A Dupljaja-i miniatür harciszekér

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Ev: kb. 1500 Kr.e. (Keso bronzkor)

Kultura: Žuto Brdo – Gârla Mare

Ez a szép leletet, ugy néz ki, egy barlangban talalták, egy másik darabbal,a két miniatura harciszekeret ábrázol :egyik kétkerekű a másik három.

A kétkerekű szekérben egy antromorf madár-, solyomfejjel ábrázolt férfiszobor van, rajta a karcolás jelek a swastikára utalnak (a bal jel jobbra iranyulo swasztika a jobb oldali jel ballra iranzulo swasztika).

A két svasztika között két spirálábrazolás , szélükön két körrel szegélzezve. A hasán még egy harmadik svasztika jel van.

Egyes történészek ugy vélik , hogy Hyperboreus Apollot ábrázolja , ami az örökévaló nap jelkepe.A legenda szerint Apollo Hyperboreusba (az északi fagyos sarki régió) egy szekéren utazott amit hattyuk húztak (láthato a szobron).

Trbuhovic szerb régész szerint ezeket a leleteket napimádati szertartásokhoz és esőklrlshez használták, mivel a szekér hangja olyan mint a menydörgés.

Más feltevések szerint ez a harciszekér lehet a szállitó az eszköz a másvilág és az ég között.Hasonló szekereken utazott Thor, két kecske alltal huzva (Toothgnasher es Toothgrinder) vagy Perun , amiből lessz Szent Jónás szekere.

A madár arca ábrázolhatja a halottak lelkét is.

Kogaion

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Frigg (Myths of the Norsemen by H. A. Guerber)

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"Frigga Spinning the Clouds" by J. C. Dollman.

The Queen of the Gods

Frigga, or Frigg, daughter of Fiorgyn and sister of Jörd, according to some mythologists, is considered by others as a daughter of Jörd and Odin, whom she eventually married. This wedding caused such general rejoicing in Asgard, where the goddess was greatly beloved, that ever after it was customary to celebrate its anniversary with feast and song, and the goddess being declared patroness of marriage, her health was always proposed with that of Odin and Thor at wedding feasts.

Frigga was goddess of the atmosphere, or rather of the clouds, and as such was represented as wearing either snow-white or dark garments, according to her somewhat variable moods. She was queen of the gods, and she alone had the privilege of sitting on the throne Hlidskialf, beside her august husband. From thence she too could look over all the world and see what was happening, and, according to the belief of our ancestors, she possessed the knowledge of the future, which, however, no one could ever prevail upon her to reveal, thus proving that Northern women could keep a secret inviolate.

“Of me the gods are sprung;

And all that is to come I know, but lock

In my own breast, and have to none reveal’d.”

Balder Dead (Matthew Arnold)

She was generally represented as a tall, beautiful, and stately woman, crowned with heron plumes, the symbol of silence or forgetfulness, and clothed in pure white robes, secured at the waist by a golden girdle, from which hung a bunch of keys, the distinctive sign of the Northern housewife, whose special patroness she was said to be. Although she often appeared beside her husband, Frigga preferred to remain in her own palace, called Fensalir, the hall of mists or of the sea, where she diligently plied her wheel or distaff, spinning golden thread or weaving long webs of bright-coloured clouds.

In order to perform this work she made use of a marvellous jewelled spinning wheel or distaff, which at night shone brightly in the sky as a constellation, known in the North as Frigga’s Spinning Wheel, while the inhabitants of the South called the same stars Orion’s Girdle.

To her hall Fensalir the gracious goddess invited husbands and wives who had led virtuous lives on earth, so that they might enjoy each other’s companionship even after death, and never be called upon to part again

“There in the glen, Fensalir stands, the house

Of Frea, honour’d mother of the gods,

And shows its lighted windows and the open doors.”

Balder Dead (Matthew Arnold)

Frigga was therefore considered the goddess of conjugal and motherly love, and was specially worshipped by married lovers and tender parents. This exalted office did not entirely absorb her thoughts however, for we are told that she was very fond of dress, and whenever she appeared before the assembled gods her attire was rich and becoming, and her jewels chosen with much taste

Myths of the Norsemen by H. A. Guerber

Borna kola iz Dupljaje

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Period: oko 1500 godine pre nove ere (Srednje Bronzano Doba)

Kultura: Žutobrdska kultura

Ovaj divan primerak minijaturnih kolica (bornih kola) od terakote otkriven je, zajedno sa još jednim primerkom, početkom 20. veka u Banatu, u mestu Dupljaja. Jedna kola imaju dva točka a druga tri.

U središtu kolica sa dva točka, nalazi se antropomorfna muška figura sa glavom ptice. Na ptici su urezana dva simbola odnosno svastike (na levoj strani je svastika okrenuta na desno a na desnoj svastika okrenuta na levo).

Između njih se nalaze dve spirale, a ispred njih, sa suprotne strane, u vertikalnom pravcu su dva mala kruga.

Svastika, okrenuta na levo, nalazi se na dnu stomaka.

Sprokhof smatra da ovaj primerak predstavlja mit o Hiperboreji i Apolonu, koji je večno Sunce. Ove pretpostavke polaze od legende koja govori da je Apolon putovao u Hiperboreju u kolima koja su vukli labudovi. (to možete videti na kolima sa tri točka)

Srpski istoričar Trbuhović smatra da su ova kolica korišćena za obavljanje uranskih ili solarnih rituala, ili za prizivanje kiše, jer buka koju kola proizvode liči na grmljavinu.

Druge hipoteze govore da ova borna kola mogu predstavljati vozilo za prevoz u drugi svet, sa Neba. Kao primer možete videti kola boga Tora, koja vuku dve koze “Toothgnasher” i “Toothgrinder”, ili kola boga Peruna, odnsno Svetog Ilije kod Hrišćana.

Ptičija lica mogu predstavljati dušu pokojnika.

Autor članka Kogaion

Borna kola iz Dupljaje

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Period: oko 1500 godine pre nove ere (Srednje Bronzano Doba)

Kultura: Žutobrdska kultura More

The war chariot from Duplajaja

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Age: aprox. 1500 BC (Late Bronze)

Culture: Žuto Brdo – Gârla Mare

This beautiful piece, seem to be discovered into a tomb, together with another piece, which represent two miniaturistic carts (war chariots): one with two wheels and other with three.

In the center of the chