bee man holding a vessel, as if pouring a stream to the bison's mouth from behind. This should be milk and honey, the milk deriving from crushed hazelnuts; this drink must have been believed to have had ritualistic or health benefits or both. The woman's eye may represent a hazelnut; it may also represent the sun and / or the moon. Below this and connected to the bison is a fish with its mouth open. In front of this is a roundish object, which may be a hazelnut; if so then it may show that the ancient Irish story of Fionn Mac Cumhail (Finn Mac Cool) and the salmon of wisdom is at least a half million years old. It should be mentioned that there are also other Gaelic versions of this story, which is thought to have originated in Gaul. Picture 4 shows that the disc face is a woman's face, it also shows the large woman's face with the large eye and holding the staff. Pictures 5 and 6 show the head of the staff has a man's head. Picture 7 shows the detail of the large woman's eye. Picture 8 shows the detail of the bear and the staff head / man's face. Picture 9 shows the stone slightly turned, it has a large giant type figure facing to the left. Picture 10 shows the woman with the carved disc face as if there is a stream pouring from her mouth. Picture 11 shows the giant figure, the large carved woman's face, with what was a stream pouring from her mouth now representing a rider on a horse with a cap facing to the left. Pictures 12 thru 14 show the detail, which reveals the stream may represent a hazel tree's male catkins as a "sun runner." For a half million year old comparison with this theme check out the "Roman Greek Bronze Brooch" and the "Roman Greek Silvered Bronze Brooch" in the "Roman Amazon Collection" on this website. Pictures 16 and 17 show the giant figure. Pictures 18 thru 23 show the large triangular woman's face now as a wolf, fox, or cat face. Pictures 24 thru 29 show the stone on its side, with carved faces and figures that appear as if piloting a kayak type of boat. Pictures 30 thru 33 show a horse's head, ropes as if harnessing, the prow of a boat, and a horizontal pipe (smoking pipe). Pictures 34 and 35 show this theme viewed upside down; they feature a face or faces with the pipe upside down. Pictures 36 thru 39 on the bottom show a long hut, a bearded man, the pipe, and a nude female figure that when slightly moved will change into faces. Picture 39 also shows that this same area has a bearded man in front of a small bowl (most likely the bowl of a pipe) next to a face with a round fur lined hood. Pictures 41 thru 44 show that this is a scythe / bill hook tool. Pictures 45 and 46 show that the woman with the carved disc face when facing to the right may be a rider; the overall shape and carving with Picture 45 shows a woman's face in a tall hat in profile. Pictures 47 thru 49 show that at this angle there is a figure under the horse's head, this is near the edge to the right, it is a young man or boy (his head is the eye of the woman's face). Pictures 50 and 51 show that the young man or boy is wearing a triangular hood (suggesting a solar dawn connection?). The left side of the hood is shaped like a bear's head. Pictures 52 and 53 show a kneeling figure with a large head in a pointed hat and with a pointed beard. The figure is in a boat; behind him is a horse's head facing to the left. Pictures 54 through 62 show this figure in detail; they also show that his hat has a cave lion and lioness head on top. The horse and the cave lion and lioness show that he is a master of animals. The pointed beard is distinct; this figure may possibly have a C. half million year old tradition in many cultures, which may be seen with the "Ancient Armorer's Training Device" that is in this collection.
Copyright 2008 David Xavier Kenney Revised Feb 2008
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PALEO "ART MASTER'S ROCK"This is a c. 800,000 to 400,000 BC Quartzite Hand Axe. It is 13.3 cm in the length. It most likely was made by a Heidelbergensis. It originates from a German collection and was found south of Toulouse, France along the high gravel terraces of the Garonne River. It has carvings and paint from minerals including charcoal and chalk (or quick-lime) mixed with resin. The artifact is titled "The Art Master's Rock" due the technique using chalk or quicklime paint. This same technique can be seen "Battle Axe Culture Stone Axe Head" of 2,900 to 2,350 BC and the 11st to 12 the C. AD "Viking Whetstone Depicting Varangian Guardsmen" that are both with this collection. In sense this Heidelbergensis artifact is the first known example of painting using this technique, it is a type of pastel. There are figure holds on all four sides, they all give a comfortable carry, these finger hold areas are extremely well worn. This rock may have been a weapon or a status symbol, it may have been carried for generations. The art with the first few pictures shows the busts of two figures in profile facing a bear in profile that is in a wedge shape, but with a standing bear figure inside this. The figures are emitting lines from their mouths to the bear. There are dots in the bear that may represent a constellation. The next couple of pictures show figures in profile facing a type of pentagonal or hexagonal standard on a pole, overhead there is a serpent. Pictures 11 thru 16 show a bearded figure with a large head and a prominent mustache. Below this figure there are smaller standing figures with a horizontal but looped line around them, there is a taller standing figure or figures on each side. A figure or two near the center is holding diagonally a pole with a disc final, it is pointed downward. This may symbolize the surrender or capture of a group or tribe, or a type of ritual that was held in a circle. Pictures 17 thru 19 show the rock on it's side. it has a disc face in front and a wing on the side. This wing is connected to a bird that at different angles has an animal or human face, it is over the pentagonal type standard. Pictures 20 thru 22 is a side standing view of the rock. It shows a hooded figure holding what may be a child. Pictures 24 thru 27 show a large serpent facing a group of figures, one figure has it's arm outstretched as if protecting the others. Another view shows that the group is holding a smaller serpent. This may be be a type of shaman combat. Under the large serpent's head there is a serpent fight, or a reptile and serpent fight. On the back of the rock with Pictures 28 thru 30. Under the large face there is a disc with a bubble, it looks similar to a "flying saucer, each to their own with art interpretation but in my opinion it is a flying wolf's head, or possibly a Janus wolf's head, it also hints that it is a slipper. In this wolf flying wolf's head there are a couple of figures. This should symbolize a shaman's journey. Under this is leaping figure, and under the leaping figure there is a standing figure. There is a large face with a mustache to the side of these. Pictures 32 thru 35 show a large face with a figure coming from it's head reaching up at a nebula. Under and inn front of this head is a wolf or dog. Pictures 36 thru 38 show a large rodent or wolf head to the front of this is a woman in a tall headdress holding a staff. Pictures 39, 40, 42,43,44, and 45 show a hunter (painted) and a straight tusked elephant or wooly mammoth shown in relief with chalk or quick-lime. The lines seen with Pictures 39 and 40 hint at a spear head. The animal's jagged crest with Pictures 39, 40, and 41 hint at a reptile. Picture 41 also shows an inward facing bear head and a serpent head. More information to soon follow Copyright 2008 David Xavier Kenney |
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NORDIC CHRISTMAS STONEThis is a Stone Knife (with one side serrated and partially painted with a white mineral mixed with resin) from the Maglemose Culture and is 8,900 to 6,400 years old, it was found in Naera, Denmark and is from an old European collection. It is in the shape of a cave bear tooth and claw, this is specific and significant, according to research with artifacts this is symbolic of the water compass, hence it represents a navigator. The theme of the art shows that it is of the ancient Nordic Winter Blot (known only due to medieval writings), or something similar, due to speculations with art interpretations (stout bearded figures in pointed hats, reindeers, sleighs, ect.) it appears that it was very similar to the modern concept of Christmas, hence the title. More information and upgraded pictures to follow soon. Copyright 2007 David Xavier Kenney |
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NORDIC CHRISTMAS POLE STAR STONEThis is a Stone Scraper from the Maglemose Culture and is 8,900 to 6,400 years old, it was found in Naera, Denmark and is from an old European collection. The iconography shows a Shaman's hut with a smoke hole or a type of chimney, a symbolic journey to the Pole Star that has a hut with a polar bear, and most importantly a sled ride with children, a bearded man, and reindeer, hence the title. With a first look the Pole Star appears to be symbolized by a stout phallic figure on top of a polar bear hut, but interestingly enough the wedge entrance is actually a seal, this seal impression shows a toe (as a toe nail) and a couple of figures (seen in Picture 10), although hidden this should be the actual symbol of the Pole Star. The reason for this is that it should be connected to the Norse myth of "Aurvandil's Toe" (known from medieval writings). The "toe" part of this myth concerns the Norse god Thor on a journey carrying the hero or god Aurvandil in a basket, at some point Aurvandil's toe becomes frozen, so Thor breaks this off and throws it to the heavens to become a star. There are some that speculate that Aurvandil's star is the Pole Star, and I agree. I believe that the phallic figure seen on the stone may represent a type of Pole Star lodestone. Another representation of this can be seen on the of the Saxon Ring Of Arthur As The Scythian Navigator, Thunderer, and War god on the website www.kingarthurbanner.com. It is on the East Panel Pictures as the base of a knife and spearhead, the knife / spearhead shows a fire breathing polar bear on wavy spears (as ski's). Traditional beliefs of certain tribal peoples know the Pole Star as the world axis, in history this included the pre Christian Vikings who saw the pole star as a spike with a jeweled head. In fact the entrance of the polar bear hut (particular when viewed with the seal impression) could have been considered as a type of pre-historical of jewel. Copyright 2007 David Xavier Kenney |
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NORDIC CHRISTMAS POLE STAR AXE(Archived) |
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NORDIC ARTHOR (ARTHUR) STONEThis artifact represents the conclusion of several years of research with many thousands of artifacts. In mentioning this research, I would like to thank Dr. Antonio Trinchese for his assistance in providing information on ancient seafarers and the water compass, and his progressive intellect. This particular artifact is a stone knife that appears to have been designed and used to cut rope or leather strips. It is from the Maglemose Culture and is 8,900 to 6,400 years old. It was found in Norre, Denmark and is from an old European collection. This artifact combined with information from other artifacts may validate my theory that the influence for the King Arthur of the medieval writers may have originated from a tradition from Northern Europe. This theory was first introduced with information about the 5th Century Jute Great Square Headed Brooch (Found In Kent) in the King Arthur Banner Collection at www.KingArthurBanner.com. My speculation concerning the art of that brooch is that there may have been a Jute and/or Saxon god that was referred to by the Romano Britains as "Arthor (or Bear Thunderer"), Gildas refers to a "charioteer from the "receptacle of the bear" named "Cuneglasus", in my opinion this is a Gildas's slang for a war / thunder god that is associated with the bear*. The word Arthor being a theorized combination of Greco Latin (or Old Welsh, as in British Celtic) and some form of the Germanic. Thus it is, Art or Ar as a bear and Thor or Tor as reference to a thunder / storm god, or something similar. This may have been a legendary bear shaman made into a demi-god and a type of war/thunder god that would later during the Viking Age be known as the god Thor. If so then in my opinion he is connected to the Big Dipper and the Pole Star. Some of the depictions on the stone when moved create a type of manually controlled animation. Pictures 1 and 2 show a large grayish black combination creature made of a mammoth and a dog or wolf with the sky and clouds in the background. The creature's trunk is swooping up a small figure that also appears as a phallus. There is little doubt that the combination creature represents a storm as a storm god. Pictures 3 through 7 show the large figure changing into another combination creature, a wooly rhinoceros and a bird with a large arm that is lifting or throwing a small figure to the 1:00 or 2:00 o'clock position. Pictures 8 and 9 show a cat on a toe that also looks like the bottom of a shoe or boot. There are two figures inside the toe. Overhead is a blonde figure in a dragon or fish headdress. The toe seems to represent something similar to the Norse myth of "Aurvandil's Toe" (known from medieval writings). The "toe" part of this myth concerns the Norse god Thor who is on a journey carrying the hero or god Aurvandil in a basket. At some point Aurvandil's toe becomes frozen, so Thor breaks it off and throws it to the heavens to become a star. There are some who speculate that Aurvandil's star is the pole star, and I agree. From the depictions it appears that Aurvandil may have once been a lone human figure who was swept away by a storm god. Picture 10 shows the toe as a phallus. There is a spotted figure to the side; the cat has a tongue next to this. The spotted figure should represent a legendary strong man who represents a lodestone (a type of Hercules, the lodestone was known to some of the ancients as the Stone of Hercules). The cat's tongue may also be connected to this. Pictures 11 through 16 show more of the spotted figure, or figures. There is also a rectangle that has very small figures on it, which appears to be flying. Pictures 17 through 21 suggest the mystical, perhaps to do with the sky. The central whitish form in Pictures 18 and 19 may suggest a wooly mammoth. Pictures 22 and 23 show a larger figure with several smaller figures and in the distance a star. This may represent a legend or belief similar to the later Christian "star of Bethlehem." In fact, certain depictions on artifacts suggest that the ancient Nordics may have had a winter ritual to do with the pole star, and that this may have been on or near the winter solstice. Pictures 25 through 27 show a one eyed (or winking) long haired blonde boy's (or woman's?) face appearing or being held in front of an upright bear (a boy bear shaman). In front of this figure is a flute that is also a smoking pipe. The blonde boy's face and the pipe may represent the big dipper or little dipper, the boy's face being a cup of one of the dippers and the flute/pipe being the arm. There is a smoke ring to the right. Pictures 28 through 30 show the same, but with a nude female figure. There is a pointed object aimed at her breast, in front of the smoke ring. Picture 31 shows that the pointed object is the tip of a narwhal horn. According to the Nordic Royal Stone information that is included with this collection, a narwhal horn tip dagger was associated with the winter solstice and an unknown legend. This legend may have involved a "lady of the sea" and may have been similar to the Inuit legend about "how the narwhal got its horn."* This can be seen in Pictures 80 through 83 with the Royal Stone. The weapon seen in Picture 9 may also be a type of narwhal horn weapon. My speculation is that this is where the legends of a mystical weapon like Excalibur began. Picture 32 shows the narwhal horn tip is now gray and next to a line figure, the blonde figure is now wearing a garland. The narwhal horn tip with the line figure may be significant as the predominant art that is contained in the stone. It "may" represent magnetic north and true north. Picture 33 shows the narwhal horn tip is now metallic looking (as in iron, from a meteorite?). In Picture 34 the narwhal horn is now black (once again, as in iron, and from a meteorite?). Picture 35 shows a beaker in the shape of a nude woman's body. This reminds one of the beaker pottery that the later Funnel Beaker Culture (c. 3450 BC to 2950 BC) is known for. For those who theorize that the grail cup represents a woman's body, according to the depiction of this beaker, they may be right. Picture 36 shows a beaker top with coils, and figures massed on top. Pictures 37 through 39 show figures massed on top, but coming in a line formation towards a large type of cistern shape that formed the boy's face in another view (it is a somewhat rectangular shape; again, I speculate that this is the cup of one of the dippers). This is on the left buttock of the nude woman's body that is a beaker. The blonde figure is in front of a cistern. Pictures 40 and 41 show figures massed on top, but with a boy's face in a hood. Picture 42 through 44 show a figure holding the cistern with the narwhale horn tip in front. In my opinion this shows a type of water compass. Pictures 45 and 46 show the narwhal horn tip and smoke ring as a type of mushroom. *An Excerpt From An Edited Footnote With The 5th Century Jute Great Square Headed Brooch (Found In Kent): "Saint Gildas (Gildas Badonicus, 5th to 6th C. AD) in his "The Ruin Of Britain" (written in Latin) mentions the wickedness of a charioteer from the "receptacle of the bear" named "Cuneglasus." He goes on to say that Cuneglasus means "Red Butcher" in Latin. Yet this name is not Latin, it is Old Welsh. The name in Modern Welsh is Cynlas, coming from the root word "cwn" which means hound or wolf. If my theory is correct, Cuneglasus, a Romano British King of Powys, converted to a belief in the Jute Anglo Saxon god Thunar (who perhaps was a triad god). If so then this would explain Gildas?s outrage against him, although according to his sermons Gildas seems to have been outraged against everyone." * An Excerpt From The Information With The Nordic Royal Stone: "The Inuit have a story (with various versions) that tells of a woman that either falls in the sea or is pulled under by a Narwhal, her hair becomes a narwhal horn, and this explains why it is twisted. The narwhal may be the Mesolithic and original "sword in the stone", but as the "dagger in the stone", the narwhal's skin is typically speckled as are most rocks or stones, with its tusk seen as a harpoon; it may have been once been known as the "harpoon in the stone". Another theory is that any gray colored whale with an unsuccessful harpoon sticking in it could have been seen the same way. Any women or goddesses associated with this should be similar to an Inuit story. The narwhal uses its tusk in a ritual called tusking, this could have been seen initially as being similar to sparring harpoons or spears, and then later as lances or swords.The Inuit name for the narwhal is "he who points his tusk to the sky". This is because the narwhal when surfacing usually breaks the sea's surface with its tusk pointed up; this could be seen as similar to the medieval lady of the lake's arm and her hand surfacing with the sword. Thus the original "Lady of the Lake" may be the "Lady of the Sea" as the "Narwhal Woman," any capture of such a horn may have been viewed as a sign of a great leader." Copyright 2007 David Xavier Kenney |
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THE RHINE GOLD CAMEOAlthough This Artifact Was Purported To Have Been Found Somewhere Along The Danube in Bavaria, Recent Research With The Painted Art Depictions Suggests That The Painted River Theme Is Of An Upper Ancient Paleolithic River That Had A North / South Orientation. This Speculation Is Based On North / South Reindeer Migrations, It Will Also Give a Better Explanation With The Sea Creatures Seen. This Along With The Carved Cave Lion Man Peak Shows That The Overall Theme Is Of The Winter Solstice. IF YOU WOULD LIKE TO SEE A SCENE OF A C. 30,000 YEAR OLD RIVER RITUAL GO TO PICTURES 42 THRU 49. This artifact is from a dealer in Germany, and originates from an old German collection. Found somewhere along the Danube in Bavaria, this amazing 30,000 year old Aurignacian Scraper done in a cameo style shows various prehistoric animals and some extraordinary scenes. Without the fanfare or hype that usually accompanies astounding ancient discoveries, it can simply be said that this stone appears to give answers to questions that historians, anthropologists, and archeologists have had since there has been a study of the Stone Age. Apart from the fact that the cameo style of engraving was not thought to appear until 25,000 years later in Sumeria, there are some scenes it contains that can not be explained for such an early period in man's history; nevertheless they exist. The Cro-Magnons of the Aurignacian Culture are considered to be the first modern humans. They were the first to carve and paint figurative subjects on objects, and decorate themselves with bone and shell jewelry. The famed Cave Art of western Spain and southern France is of this culture. The artifact is 6.1 cm in length; the painted area is done in red and yellow ochres, and charcoal; there are many miniature carvings. The cameo portion shows two figures which are in a pointed hat, in profile. These should be primary figures. The figure in relief depicts a cave bear standing on his hind legs. The other figure should be of a river goddess or god, possibly representing the Upper Ancient Paleolithic Rhine, or a portion of the Rhine. The fact that bears fish may be the connection between the two figures. The dolphins seen in pictures 48 and 49 suggest that the mouth of the Rhine of the Upper Ancient Paleolihic Period may have once had river dolphins. The picture of the whale head in pictures 55 and 56 suggests that there may have been migratory whales in the Rhine. The reindeer doe boat (hide boat on a frame) seen in pictures 44 thru 47 shows no figures in it (it should be noted that reindeers are excellent swimmers). The reindeer buck seen in pictures 52 and 53 suggests that the buck is running in pursuit of the doe boat (being pushed or guided by a Bear Wolf), this boat type may have been purely ritual. The figure seen in pictures 48 through 50 may be on a long log type of fishing boat. The dugout boat seen in pictures 55 and 56 may have been for transport. Until now artifact evidence for boats of the stone age only goes back to 6,000 years ago; evidence of the oldest painted depiction of a boat is thought to date from 9,000 to 10,000 years old. However as stated, this stone dates to 30,000 years ago. The overall outline formed by the stone when viewed as a cameo resembles the shape of the western face of the Matterhorn in the Alps; the cave lion man and figures seen in picture 20 also show that this area was very probably based on an image of the western face of the Matterhorn, but with a view that is oriented slightly to the south east. As the shape of this mountain peak forms the back of the hat, it hints that the Swiss Italian Alps, or a place within view of these Alps, may be the place where the ancestors of the maker of this scraper originated*. Additional pictures of the artifact, depicting possible views of the Matterhorn from other vantage points, pictures of these will be posted soon. The peak of the cave lion man is juxtaposed by the edge of the river where the mermaid (or the mermaid's tail) is positioned. This area may be depicting the river Vispa which originates from Matterhorn glaciers, and eventually flows through the town of Zermatt. Thirty thousand years ago there may have been a river or stream that had been connected from the Vispa to the Rhine. There is another possibility, we know from the ancient Greeks that there was a common belief that certain rivers (if not all rivers) were connected via subterranean rivers; the Aurignacian Culture may have held the same belief. Another alternative is that this theme represents a mountain peak similar to the Matterhorn that is in Bavaria or somewhere else in Southern Germany that is near the Rhine river (or an unknown river) during the last Ice Age. It also suggests that the cave lion had been a primary totem of a band (or a tribe?); and that the roe stag and the dragon (or a cave lioness, or panther), along with human figures, had been their high totems. Additional speculations concerning this artifact will be published soon. * If so, then this may also give a clue to the very ancient origin of the shape of the Phrygian type hat that was so popular with much later Northern and Eastern peoples. All photography is done with natural daylight and no enhancements, as with all our miniature art photographs. Copyright 2007 David Xavier Kenney Revised: Oct and Nov. 07 |
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THE EURO STONEThis is a C. 30,000 year old Aurignacian Scraper from an old German collection; the object was found at Altmuhltal, in Central Bavaria. It is 6.2 cm in length. The paint with this art appears to have been created with Red and Yellow Minerals (ochres) possibly mixed with Resins, and a Black Mineral or Charcoal Pigment Resin. There are a few minute amounts of a silver which are strategically placed. How this silver was applied is a mystery but it may have been made from silver ore that had been ground to a powder and then mixed with ichthyocol (a fish glue usually made from sturgeon bladders). One area of the stone is made in the style of a Cameo. This appears to have been done by mixing sand and resins. According to certain Roman artifacts, this technique was still in use on bronze during Roman Times. There is one small area that shows a distinct yellow dye (see below; on a bee hive this should represent honey). I believe it is one of the main focuses of this piece. Typically the art on the stone is fossilized, and is now more or less a part of the stone. The iconography seen on this stone may validate that some of Europe's legends and myths are as ancient as its first modern ancestors (Cro-Magnons, in this instance of the Aurignacian Culture). It shows many firsts, but most distinctly, it shows the oldest known scene depicting warfare and conquest (through symbolism), although due to what has been discovered with that art on "The Euro Rock" (with this collection) this may soon change. The stone may include images that are a precursor to the Arthurian Sacred Banner and Cup (or Bowl); Hercules as a Lion Shaman / Warrior; and the Merovingian (Salian Franks) Sacred Bees. One scene shows a flag raising; another a totem being broken and knocked down; and another showing a totem head pole being taken down. If you would like to view these, go directly to Pictures 47 thru 55. Of particular interest are the Honey Bee and Stag Shamans that are seen in Pictures 55 thru 61*. The sail boats (that are not thought to have existed until the late 3rd Millennium BC, if that seems amazing then check out the boats and canoes on the c. 600,000 year old Resurrection Stone), monkey, and pottery kilns may possibly be of a Cro-Magnon band or group coming out of Africa. With that said, Europe may very well have had monkeys in prehistoric times. Of special interest is that there are suggestions that there may have been striped cave lions, horses and cave bears in Europe during Paleolithic Times. Pictures 8 through 10 show a sea or river invasion with a flag (of an animal's hide) raising a type of striped wild boar; it is taking place on a sea or river cliff. This is the earliest known image of a flag. The hide skin flag when placed upright shows that it has the form of a woman holding a bowl, a facing cave bear and cave lioness heads; on the flag tip there are two women in profile. The upper portion on the right of the flag shows a ship's sail / pennant flag in the shape of a horse / bull's head. The flag has a large lion man's face (best seen in Pictures 16 and 17). There is a type of bulb coming from the horse / bull's nostril, which has an equal armed cross (this may have once been the color red) with four white dots (this may represent lightning, a meteor, a pear, or both). The flag in the area of the horse's ear also has a bee head mushroom finial and a bull or bison flag stave. There can be little doubt that this is a type of royal flag; the horse and cave lion can be seen thousands of years later as a type of coat of arms on the Nordic Beaver / Cave Bear Knife (of the Maglemose Culture, Denmark) which is a part of this collection. After careful consideration it appears that this is a captured trophy flag. * This shows that a Honey Bee Shaman is the forward element of a brute force that is at the "tip of the spear head". This Shaman is under the protection of a Honey Bee goddess and is seen opposing a Stag (or Reindeer) Shaman by luring woman (with honey) off the Stag Shaman's totem. Both shamans are clean shaven which in ancient terms suggests that they are associated with the feminine, and both creatures' identities (honey bee and deer stag) are associated with fertility; but the Honey Bee goddess is feminine whereas the stag god is masculine. The Honey Bee Shaman is a type of Dionysus diplomat / public relations warrior. The message is clear with these opposing Paleolithic warrior shamans; for an easy victory win the women, and for a chance at successfully defending a settlement, do not lose the women. The Honey Bee Shaman is holding the Honey Bee goddess's missing antennae (this loops up to the Bee Herm, hence it is "in the face" of the Stag Shaman). The Stag (or Reindeer) Shaman can be seen without horns (defeated) near the bottom in Picture 31 and with his head is seen on the bottom of the totem in Picture 82. The same type of Bee Shaman's antennae fertility whip can be seen in Pictures 8 and 9 of the Nordic Christmas Pole Star Axe; Pictures 8 and 9 of the Nordic Hercules Stone, and Picture 11 of the Nordic Compass Fish Knife. In my opinion this shows that some of this Aurignacian Honey Bee worship continued many thousands of years later with the Nordics of the Mesolithic, and possibly continued into the Viking Era.
Copyright 2007 David Xavier Kenney Revised Dec 2007, Feb 2008 All photography is done with natural daylight and no enhancements, as with all our miniature art photographs. |
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THE EURO STONE "AURIGNACIAN GRAIL AND SWORD IN THE STONE"IF YOU WOULD LIKE TO VIEW IMAGES Of A C. 30,000 YEAR OLD BLACK MADONNA OVER A BLACK PEARL GO TO PICTURES 65 THRU 71 This is a work in progress. There is some symbolism contained in the art on this stone that can be seen in the Arthurian legends. More importantly there is also symbolism that appears to reflect Europe's classical myths, as well as some ancient Egyptian and Semitic myths. As this object is C. 30,000 year old, it brings to light a revolutionary implication, which is that the origin of many of these myths could be just that ancient. This discovery has lead to my opinion that the history of prehistoric Europe should be reviewed and updated. This is not to suggest this review should be based on just the art seen here, but with other research and with new finds that give credence to this. If you find this possibility of interest then you may want to view the information and pictures included in the "Paleo Arthur Statue Myth and Legend" section on this website; it may show that many traditions stayed the same, but also that around the time that the art on this stone was made there were new developments. Some of the initial information with this is as follows: Picture 1 shows a horse head with a long mane, it as if running, perhaps symbolizing a river. Pictures 2 through 6 show a skin flag (shown vertical) that may have an overall shape of a hazel or chestnut tree with a stag head on top. The detail of the form shows a standing bear with a stag head in profile and cup with a white face and a female figure over it. The standing bear's face is also a white triangular pennant type flag; this portion of the flag should symbolize a cup. Pictures 7 thru 11 show more detail; the face appears similar to a full (but yet quarter) moon. To the left of this is a standing bird, to the right a small reddish brown round shape or figure (that may represent a hazelnut or chestnut) and a female figure. Picture 12 shows the detail of this. Picture 13 shows the bottom of the flag and the area below the flag; it has a large engraved spear head. These pictures appear to show that this flag may have been symbolic of a grail cup and a moon / hunt type goddess similar to the Greek goddess Artemis (Ro. Diana). The smaller white pennant flag is upside down, this may be a captured flag, but it may also represent another newer type of grail cup. The flag and cup may have had a spiritual meaning, but may also have nutritional and or medicinal significance. Picture 14 shows a pottery vessel next to a bee hive, overhead the zig zag lines may represent bees. Picture 15 shows that the engraved area below the flag (part of the spear head) combined with the pottery vessel may be a large bowl or cauldron, if so then there are figures and a vertical boar's head that are in this. Picture 17 shows two kernels or seeds and a large moon face. Picture 18 shows the stone in a vertical position with the horse's head pointed downward. The art on the stone shows a figure with a flag riding a wild boar on a cliff, the wild boar is positioned as if it is coming from a river or sea; behind this are figures that appear as if climbing on top of the wild boar. Pictures 19 thru 21 show that the boar is striped. The detail with Picture 22 shows that the rider's hat has a diamond shaped top (put also as a standard on a pole or stick) that may symbolize a lion's face as a solar symbol. The right eye of the rider is an animal head, it may be a wild boar's head. The figure is holding what may be a bull roarer with a human face (with cat or wolf ears) in a position similar to that in which a shield would be held. Pictures 23 thru 30 show a type of "sword in the stone." There is a red heifer's head or calf's head; the hair shown in Pictures 56 thru 59 also appears as a seed. Inside this is a small pentagram made from silver (which is oxidized and appears black). There is a white dot above this and a streak that is much like lightning; it is as if it is a sword with a pentagram hilt. This is similar to the hilts of some Celtic swords. The black portion of the figures in front of this are also made of silver. How this silver was applied is a mystery but it may have been made from silver ore that had been ground to a powder and then mixed with isinglass or ichthyocol (fish gelatin or glue, usually made from sturgeon bladders)*, or a tree or plant resin. Although this area has the most silver there are other areas that also show minute amounts of silver. This all suggests that there may have been one legendary paleolithic sword or a dagger made from metal or bone, but there are indicators that this also has nutritional and, or medicinal symbolism. To the right there are standing figures. The symbolism with this may be very similar to the "sword of god" that Attila the Hun claimed to have found in the 5th C. AD, also a red heifer is given a special significance in the Jewish Talmud. Pictures 31 and 32 show the stone slanted, which gives another view of the rider, wild boar, and the area showing the "sword in the stone." Picture 33 shows the stone horizontal, but upside down. Picture 34 shows the bottom edge of the stone in this position. Pictures 35 thru 39 show figures in profile that are in a line. The figure that stands out is to the left, it shows a bearded man's head with a pointed hat in profile. On the back of that hat there is a sprig of what appears to be Saffron. On the front of the hat there is a Saffron flower with the three stigmas. In front of the man's face there is what appears to be a vertical pine cone pipe, as if the man is looking in the pipe's bowl. The Saffron flower is thought to have many medicinal qualities including treating menopausal difficulties, it is also thought to be an aphrodisiac. Picture 40 shows a female holding the white pennant, but it is also as if she is receiving this (this is also seen in Pictures 42 thru 45). The pennant now shows that it is a horse head, but it is also a bull's head; there is a faint cave lion man's face on this (so it is solar). The pennant's staff is of a bull, the finial is a bee's head, the nostrils of the horse / bull's head has a ball emitting from it. This ball has a cross with four dots on it, which may symbolize lightning. It also appears as a pear; the female may appear as if she is receiving lightning but also a pear. Pictures 42 and 46 thru 48 show a figure in brown skins and a Phrygian type hat. The figure is holding a cone with a diamond type white head. This may suggest the pole star. To his front there is a small white helmeted figure. This should be a male figure as the hat has a young stag horn; there is also a cross and circle with a flame on his hat. This torch holder and flame may suggest the constellation / star Arcturus representing a fire and or smith god. In front of this figure and on top of the white helmeted figure is an arrow that is perhaps a flaming arrow, or dart. This arrow points towards line figures, but in Picture 42 it also shows that it points towards a female line figure with a circle (which may suggest a pregnancy; this may be the origin of the circle and arrow symbol of Aries / Mars). Further on it points to the heifer head "sword in the stone" and then the area that has the black pearl. This figure should be a hunter / fire god; if the silver used on this stone had been smelted, then he may also be a metal smith god. The white helmeted figure may represent the flower Aconitum, aka as Monkshood, or Wolfsbane, but specifically Aconitum septentrionale aka as Northern wolfsbane, or another flower that appears similar. There are some that speculate that "Tyrhialm" the Old Norse name for Aconitum is derived from the Germanic war god Tyr. If so then the herb (thought to be a flower) that the Roman goddess Flora touched the goddess Juno with (in order to impregnate her) may have been this flower; the result of this encounter was the birth of the Roman war god Mars. Although this may be symbolic of a hunt god who used poison arrows, there could not be a fertility connection as Aconitum is well known as a poisonous flower. Picture 49 shows the stone vertically but with the horse's head pointing up, it is at a slight angle. The art on this now appears as a central figure that is on a ship's mast (the sail is rolled up). The figure is pointing to the right to an indented area that is 6 mm across at its widest width. Pictures 50 and 51 show this in detail. Pictures 52 thru 54 show a clean shaven face or a woman's face in profile. Picture 55 shows the line figure pointing to a white phallus with figures behind it. Pictures 56 thru 59 show the head of the line figure as a sitting bear (or other animal) that is a nut or a pod with a seed. Pictures 60 thru 62 show the white phallus with figures behind it, this may be connected to the horse / bull headed pennant, it may also be of a goddess similar to Aphrodite (Venus). In the left upper corner there is a distinct white pearl, this and the Aphrodite connection will soon be explained. Pictures 63 and 64 show the phallus and the area around it transforming. Pictures 65 and 66 also show the line figure's head as two seeds, next to it is a large moon face. Pictures 65, 68, 69, and 70 show an arched figure with a dark face, a white pearl, and a yellow crown over a black pearl in a shell and a five petaled flower, if refocused the flower will also appear as a saltire cross, or as a sideways Latin cross. This arched figure may be the actual origin of the Roman goddess Aphrodite (Roman Venus) and Europe's Black Madonna. Europe's Black Madonnas are a mystery; supposedly with no known tradition they suddenly appear during the 11th C. AD (although some are given an earlier pedigree). In my opinion they were from a very ancient tradition, and this ancient tradition may have been brought forth by the Normans or Saxons. The "Mina Guadeloupe" that is with the Joseph Napoleon Daguerreotype offer (featured on our home page) is of a Spanish Black Madonna. The Greek love goddess Aphrodite (Ro. Venus) was born from the blood and or semen of Uranus's (a sky god) severed phallus which created a foam on the sea. It appears that this figure may represent a Beluga Sturgeon issuing from the mouth of an Atlantic Sturgeon's head. The Atlantic Sturgeon is an eastern North American fish, it has a long nose such as the sturgeon head just mentioned. The European Sea Sturgeon (aka European Atlantic Sturgeon) has a short nose, this is the Sturgeon that is known to inhabit the Rhine River for reproduction (although in recent times these have disappeared due to over fishing, they are currently being reintroduced) along with the Garonne and Dordogne Rivers (these are considered extremely endangered, once again due to over fishing). So this art sugggests that Atlantic Sturgeons had once inhabited European rivers that were connected to the Atlantic Ocean, and may have disappeared due to over fishing. The yellow crown may represent yellow algae or yellow caviar; Picture 71 shows the detail of this, there may be a small figure. The older Beluga Sturgeons are known for their light or white caviar (the Beluga Sturgeon can live to be a hundred or more years old); it is the absolutely best caviar. Although the black pearl is in a shell (most likely an oyster) and should be an actual pearl, it still most likely represents black caviar. Caviar is thought to be an aphrodisiac. Contemporary information claims that the Atlantic Sturgeon until recently was known in the Rhine River; Beluga Sturgeon were once known in the upper Danube. Note the C. 7,000 year old stone artifact titled "Black Pearl" on our home page. The black pearl is only known to be produced by the Pinctada margaritifera oyster. The closest region to Europe where this oyster is known is off the coast of Somalia in the Red Sea; even so the natural black pearls produced by the oysters there are actually gray. The next closest region is the Persian Gulf, the Pinctada margaritifera oyster there can produces a black pearl. The black pearl may symbolize a young woman as a fertility goddess, the white pearl with the Beluga Sturgeon woman may symbolize a mother goddess or even a goddess of longevity, it should be noted that the line figure is pointing to the black pearl and flower with cross; these appear to be the focus on this side of the stone. The moon face seen in Picture 66 may be significant with sturgeon fishing as some Native American tribes refer to the August full moon as the "Full Sturgeon Moon;" this is due to their belief that sturgeons are easiest to catch during this time. The moon face seen in Pictures 65 and 66 and the white horse / bull head pennant seen in Picture 40 may suggest that this paleolithic moon goddess may be the origin of the goddess Europa and the Ionian goddess Lo. In Pictures 69 and 70 the Atlantic Sturgeon's throat shows a small standing figure holding a white phallus that is inserted in the oyster shell lip, it as if mating, over this is a small white heart. This suggests that the artist thought of the Atlantic Sturgeon as male, or both male and female, and possibly the Beluga Sturgeon as solely female. It also hints that the artist thought that pearls were the result of a male Sturgeon mating with an oyster, perhaps presuming that all oysters were female. The fact that the standing figure is the front of the Atlantic Sturgeon's throat when combined with the white pearl seen in the Beluga Sturgeon's throat may be significant. An answer to this may connect to a tradition of Mohawk Native Americans and the game of Lacrosse**. Picture 72 thru 76 shows the stone's top, it is back in a vertical position with the horse's head pointing downward. It shows a standing white figure on the edge, the wild boar, rider, and flag can be seen at a slanted angle. Pictures 77 and 78 show the stone tilted forward, this shows one version of the rider's face better. Pictures 79 and 80 show the stone tilted backward, this shows the other version of the rider's face better. Picture 81 shows a skin that has a bull's head on one upper corner and a hatted man's head on the other upper corner, below but connected is a hatted rider on a horse and, or hippocampus, behind this is an engraved equal armed cross, behind this and partially seen is a standing figure in a hat that is swinging a bull roarer (the bull roarer is the tail to the hippocampus or a fish). Pictures 82 and 83 shows the rider and the standing figure with bull roarer. Pictures 84 thru 89 again show the stone at an angle, which shows the standing white figure better; it also shows the line as a wild boar's tusk. Pictures 90 thru 97 show the indented area as a white bird's head. Pictures 91 and 92 may show figures in a skin raft with a narwhal horn (as a harpoon). Picture 93 shows where the white pear originates from, a wrapped white face. Pictures 94 through 97 show a nude female figure facing right, as if she is riding a white bird, the black pearl on top and in a dog's head (the dog's head is facing left towards the nude woman). Picture 97 shows a woman's face in a Phrygian hat in profile. Picture 99 thru 103 show a bee woman holding a pear; her hands are fish or serpents. Picture 103 shows one of these biting a grayish disc with a black "W" zig zag and a white line. Pictures 104 through 106 show a bearded man's face with his mouth open as if yelling. He is holding a club, which may represent a hazel, chestnut, or black thorn club. He appears to have animal figures around him. *The highly refined coating used for the 7,000 year old "Black Pearl" stone artifact seen on the home page may have been ichthyocol, this may be the same with the, "Nordic Compass Fish Knife," the "Nordic Space Rock," and the "Nordic Rock," all seen in the ancient miniature art artifacts included with this collection.
**According to the paper "Mood as Verbal Definiteness in a 'Tenseless' Language" by Mark Baker and Lisa Travis, the Mohawks had a tradition of making their lacrosse balls from part of the throat of a Sturgeon. There is no mention of what part of the throat is used. Other tribes are noted as using the Sturgeon's throat to make a very strong glue. The game lacrosse in the Mohawk tradition is a fierce but friendly competition that was played for their creator god, but it was also a game that could be played to heal an ailing member of the tribe. There may be more to this as the Sturgeon's throat has bony plates that when necessary will crush its food (Gilbert 1989, Valdykoy and Greeley 1963). This along with the Mohawk lacrosse tradition hints that these bony plates may have been thought to have some form of medicinal and or a nutritional value; or it could be that the Mohawks used another part of the fish's throat, if so then that area may be where there was a benefit, either way it may be worth looking into by modern medical and nutritional researchers.
Copyright 2008 David Xavier Kenney
Revised Feb 2008
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THE EURO STONE "AURIGNACIAN AVALON AND MORE"This is a work in progress. There will be picture edits and adds, also the information with these is soon to follow. |
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CAVE LION KNIFEThis is a C. 30,000 Flint Knife of the Aurignacian Culture. It is from an Old German collection and was found was found at Altmuhltal, in Central Bavaria. It is 4.3 Cm in length. Besides the Cave Lions there is a theme that is centered around a boat (with Humans and animals), then two monkeys and pottery kilns. In comparison with "The Euro Stone" this appears to be of a founding, possibly of a Cro-Magnon band or group's coming out of Africa. If so then it suggests that pottery was invented somewhere in Africa. More speculations and info. to follow. Copyright 2007 David Xavier Kenney |
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THE ART OF THE AURIGNACIAN BEESThese are a group of selected pictures of various C. 30,000 year old Flints from the Aurignacian Culture. They are from an old German collection and were found at Altmuhltal, in Central Bavaria. They show the art of these Paleolithic people as displaying an innocent type of semi-erotism, in my opinion it would not be seen again until the Roman era, and even in that instance it is still unmatched in itt's more delicate style, form, and technique. It also shows that these "Bavarian Cro-Magnons" of the Aurignacian Culture were of a highly structured society of artistic Honey Bee worshipers, although Pictures 34 thru 37 shows that these "Honey Bees" were no one to mess with, but not really as at a glance what looks like a animal headed weapon is actually an animal headed musical horn instrument, or instruments. Once again according to conventional thought the art on these should not exist, and once again so it does. Copyright 2007 David Xavier Kenney |
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NORDIC HERCULES ROCK(Archived) |
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NORDIC COMPASS FISH KNIFE(Archived) |
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NORDIC NAVIGATOR STONE(Archived) |
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NORDIC SPACE ROCKFrom the Maglemose Culture and found in Norre, Denmark this is actually a 8,900 to 6,400 year old Knife / Scraper (not a Space Rock, as in a meteorite), it is from an old Danish collection. It may have a ichthyocol (a fish glue usually made from sturgeon bladders) coating, The title is due to the fact that one of the themes of the artifact is of a meteor / meteorite event, although in fun the upper portion of the artifact does have an appearance similar to the head of an astronaut in a bubble helmet. This artifact may have been found with the next artifact (Nordic Beaver / Bear Knife) listed. The iconography shows; a Beaver, a Golden Man's Head (inside the Beaver's Head), and that the Beaver is wearing a Bear Skin. Picture's 5 and 6 show an insect or bird (or insect / bird) that is carving with it's proboscis or beak (or it's proboscis / beak) on a rectangular rock. This carving is of a meteor or comet that is streaking over a water way or other area. Inside the streak is a swimming beaver that has a saw back (perhaps as a type of dragon beaver), also there are two women in tube hats with a man's head in the middle, it appears as if they are under water and being drawn towards a standing rectangular object. Initial speculation is that the meaning of this iconography may have been that a tribe of the Maglemose Culture saw the beaver as connected to a meteor / meteorite (or comet) event, and furthermore that they saw the beaver (but also the bear) as a divine animal that was connected to a golden man that may have been seen as a divine mythological founder or savior figure (or both of these) that worked through the beaver, and perhaps also the bear. This theme of a beaver / man / bear of a meteor / meteor (or comet) event can also be seen on the "Anglo Saxon Bronze Carving Knife Handle" that is with the King Arthur Banner Collection at www.kingarthurbanner.com, this carving knife handle is of the. 7th C. AD and was found in Northern England. It appears that this "beaver / man / bear" mythology had lasted for many thousands of years on the Jutland, and, or northern Germany, and that it had even eventually traveled to northern England. Copyright 2007 David Xavier Kenney |
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NORDIC BEAVER / BEAR KNIFEFrom the Maglemose Culture and found in Norre, Denmark this a 8,900 to 6,400 year old Flint Knife, it is from an old Danish collection. The art was made using dyes and a small amount of scratch work. It shows a Janus Beaver and Human face in profile on each side, also when positioned vertically it shows a standing Bear. The dyed work has various scenes with people, beavers, and bears; there are small symbols in a line that appear to be the makers mark. Of particular interest is that the scratch work on one side shows an inverted horse's head in profile and an inverted frontal upper portion of a cave lioness and, or lioness man (with raised paw), it may be a symbol of status or tribal identity. Due to this it could be speculated that the Maglemose Culture had originated from the Aurignacian Culture, or that it had been part of their lore, they certainly seem to have inherited their mastery of art and inventiveness. On the front of the knife and seen in Pictures 6 and 7 is a bear cub reaching towards a cup, most likely a reference to honey. On the back with Pictures 15 thru 24, the depictions (when at a certain angle the knife is turned clockwise) show a type of "Sleeping Beauty" story. The "Kiss" can be seen in Pictures 17 thru 18. In my opinion this art depiction seen at different pioints is a metaphor for the seasonal change. most probably from winter to spring. It is highly likely that this knife had been made by or for a woman
Copyright 2007 David Xavier Kenney |
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THE NORDIC ROCKThis is a 6,000 Year Old Multipolar Flint Core Borer (Secondary use possibly as a Hammer) from the Ertebolle Culture. It is 7.8 cm in length. Made with carving, dyes, and natural formations in the stone it has various cubic crevices and panels that blend or reflect to create images by manual animation. It may have a ichthyocol (a fish glue usually made from sturgeon bladders) coating. Currently only one panel has been examined and photographed, The theme appears to be of a Sea god with other figures and creatures and the Autumn and Winter Blot (a form of ancient Nordic Halloween and Winter Solstice rituals) that is only known due to medieval writers. There appears to be a story or stories. There will be many more speculations with this artifact to soon follow. Pictures of other areas of this artifact have now been added, they are pictures 23 thru 44. Pictures 23 thru 32 are of an area on top of the artifact, this area is heavily engraved and should be a main focus of the artifact. Pictures 25 thru 27 show the outline of a hare, this appears to be a primary engraving. Picture 33 shows a broken egg and possibly a skull. In comparison, the Nordic Royal Stone (NRS) shows a hare figure with pictures 52 thru 57, but also with pictures 77 and 78. The hare seen with the two latter pictures appears as a totem that has something to do with the Autumn Blot, also picture 75 on the NRS shows the bottom portion of an egg. The hare and a broken egg may have been symbolic of an unknown ritual to of the Nordic Autumn Blot. Copyright 2007 David Xavier Kenney |
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NORDIC HEAVY ROCK ART(Archived) |
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NORDIC AMAZON STONEThis is a Stone Carved Talisman that may have once been a tool, it is from the Maglemose Culture and is 8,900 to 6,400 years old. It was found in Funen, Denmark and is from an old European collection. It shows a Woman in a type of Wolf Headed Fur Hat in profile (possibly signifying a type of Shamaness / Warrior, hence the Amazon title). The theme is of Semi-Nude Women and Fantastic Human / Animal Beings in a shamanistic type battle. Copyright 2007 David Xavier Kenney |
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NORDIC HAT STONE(Archived) |
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NORDIC PICK(Archived) |
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NORDIC DOG AND BOOT(Archived) |
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7,200 YR OLD FLINT FLAKE KNIFE WITH CRUCIFIXION SCENEThis piece comes with this announcement. There are many Northern European Stone Tools from the Mesolithic and Neolithic Ages that have miniature art that I do not believe has been recognized. This art appears to be associated with ownership, but also with the land, the elements, tribal stories, tribal rites, and evidently having the ability to deal with these. There are extremely rare examples that appear to have belonged to shamans and tribal chiefs, the art on these is nothing less then amazing. To my knowledge this may be the first time that this is known or acknowledged. I hope that this may assist anthropologists, archeologists, collectors, and others that have an interest in history. 17 June 07 Dave Kenney. This is a C. 7,200 year old Flint Flake Knife from Egeris, Denmark, it is 5.1 cm in length, it is from an old collection. The small knife has crafted art from soot and scraping, the soot has fossilized so that it is now part of the stone. It shows what may possibly be the world's oldest depiction of a crucifixion, according to my artifacts crucifying appears to have been part of the ancient Northern European psyche, it seems to have usually been associated with the bear, the outlaw, the shaman, and fertility rites. The following are my speculations according to the images seen: The knife's art on one side shows a blonde female with a bear man monster with a huge stylized phallus on top of her, suggesting a sexual act. Turned so that it is vertical it shows the blonde female with a wavy dagger or spear head in the monster's lower middle area, he is hanging in front of her as if on a T cross. Next to blonde haired female is a dark haired female, the white portion of this makes another female that is either part of the blonde females's face or is directly in front of her face. There are three spears (or spear heads) that appear to be held, one male figure can be seen suggesting that there may be three male's holding the spears. The three spear sacrifice just mentioned is very similar to the human sacrificial rites to the god Zalmoxis (the sending of the messenger) of the Thracians and Dacians of the Late Greek Era and the Roman Era. Turned another way it shows the monster being castrated by the white female figure, there is a dark stream coming from the monster's head and a phallus in a bowl. The other art with this piece shows a bear or the bear man monster; attacking a group, walking away from two semi nude females (or a male and a female?) who are embraced, and attacking a semi nude female (with a fur hat) in a hot spring bath. The appearances of the figures at a distance behind this bath scene suggest that there is a chase and a possible capture of the monster. The last picture shows that the knife is made in the shape of a running wolf dog, this may have been the animal (or pet) identity and name of the owner or the maker of this knife. Pictures 1 and 5 Are Not For General Public Viewing. If You Are Over 18 You May View Pictures 1 and 5 By Clicking Here Copyright 2007 David Xavier Kenney |
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BATTLE AXE CULTURE STONE AXE HEADThis is 4,900 to 4,350 year old Facet Axe Head made of Hornblende from Central Germany. It is of the Battle Axe Culture (aka Corded Ware Culture), it is 7.8 cm in length and from an old collection. The stone axe was an outdated weapon at the time that this culture flourished. For some unknown reason small stone axe heads were ritually placed in the graves of males. This axe head has an immense amount of art that is both painted and engraved, I will focus on the large engraving on the front butt and patricianly the engravings on the back butt and the engravings and paintings along the top to the blade. The engraving in the middle represents lightning. The large engraving on the butt shows a hornless ram man with a club. This will change into many various aspects of a man and a ram, but there is also one image of a bear head. When the axe head is tilted more the club will turn into a face with a cup under it's chin, the ram man has a ball (or another cup?) in front of his chin. When turned to the right the upper edge shows that it has a row of symbols that in fact resemble letters (a type of very ancient Germanic alphabet?), the ram man shows a creature with a long snout. When this it turned upside down, there is a scene of a man holding a small ram faced boy (center) and another creature (possibly a ram or a bear) behind and under the ram faced boy, the club then turns into the head of a ram or an ewe. When the ram man is turned to the left, it shows the ram man holding a horn (or a smoking pipe, or both?) as if blowing it. The center engraving shows what I think is a symbol for lightning, this has a stick figure as if attached to a pole, there is a type of semi zig zag work in black paint around this, it is as if is emitting an electrical charge in black. The top front of the blade corner shows a woman facing the head of a figure, under her and engraved on the blade is a bearded male facing the same way, under him is a male Janus head. Turned over on the axe blade's back side, the butt engravings show a jagged mountain or hill range. There is a large bear face to the left side of the engravings, then there is a large bear face in profile, there appears to be another large animal face on the right side, perhaps a Eurasian lynx, and another face on the bottom. When the axe head is put on it's side facing left, then the corner shows a large man's face, but also a man or a woman wearing a bird head, kneeling with an arm and hand out in front of a bear, it as if the figure is feeding the bear. The very miniature (2 to 3 mm) scene next to this shows figures in an enclave performing some type of ritual. When the axe head is put with the blade up, it will show a large bird of prey in profile, this bird actually has two heads. When the axe head is turned with the butt up, the left side view shows the nearest mountain as a large bear with pointed ears with it's snout in a roundish bowl, the other mountain has another bear (again with pointed ears) facing the viewer. On the front edge there is engraved a long figure of a woman (or two sexed being) under a cross (surmounted with long hair) that she is hugging, she is holding a torch, the placement of this suggests that this is a type of outside marker. When viewed from the side top, it shows that there are two areas that jut out, the further of these areas is what was the bowl, it shows a figure embracing a man's head, a different view suggests that the embracer may be a human bird like figure. A closer more sideward view shows that there are steps on each of these areas that jut out. The further area that juts out, and now another area just under this, appear to be open stone coffins. When the axe head is turned back on it's side with the blade facing left, it shows a wavy figure that is connected to the engravings on the top edge, it is as he is throwing overhand what is on the top edge. The top edge shows that is has very wavy linear engraving in black paint that travels along the edge. There is a sitting woman (with her mouth open as if singing or yelling and holding a male figure) on the edge near the blade, this is engraved and painted in several different colors (this is the only area that shows this type of paint mixture, all other paint is one color, either black or red). When this sitting woman is turned upside down she becomes a hooded figure with two small hooded figures in front of her. There are many more engravings and paint work on this piece, these will be photographed and posted in the near future. Speculations: The ram man figure with a large head appears on other art of the ancient Germanic tribes. The Knights Templar Grand Seal that is with this collection has this theme as it's primary form (the other three are; a man's face, a goat's head, and a bear's head), I believe that this part of the sculpture / engravings are original and should be 7,000 years old. The fact that the ram man is holding a club suggests later Greek and Roman art depictions of the demi-god Hercules. It may be that this is an early form of that classical hero / demi-god, the Roman writer Tacitus wrote that the Germanics claimed that Hercules visted them, and that when going into battle that he like the first hero they sang of. To add to this speculation, it is known that the Germanics of the Roman Era (and the later Nordics of the Viking Era) had a tradition that they worshipped their heroic leaders as gods, or demi-gods, Hercules in myth is the only half god that became a god, this due to his merit. The ram and trumpet horn may suggest the later Viking Age Nordic god Heimdall, who is a god of the trumpet horn and of the ram. The backside of the axe head with the mountain as a bear with it's snout in a bowl (that turns out to be a grave) suggests that the Germanic god Wodan (the Norse god, Odin) was a bear mountain high god of the heroic dead. It appears that at least some Germanics of the Battle Axe Era had placed there heroic dead in open stone coffins on mountain side ledges, perhaps symbolizing the mountain (meaning a mythical gigantic mountain bear god with bird helpers, most likely ravens) consuming them as a form of deification, but in actuality an ancient practice of exposure of the dead. The bones (particularly the skull) that were left may have been considered as part of the symbolism. If so then the mountain or mountain range would have been thought as the holiest of sacred places. This may explain the emphasis of bears and mountains seen on the shield of the Varus Avenger Statue (of the avenging of the Teutoburg Forest Disaster of 9 AD) that is with this collection. If trees or certain trees of the Teutoburg Forest were held sacred to the Germanic high god (as stated by Roman historians), then the surrounding mountains of the Teutoburg may have been viewed as being even more sacred, that is according to the art seen on this axe head. The Germanic war leader Arminius would have known that any of the local Germanic tribes would have considered a Roman incursion into such an area as an ultimate insult to their high god and ancient heroes, this would have insured that they would have no choice but to fight for his anti Roman cause. The placement of the cross and the woman near this mountain scene suggests that Germanic ritual crucifixions were connected to their mountain bear god, but that this event did not take place on a mountain (or mountains), it also suggests that a Germanic priestess (or two sexed priestess) officiated over these gruesome sacrifices. If so then such a factor would give credence to those that speculate that although Roman soldiers oversaw crucifixions, the actual horrific deed was done by slaves. It also should be considered that although it is thought that the Romans adopted this form of execution from the Persians, they may have in fact have adopted it from their encounters with the Germanic tribes.
Copyright 2007 David Xavier Kenney Revised June 07 |
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NEOLITHIC CORAL SCRAPER(Archived) |
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NORDIC ROYAL STONEThe Nordic Royal Stone had been made with the aide of a magnifying glass (crystal). It has an immense amount of art, the information with this requires continuous speculating, many of these speculations may change. It also requires at least some graphics, we hope yo have these soon. Additional Pictures Will Soon Be Posted And Any New Information Will Be Updated Accordingly. The most recent speculations are as follows: That the art on this was made no later then 2,500 BC and may have been made as early as 4,000 BC. That the stone's sea shaman is not only has flute but is shooting an azimuth, that it has a seasonal clock showing the seasonal rites of the people of the Ertebolle Culture (some of these are still continue with European traditions). That it shows that the ancient Nordic's knew of magnetic north and true north, and that they knew how to distinguish the two, hence they could effectively navigate. That in comparison to a Thraco Dacian sculpture (of a head) of the 1st C. BC to 1st C. AD it may give a hint as to a very ancient origin of their mystery god Zalmoxis. If YOU WOULD LIKE TO VIEW DEPICTIONS THAT APPEAR TO BE OF A STONE AGE AUTUMN BLOT (THE NORDIC HALLOWEEN) TYPE RITUAL, THEN GO TO PICTURES 67 TO 78. If you are interested in ancient Music or Fishing then you may want to go directly to Pictures; 36, 43 - 1, 43 - 2, 43 - 3, 47, 48, 49, 50, 50 - 5, 50 - 6, and 50 - 7. If you would like to see a depiction of what may be a 6,000 to 5,500 yr. old Rock Musician then you may want to go directly to Pictures; 47, 48, 49 and 50-5 Thru 50-7. At Least Some Of The Art On This Artifact May Be Of The "King Woden-Lithi Discovery of North America" Hypothesis. This hypothesis was developed by retired Harvard Professor Barry Fells (1917 to 1994). It is based on his deciphering and interpreting the "Peterborough Petroglyphs", in Ontario, Canada. Dr. Fells gave these a dating of C. 1,700 BC (others have given these an earlier, or a later dating). They are thought to be a record of an ancient Norwegian king named Woden-lithi (follower of Woden) who led a fleet across the North Atlantic and up the St. Lawrence River. The Nordic travelers stayed for five months, traded with the Native Americans (primarily for copper), and then returned to Norway. Though with that said it could be that there is a twist to this particular diffusionist speculation, if the depictions on this stone are correctly interpreted then another speculation could be that the Nordic seafarers may have returned to Norway with at least some Amerindian influence. This adventure may have been inscribed, or painted, or both by a bird (as a singer and a song writer) on the side of a singing (or talking) rock face of a river or sea cliff. If my hypothesis is correct then according to this artifact King Woden-Lithi's journey would have had to have been at least 1,200 to 1,600 hundred years earlier. The title of this artifact is due to the miniature art engravings seen on it. There are depictions that appear to be of ancient Nordic (the most northerly of the Germanic tribes) Neolithic gods that may have been the inspiration for the Nordic gods of the later Viking era, along with this there may be at least some ancient Finnic influence. These gods and goddesses are: Njord (as a form of Odin), Freyr (the son of Njord and his sister who is unnamed), and Freya (Freyr's sister who among other things is associated with amber from the sea). A small but central figure shown on this stone that I have identified as a shaman may in fact be an earlier figure that became the inspiration for the Anglo Saxon hero known as Beowulf. The Northern European Royal Houses claim to be descendants of the god Freyr (and apparently his father Njord, and his sister Freya) and to a lesser degree the god Odin; this is the same for members of the British Royal House (with the god Ing of the Angles, Ing is thought to be Freyr). In my opinion this type of miniature art is seen first on Mesolithic Northern European stone or bone tools, then on Neolithic Anatolian idols, and then on various types of artifacts during the Roman Era and onward. This does not include any possibilities of miniature art arriving to Europe from eastern cultures. This is a Neolithic Shaman's Stone (Flint Silex) Stick, it has the history of a people recorded on it. After much research it is now evident that this stone is from the Funnel Beaker Culture (4,000 to 3,500 BC) . it was original thought to be from the Passage Grave Culture (3,400 to 2,800 BC). Therefore it may be early enough to have been made at the time that the Ertebolle Culture (6,000 BC to 3,500 BC) was being influenced by the Funnel Beaker Culture, or from descendants that had a memory of the Ertebolle Culture. It comes from the Isle of Zealand, Denmark and is from an old collection. The Stone Stick is actually an Axe Core (originally an Axe) that had been made in the style of a dagger handle to be used as a shaman's fetish stick, or? It is covered with carvings, dyes, and painted work, including on both ends.The dyes and paints are extraordinary as they have lasted after many thousands of years, it can be expected that the dyes are from sea creature extracts, and that the paints are from a mixture of sea creature extracts and tree resins. It has a variety of finger or thumb holds; one end is flat and the other has edges rounded like the butt of a handle. There is an immense amount of miniature art on this piece; speculations with these are ongoing: On Side 1 there is a large carved horse's head, put upside down this appears to become a large European Bison's head (but due to the shape of the stone it shows the horn in a downward position). On Side 3 it shows what appears to be the head of a cave lion (this creature is thought to have been extinct circa 8,000 BC, but there is some evidence that they existed up until Roman Times) , in the upside down position this becomes a bear's head. Both the horse's head and the bear head are facing in the same direction as the bottom (butt) of the stone; pointed in this direction they must be the shaman's mounts, or helpers. The art on the stick shows that it had been used for multiple purposes. In my opinion when the finger and thumb grooves fit like a handle it is used for aerial shamanism; if it is held with the bottom end forward (as a pointer) then it would have been for underworld and regenerative (fertility) shamanism, but this may also have to do with a legendary journey and actual location. There are several of these finger holds that are very similar to actual finger holds used by a rock climber. This detail along with the white color and some of the art suggests that this stone may represent an actual place where there are white cliffs. Since this is from Zealand, it may represent an area of the white (chalk) cliffs on the Isle of Mon, Denmark, another possibility is the white (chalk) cliffs on the Isle of Rugen in Germany. These along with the more famed white cliffs of Dover, England may have been considered the most sacred of places to northern sea people. A hint at this is a passage in chapter three of Beowulf, "Then moved over the waters by might of the wind that bark like a bird with breast of foam, till in season due, on the second day, the curved prow such coarse had run that sailors now could see land, sea-cliffs shining, steep high hills, headlands broad". On Side 1 (The Horse Side): Pictures 7 thru 9 shows a bee hive with a man's head on top, the hair is pulled back into a pony tail in the back. Next to the pony tail is a small short spear (but with a black ball type pommel and a long white grip that is twisted like the horn of a Narwhal). Over this in a faint shadow is a nude female's shape; the naval is more pronounced. This figure appears to be associated with the bear and the bee; it is very possible that it is a type of bee bear shaman. If so then there are rather erotic suggestions with this scene. Picture 10 is upside down and shows a beaded bearded face with a smaller female figure in the center. The eyes in the bearded face appear as flowers (or stars) on each side; in this position one eye (or flower) has a shadow. Next to this beaded face is a hand and fingers as if pointing to the stone's bottom end. When turned right side up (Picture 11) it turns into a bearded figure with a pointed hat in a cloak. Seen from another position (Pictures 12 thru 16) it shows that it is a shaman in a wolf or bear head and skin reaching up to a taller figure wearing a horn type pointed hat; this figure also has a female shaped figure that is connected to the shaman's arm (hand). When this is viewed from different angles and distances it shows a shaman's flight. It appears that the shaman's helpers are spirits (not animals). As mentioned, when this stone is positioned in this direction it is a dagger handle, this may suggest that the handle was thought to have an imagined blade (a shaman's invisible weapon). The area above this has a horn (Pictures 17 and 18) much like the figure in the hat. The horn is in the shape of a whale and shows men in a formation as if pulling on a rope, this must be the shaman's initial destination. Further up on the right lower corner of the Top, the shaman's view of a sacred cliff top is shown. It represents a sacred place of access to the aerial and possibly the celestial. It shows a shaman riding an eagle, with a large eagle / owl in the background (Picture 20). On the left lower corner (Picture 21) it shows a group with a long curved feather that is also a figure in a bell shaped checkered coat. This must be another shaman; the group may be of a shaman's following. The top (Pictures 22 thu 26) shows a cliff type grave with reddish blonde female figures surrounding it; one of these figures is holding a flower (that may suggest flowers). Another view has the flower as an eagle's head with its beak on a bunch of stems (held by the female figure) as if eating. Under this is a jagged knife with a long curled lanyard, the cross section seen with this is actually part of the lanyard (with the handle in front of the cross section); the knife is also a boat. The next three pictures (Pictures 27 thru 29) are of the stone's Top, but turned upside down. The left upper corner shows three wavy female figures (one of these females appears as a mature woman, the other is nude, and another has wings) over what appear to be two horizontal babies in hoods; these two babies may be two aspects of one baby. The left bottom corner shows a horizontal red headed woman holding a long animal (or the if they are both combined this may be a mermaid); in front of her is a type of cup (viewed the other way around this is the cliff side grave). There may be a plant in this cup, and a mushroom next to it. The scenes just defined should be of a Bee Bear Wolf shaman that travels first to where there is a drinking horn. The drinking horn and the bee symbolism suggests that this is a horn for drinking mead (an alcoholic drink made from fermented honey). The horn and the engraved scenes shown appear to be a story of a legendary whale hunt and haul (the rope seen with this is looped around to the scenes described in the next paragraph, those primarily are of a whale hunter and sperm whales). Further up on top this should be the upper world where dead heroes are honored and exposed to birds (being fed flowers by reddish yellow haired nude women); thus either being transformed into eagles (most likely sea eagles), or boarding a knife type boat (for a celestial destination?)*, or both of these. This appears to be somewhat similar to the mountain scene on the Battle Axe Culture Stone Axe Head that is with this collection. Turned upside down the scenes should be of a future hero, or heroes being born and tended by females who appear to represent a triad. They are from right to left; old age (wisdom), youth (nude), and the heroic (wings). If the stone is turned lengthwise upside down on Side 1, then near the top part of the Bottom it shows in Picture 30: A large figure of a nude woman in a broad brimmed hat (usually associated with fishermen, ancient or otherwise). In Pictures 31 and 32 it shows an enclave with a similar face as seen on the larger figure just mentioned, but in a pointed hat with a figure on top, there are various carved smaller figures, this appears to be a shrine. When this is seen from a side view (Picture 33) the face turns into a cave type entrance, there is a bull like creature in front that has a man's face, on very top of this area is a leaping boar (it is made so that the boar is in the light, while the area below it is in the shade). To the upper right there is a blonde figure in a cloak with a large dagger with a long handle, this may be a type of short spear, there are smaller figures in front of him, he appears to be hunting the boar (the dagger type short spear may be a specific type of boar hunting weapon), but there is a suggestion that he may battle with a beast for a sacred entrance, or to free or take what is in the cave. On Side 4 of the stone, but in an upside down position Picture 35 shows type of abstract figure in a pointed hat, one eye has a patch (the appearance of this face will change when moved in either direction). He appears to be holding a harpoon and is in a somewhat slanted (as if moving) wolf dragon ship. The next picture (Picture 36) shows a stylized white bearded figure with a square head holding out an arm. There are two small engraved busts on his head, one is of a reddish blonde haired woman and a darker figure in a hat, there is a line in front of them, it is they are pulling on this line, the next scene may explain this. There is a large cat-like seal's head over this, which appears to be biting the bearded figure's arm; this may be sinister, or it could be a sea hunting charm. The figure also may represent a type of very ancient flute (of the European Stone Age curved variety), the seal figure may be blowing on this (the ancients may have referred to flute playing as "biting"). Under this in the cutout is a group of white figures that appear to be going into a basket or taking something out of a basket (fish, or?), this may be a fishing net pod (catch of the day?), or a wicker boat (as a Neolithic wicker / hide boat, a curragh) , or a symbolic type of ship's transport (or hold). Back to the capped figure with a harpoon and ship, but with a closer view, Pictures 37 thru 40 appear to show the following: The figure's harpoon uniquely has two round shapes (stone spindle whorls, representing fate?) that may also represent a woman's breasts (these may hint at the suction cups of a squid tentacle), at another angle the harpoon is held by a woman with a cat like cap (a seal cap, hinting at an ancient water proof cap, and possibly also a suit made from the same?) and a large eye (similar to the girls and women seen with Japanese anime). This eye when viewed from right to left also could appear to resemble a squid's beak. The large eye combined with the possibility of tentacle suction cups and a squid beak may show that she is associated with a giant squid (the giant squid has the largest eyes of any creature known), or is a female giant squid that is a whale hunter (giant squid and sperm whale combat is legendary in sea lore, although if ever an actuality then giant squid parts found in sperm whale's show that the sperm whale would be the victor). There is no doubt that she is a Sea Amazon, but she also may be a type of Nordic Medusa, or an eye goddess? To her front is what appears to be a Mastodon head with it's trunk curled, this creature was indigenous to North and South America but not Europe, it is thought to have died out 10,000 years ago. It may the head of a Wooly Mammoth that was indigenous to Europe (among other places) and that also is thought to have died out 10,000 years ago. The Sperm Whale may have been considered the sea equivalent of the Mastodon (or Wooly Mammoth), with the Mastodon (or Wooly Mammoth) being associated with mountains, both creatures being fearsome, but great food givers. He is in a long boat with a wolf dragon's head. With this Mastodon art there can also be seen a catlike creature (seal?) and a bull (or another sea creature, such as a cuttle fish?) wrapped in the creature's trunk, this bull is similar to that seen with the Prehistoric Bull in the Lascaux Cave drawings in the South of France). When this is turned vertically (Pictures 41 to 43) it shows a nude woman in a shell, similar to Aphrodite (Venus), then a large sitting bearded figure with a pointed headdress that appears to be in the shape of a squid tail, he could represent the giant squid (as he is seated as if on a throne, a ruler of the seas or under seas, a type of squid god or king?), this figure has various female figures around it. When this is turned upside down and a bit up (Picture 43 - 1) it shows a Sea Woman who is most likely a type Sea goddess (or a dolphin type mermaid, her form is curvaceous but streamlined, much like a modern fashion model) who is front of a sitting male figure with a long bird tail. She has a white round shape in front of her belly (as if pregnant?) that may represent her as a sea goddess but also as a Moon goddess, this should be a Shaman's drum top (but also the female sea face that is seen in Pictures 81 thru 84). She appears to be holding a stick with a feather on it (a Shaman's drum stick?) There is a line (or a rope?) in a "V" shape that connects these two. It could be speculated that she is a Moon / Sea goddess and that he is her Song Bird (representing a male singer?). This Bird Man associated with a Sea goddess may represent the Beluga (White Whale), the Beluga makes a variety of sounds but much of it resembles a bird chirping, due to this they are nicknamed "Sea Canaries", and the Beluga can be heard clearly on the surface. The overall appearance is somewhat similar to a Greek or Roman mythical scene, if so then Nordic Neolithic influence eventually traveled south to the Mediterranean. Back to the primary figure in the pointed hat, in crevices (that represent the topside and inside of a ship) there are small human figures, it is as he and his ship are transporting a tribe, or it could be a ship of the dead (fisherman lost at sea?), or a type of Nordic Noah's ark. Over this figure is a large humped fish; it is as if the fish is biting the neck of the prow, it may represent an Orca (Killer Whale). When turned upside down the shaman figure that is seen overhead now appears as a fish, perhaps a whale. Put right side up it shows that there is a shape on both ends that is similar to that of a sperm whale. In my opinion this is a god of the sea and of seafarers, but also possibly of mountains, or cliffs. It may be a god that was the original inspiration for the Viking Age gods Njord and Odin. If so then he is a god of the North Atlantic and no doubt would have originated from the ancient inhabitants of the Norwegian coasts, fjords, and mountains. As it appears that he is a whaler and that the whale may have also been included in his worship, the figure with the arm being bitten may have had to do with a Norwegian legend about this god. This god figure may be somewhat similar to the Captain Ahab character in Meville's "Moby Dick (but with a female squid harpooner?) aka "The White Whale" **. Pictures 44 to 46 show a long snouted boar or wolf (or wolf boar?) ship, it is pointed downwards as if on the high seas or on river rapids, there are various small figures near the prow, in the background are massive sea cliffs that appear also as various large warrior type figures, these have various faces carved on them. There is a twin peaked cliff with a long diagonal crevice, this should represent rock face that makes some type of sound (from the wind, hence a singing or talking rock), it may represent a connection or entrance to a spirit world. Near the bottom there is a long bird that is 10 mm in length, but when seen from a more frontal view it appears as a typical small bird (Pictures 47 to 50), pictures 49 and 50 show that this bird is using it's beak to either carve or paint (or both) near the rock face crevice. The bird appears to be making a face, or a "U" design (with a face on each tip) or both of these. This most likely represents a harp (or lyre), but also possibly a ship, this bird could be described as a "Rock Musician's Bird". Picture's 50 - 1 thru 50 - 4 are upside down views of the bird at various angles, they show different aspects of a fishing scene, most likely a fishing ground or expedition that was legendary. Of particular interest is the fishing boat's side net pods seen in Picture 50 - 4. When the bird is turned so that it's beak is pointed up (Picture 50 - 5 and 50 - 6) it shows a boat straight up on it's keel, this appears to be a boat shrine. Inside this is a type of totem standard that is topped with a bird's head and wings. It most likely represents a sea bird that was associated with whales and whale finding. This may have been a sea bird that the modern Scottish refer to as a "Hurry", a "Hurry" is a bird that will appear (usually in flocks known as "Hurries") at a whale (or dolphin) feeding ground as to snag fish (the fish are pushed to the surface by the whales). Pictures 50 - 3 and 50 - 4 show that the bird totem is also of a whale's tail, it could be speculated that any actual totem may have been made from whale bones found near the tail. There is a Shaman in front of this (Picture 50 - 7 has a close up of this Shaman). He wears what appears to be a Beluga and another smaller long nosed whale (or dolphin) headdress, he is holding a small harpooner in his hand (this is much like a depiction of a Greek and Roman god (or goddess) holding a small Nike or Victoria). The butt of the harpoon is directly in front of the sea shaman's right eye. If the tip of the harpoon is followed in a straight line to Side 3, then it will show that it points directly at the tip of a Narwhal horn dagger (this will be discussed shortly), then further to the corner of Side 3 and to the stone's Bottom corner with the sacrificial shaman on a harpoon (or spear scene), this suggests that the corner is magnetic north. this Bottom corner scene is discussed in the next paragraph. The lower portion of the whale headdress appears as a seal head that is biting his arm. His arm and the harpooner may be of a type of ancient Stone Age curved flute that is mentioned with Picture 36. If so then the sound of any actual flute most likely resembled the somewhat musical Beluga chatter. This Sea Shaman among other things may have been considered a musician that was a master of sea creatures and fishing luck. When this connection to music is put together with the bird's sea cliff beak recording then it would appear that he was a Musician that recorded in rock , or a "Rock" Musician. Near the top left there is a yellow Stork's head (the body and wings of this bird are made from the Twin Peaks or cliffs) with various carved figures under it's beak and more in front of it. These scenes just mentioned should represent the recording of a great sea and, or river feat. The singing rocks (or spirit rocks, ect) and the recording bird (most likely a type of song bird) in concept is somewhat similar to the Peterborough Petroglyphs in Ontario, Canada, there are called the "talking stones" by the Native Americans. The Stork may also be significant as this bird is also seen with those petroglyphs. It should be mentioned that the cliffs that are seen on this stone (on Side 4) are somewhat similar as those of the Mazinaw Rock (from a northern view), also in Ontario. If these depictions are of a Nordic Sea journey by a Sea Odinic type figure then it could be speculated that it may been of a legend of King Woden-Lithi's journey. The more Northern Europeans intensely worshipped rocks and stones, the reason for this is not completely understood. On the corner of this side and the Top (Pictures 52, 53, and 55) it shows a Tall Woman with black hair, diagonally up from her is a small reddish brown Hare Shaman figure (that appears to have an "S" over it). On the Top the depictions again show the Hare Shaman and the Tall Woman, but in the left corner there is a Black Shaman with Horns (Pictures 53, this figure can also be seen in Picture 76), and over and behind the Hare Shaman is a redheaded head with a carved horn (with carvings) in front (Pictures 55 and 56), as if blowing the horn at the Hare Shaman (but this is also in the direction of the Tall Woman). Pictures 54 and 57 show the Hare Shaman upside down, he appears taller and as if walking, also with Picture 54 the Tall Woman upside down now appears to have a small Brownish Black Figure (Shaman?) as if he is beginning to climb a yellowish brown knotted rope (hair?) with a "V' and a head on top (a woman with upright arms?). The Hare Shaman and the Tall Woman are both central themes that are painted figures (most of the art on this stone that is either dyed or painted seems to have special significance). According to what is known from medieval writers the hare does not figure as an important part of Nordic mythology (neither does it appear to have any importance with the mythologies of the Sami or Finnic peoples), but it does in Amerindian mythology. In many Native American mythologies a spirit that favors taking the form of a hare is known as the Great Hare, he is a primary trickster and medicine spirit, in some myths he is the creator after a flood (sent by evil spirits) that destroyed the world. To my knowledge a Tall Woman is also not known in Nordic mythology, but there is a known 1636 AD French missionary's (Fr. Paul Lejuene) account of a Huron woman having a vision of a Tall Woman (as the moon and a medicine spirit helper). the Tall Woman in the woman's vision may have been based on an older tradition. Picture 58 shows the Bottom half of Side 4 as a Sperm Whale's head. On Side 3 and upside down Picture 59 has the outline showing the form of a Bear's head: Picture 63 shows the Bottom end of Side 3. On the Bottom corner the reddish corner may show the shaman's view of the underworld and regeneration, although with that said it appears that this is in fact the northerly direction of the stone. This corner was treated with a very small (3 mm x 1 mm) reddish shell fish or resin type dye. Picture's 61 and 62 show figures on it that appear as if contained, including a nude blonde female in some form of bacchic type ritual with a large dark bear like figure in a fur hat. This figure may be of an underworld or, and northerly (the north may have been then location of the other world) goddess that is similar to the later Germanic goddess Hel. To the right of this there are two large white figures, one is holding a club. When this is turned (Pictures 63 and 64) it shows a white male figure with reddish blonde hair, with his arms as wings; there is a long wavy diagonal harpoon or spear whose point arrives at a half shell shaped hat of a red and yellow figure in a bell shaped coat. To the right and below this there are two other dark figures, all three of these figures may be shamans. This should represent an ancient Northern European shaman's initiation of the spear wound and hanging on a tree. The spear initiation is known from the Viking Age and the god Odin who was wounded by his own spear and hung on a tree to learn the meaning of Runes (Viking occult letter symbols). If the Bottom of this stone is connected to an Amerindian Hare god and a Tall Woman goddess then it could be theorized that the story of a sacred Nordic harpoon or spear initiation may have originated from the Amerindians. There is also the possibility that this has to do with another god that had a ritual of the spear (but with three spears), that is the Thracian god Zalmoxis, how would a later people of the Balkans be connected to ancient Scandinavia? My artifact evidence shows that the Thracians of the Balkans were in contact with the ancient Nordics, and that one of their tribes may have had Nordic origins, there is more on this speculation later. The lower portion of this figure shows that it has the outline of an animal's head with one pointed ear and one round ear; therefore it appears as the head of a bear wolf. A bear wolf is thought by many to be the actual source of the name Beowulf (the Bee Wolf as a kenning for a honey eater such as a bear, but a bear that is extremely hungry such as a wolf, hence the name). On Side 3 Picture's 65 and 66 shows a Fox or Cat human figure that is possibly a woman. It is evident that she is holding the lower end of harpoon or spear above that is on the Bottom portion of the stone. On Side 2 Picture's 67, 68, and 69 show a large Pig or a Boar Head and a Eurasian Lynx (spotted), the Lynx has a painted female figure with baby for it's right ear, in front of this is a wavy flat area. This may be of one of a famed ancient climate event, perhaps a North West wind or even one of the Storegga Tsunami's (the last one is thought to have taken place C. 6,100 BC). Picture 70 shows the wild cat, but also a reddish orange circle, this is the blood moon, and should show that this is of what was known to the Norse of Viking Times as the "Autumn Blot", a Scandinavian version of the ancient Celtic Samhain (the origin of the modern Halloween). Picture 71 shows the pig or boar head wild cat and woman holding a baby, but if front of her are figures that are horizontal, there is a boat prow type headdress. Picture 72 shows a close up of the woman holding a baby and the horizontal figures in a boat. Picture 73 shows an upside down version of the woman and baby, it may be a male shaman. Picture 74 shows the Lynx on or attacking the back of a European Bison, under this is scene of a thin figure with ears (a Hare?) and a large white face with a diagonal line through it, the blood moon is behind this to the right. Picture 75 shows what looks to be the bottom half of an egg, the blood moon on top of this may have a face. Picture 76 to 78 show the thin figure in front of a group of horizontal figures, the large face is in the background, this may be a resurrection scene or a memory of ancestors. I have no doubt that Pictures 67 to 78 are of an ancient type of Nordic Blot rites, it shows an honoring of ancestors, it may have been the most sacred rite of the ancient Nordics. The harpoon or spear sacrifice that is above this to the upper right may have been connected to this. At this time I will mention that this is part of an oval seasonal clock that is mostly on the upper half of the NRS with the Bottom portion up. If so then this scene would be at 10:00 o'clock and should be late October. The harpoon or spear sacrifice should be at 11:00 and should be in November. Picture 79 is to the right of the Harpoon or Spear Sacrifice and shows the Bottom and some of the top center of Side 3, it has a very faint Narwhal facing left. Picture' 80 and 81 shows a Narwhal Horn Dagger pointed downward. The hilt has a woman holding a child, there is a woman's face wearing a black roundish bird's head, the left side of the dagger, on the right side there is a blonde haired figure with a roundish face. Picture 82 shows that the woman's headdress is now a dragonesque bird's head, the blonde haired figure is nude and wielding a sax type knife. It is evident that the dark female figure and the blonde male figure are in a combat, the figures on the hilt may be the reason and the prize for this conflict. Picture's 83 and 84 show the blonde headed figure now with a hat. The scene just mentioned is located at 12:30 and should be of the later part of December and the winter solstice, the Narwhal is at 1:00 and should be of January. The Inuit have a story (with various versions) that tells of a woman that either falls in the sea or is pulled under by a Narwhal, her hair becomes a narwhal horn, and this explains why it is twisted. The narwhal may be the Mesolithic and original "sword in the stone", but as the "dagger in the stone", the narwhal's skin is typically speckled as are most rocks or stones, with its tusk seen as a harpoon; it may have been once been known as the "harpoon in the stone". Another theory is that any gray colored whale with an unsuccessful harpoon sticking in it could have been seen the same way. Any women or goddesses associated with this should be similar to an Inuit story. The narwhal uses its tusk in a ritual called tusking, this could have been seen initially as being similar to sparring harpoons or spears, and then later as lances or swords.The Inuit name for the narwhal is "he who points his tusk to the sky". This is because the narwhal when surfacing usually breaks the sea's surface with its tusk pointed up; this could be seen as similar to the medieval lady of the lake's arm and her hand surfacing with the sword. Thus the original "Lady of the Lake" may be the "Lady of the Sea" as the "Narwhal Woman, any capture of such a horn may have been viewed as a sign of a great leader. Picture's 85 and 86 show near the bottom a sperm whale with a tail that has a bearded figure with long hair, this appears to be some type of sea god, the sperm whale's head may also may be a large pot, over this is a shaman's stick with a forked top. There is more to this that will be reviewed at a later date. It is at 2:00 o'clock to 2:30, this should be of the end of February to the beginning of March. Picture 87 shows a vast variety of art including many cups and animals, a full white moon at 3;30, ect this continues to 5:00 o'clock. It is from April to June, there will be more pictures and information with this area later with this write, but there is much more that has yet to be researched and photographed. Pictures 88 to 90 show figures mounted on a horse and a reindeer (and possibly a wolf), but as if they are on the animals rumps, the jagged paint appears as if they are with or throwing lightning. To their front are figures done in dyes that are larger and as if rushing forward. These mounted figures may represent invaders, possibly a pre Battle Axe invasion (or the arrival of the Battle Axe People in 2,800 BC, or earlier?) of a thunder and lightning god worshipping people. This suggests that the ancient Nordics may have had intense storms at this period of the year. It should be mentioned that although much later followers of the Thracian god Zalmoxis were noted to shoot arrows at lighting, as they believed that it insulted their god. This is at 5:00 to 6:00. There are no figures yet found from 6:00 to 7:00. Picture 91 shows the outline of a European Bison, there is more art in this area that has yet to be researched or photographed. It spans from 7:00 o'clock to 10:00 o'clock and completes this seasonal calendar. On Side 2 Pictures 92 and 93 (that are now upside down) show a figure holding a harpoon in a type of leatherback sea turtle boat that may be, or also be a snail or a whale, overhead there is a sword fish***, and a seal. In the Atlantic the sword fish is typically not seen further north then the Azores. Of note is that there is an "S" in front of the harpoon; the blow hole of a sperm whale is in the shape of an "S". If the front of the boat is a whale then the S would be right where it should be on a sperm whale, on top of this is a man's head that is as if being spouted. There is a sea legend that the sword fish will be spear a whale, this has never been verified as fact. Picture 95 shows sea creatures. The next scene (Picture 96) with the stone upright shows an abstract female nude (with wings?) as if on the sea, and over several long ships. Pictures 97 and 98 show a sitting nude female figure with long half blonde and half auburn hair and perhaps wings. The blonde and auburn hair may be symbolic of a duality, but it also may be based on a reality of a Sami (Laplanders) trait, the Sami (Laplanders) have a unique gene whereas many of their children are born with blonde hair that will later change to a darker color, this goddess may represent an ancient Sami (or a related Finnic people) fertility goddess that was attractive to the ancient Nordics that would later become the Nordic fertility goddess Freya, either, or, she appears to have been similar to Aphrodite (Venus). From another perspective she appears as if sitting on a ledge with animal and human faces behind her; to her left is a tall, thin grayish woman standing holding a spoon high up over a cup or a cauldron. Under the goddess is the upper part of a seal, under the seal is a white dolphin or a fish, if this combined it will also appear as the upper part of a standing man (but with feminine features) in a seal head and skin (a seal shaman?). Picture 99 shows faint large faces, over this is what could be thought of as long blonde hair (representing a harvest goddess or god?), to the right is an abstract colorful scene that may have standing stones, or a standing stone enclave. When this is put back in its sideways position the seal / seal shaman becomes a standing nude male figure who is either embracing a female figure, or he is two sexed, or is both of these (Seen in Pictures 100 and 101). Just behind this scene there is a large pig's head; there is also a smaller pig seen in the upper corner. Under the large pig's head is a Beluga. There are large faces in front that give the appearance of birds that are on or near the sea. There is a hint of a long boat with faces. This god should represent a fertility god that would become known in the Viking Age as the god Freyr. It may also be of an earlier consort goddess that would become Gerd who is Freyr's consort, or even a sister goddess that would become Freya (Freyr and Frya at some point are thought to have been consorts). The god Freya had several functions. He was seen as a solar, fertility, and a protective war god, but he also has a connection to the sea. He had the boar as his sacred animal; this is an animal that was sacrificed to him at Yule, and the tradition continues with the pig at Yule. The god Yngvi or Ing is thought to be a more ancient version of Freyr. The depiction seen here shows that this possible more ancient version shows that Freyr may have originally been a seal god, but also with a pig as its animal symbol of fertility and as the protector god of livestock. Another version could have originally had the goddess Freya as a seal goddess (mermaid). By coincidence the depiction's pose and the background on this stone is somewhat similar to that of the "Little Mermaid" statue (By Edvard Erichsen, unveiled in 1912, officially in 1913) in Copenhagen, Denmark. If this information is correct then the Danes may in fact have a statue that depicts their ancient fertility sea goddess, as well as their royal line. According to Medieval writers the Nordic Germanic tribes had two groups of gods that were fused to provide one pantheon. The original gods and goddesses were of a group named the Vanir. They appear as a more peaceful and superstitious (reputed for their sorcery) group that were at least somewhat egalitarian. The second group were invaders from the South East (Anatolia), the Aesir. The Aesir were a militaristic group that were patriarchal. The two groups battled, then under a treaty they fused. There is very little if anything seen in connection with the art on this piece that suggests the Aesir gods and goddesses; it appears to be entirely of the Vanir gods and goddesses. With that said it should be mentioned that the Norse Viking god Odin (Germanic Woden) was recorded by the medieval writers as the leader and sky god of the Aesir. After the Aesir merged with the Vanir he became the sky god of this joint pantheon. In my opinion the name Woden (or Odin) is of a Scythic / Germanic god that originated in the east, but it would appear that there had been a Vanir sea and mountain god that may have had some similarities. The fact that the god Odin had a sacred returning spear (named Gungnir, that always strikes it's mark and then always returns to his hand) may have originally been a harpoon. If so then I also believe that this returning trait later on became an iron spear (or spear head) that was associated with the magnetic. Picture 102 shows a large carved bird's head, in my opinion this looks to be similar to the head of a Steller's Eider. Picture 103 in the upper left has the Harpoon or Spear Shaman, on the bottom is the Black Horned Shaman, to the right is the Hare Shaman. Picture 104 shows the reddish corner as an eagle's head, under this to the left is a small Black Female nude, her form is similar to stone age female fertility idols. Under this is what may be another Stork, over to the left is the outline of a small female figure, it as she is being pulled upward by a line, in front of her is the Hare Shaman. Picture 105 shows the Hare Shaman in some type of group scene that is possibly of a ritual. Under this is a figure (female?) that is seen as if pulling on a line. Under this is what looks to be a cock's head (a symbol of the rising sun), the reddish corner area now appears as a Shaman's head, possibly of and connected to the cock. On Side 3 Picture 106 shows that the overall form appears somewhat as a two wheeled cart, although there is a hint of more wheels. Picture 107 (this is the same area as Pictures 88 to 90) shows a faint line drawing in black that appears to be of a peaked capped figure riding a wolf or a stag (or a reindeer), there are also large faces behind this. Next to and below this is a large beaked face with a brown and purplish background, it as if the face is drinking from a cup. On each side of this face there are two smaller figures (that appear to be in cup type vessels?); these may be shamans, they also may be shamans that are battling. The shadow of this brownish purple area suggests the shape of a bear, the larger tan shadow areas above this are similar to human forms that appear as of in a forward motion, this is similar to a group on the hunt. Picture 108 shows a white face with a carved bearded male face on top of a carved female face on bottom. Pictures 109 to 111 show a group of fisherman hauling in a large white female face. There is no doubt that this face is associated with the sea, but it also appears to be connected to the moon. The fisherman may be capturing or retrieving this as symbolic of a fishing season, or a fertility ritual. It should also be the drum top of a Shaman's drum. This white moon is from the sea goddess in Pictures 43-1 to 43-3. As mentioned this area of the stone requires much more research and photography. Picture 112 to 115 are of the NRS and a 1st to 2nd C. AD Thraco Dacian gypsum statue of a head that is seen on the right of the NRS, it is from Bulgaria and supposedly was found near the site of a Roman settlement. The nose had been broken off (apparently in modern times) and has been partially reconstructed. The hair appears to have designs and figures that should have meaning, the back may show a face. Due to the fact that the hairline is asymmetrical it may represent a scroll (or rolled animal hide, signifying a mystery?), one ancient writer claimed that the name "zalmoxis" was a word meaning "skin" as when Zalmoxis was born he was wrapped in a skin (supposedly a bear skin, this suggests a shaman). This asymmetrical hair style may suggest that this is one of Zalmoxis's messengers. The priests of the Thracian god Zalmoxis required that every 5 years one of their best men was selected to bring messages to the god. This was done by throwing the messenger on three upright spears (probably held or secured in a pit), if the messenger did not die then he was cursed as unworthy and exiled, then another was selected. Zalmoxis was a god of immortality so the Thracians and the later Thraco Dacians had no fear of death, as they like their god believed themselves to be immortal. It is 1 to 1/2 mm higher than the NRS, this may or may not be a coincidence. The lower hairline is very close to what is seen on the NRS's form on its lower end, except in an opposite direction. Zalmoxis is thought to have also been a fertility god and the scene of the harpoon or spear sacrifice on the NRS suggests that it is of a fertility rite. The overall phallic shape of the statue suggests that it is also of a fertility figure. HGe was also a teacher and a healer. A comparison of the NRS and the Thraco Dacian statue suggests that the god Zalmoxis may have originated in Thrace and specifically from the tribe of the Getae, it further suggests that the Getae may have originated at some early time from ancient Scandinavia. If so then Zalmoxis may have been originated from a Neolithic Nordic fertility mystery god. The sea shaman's compass and the man god of a harpoon or spear sacrifice suggests that the sacrificed individual was associated with a god of magnetic north, so it may have been with Zalmoxis. * If this scene is in fact of a celestial knife boat, then the depiction with a sword seen on the front of the Roman Officer's Naval Commander's Helmet with this collection and the sheath of the Royal Kraton Meteorite Keris with the KingArthurBanner.com collection should be of interest. ** Among other things the author of "Moby Dick" Herman Melville (1819 to 1891) had been a cabin boy and a hand on a whaler. For his fiction he had used these experiences along with inspiration from two stories of actual events involving whalers and extraordinary whales. One was the story of the Nantucket whaler Essex which was sunk by a whale in the Pacific in 1820. Another was a story written about an albino whale known as Mocha Dick. This whale was named for his haunt off the island of Mocha, Chile; it had escaped many whalers (wearing some of their harpoons) and had attacked ships, the whale was eventually killed. It is possible that Norwegian whalers may have had folk tales of an ancient legendary whaler, or whale, or both. Melville never explained the origin of the name Moby, that is if there is one, but it most likely has a biblical meaning. ***A theory on the swordfish, the giant squid, and the mastodon. If these are put together, then it may suggest ancient Nordic sea travel to Georges Bank off of Newfoundland, Labrador, and New England. Here is why: Scientists claim that Georges Bank had once part of the mainland, then around 11,000 years ago it became an island, it then submerged approximately 6,000 years ago. Georges Bank is thought by some to have been a fishing ground that was known to North Western European fishermen prior to the discovery of America. The outer shelf of this bank is a habitant to the sword fish in summer, and it thought to be a habitant of the giant squid (fishermen have hauled more giant squid specimens from this area then any other). The age difference with the Mastodon 11,000 year extinction date, the proposed date of the submersion of the island, and the age of this stone may have an explanation. The 11,000 year old extinction date is from current fossil finds, there may be undiscovered fossils that will show that this creature continued to survive to a later time, also George's Bank may have had several small islands that existed to a few thousand years ago. Fossil finds hauled in from fishermen's nets show that the Mastodon was on Georges Island, I have yet to verify any date estimates. In comparison with the theme and art on this artifact there are many other artifacts on this website and KingArthurBanner.com that may also be of interest! Copyright 2007 David Xavier Kenney Revised Jul, Oct 07 |
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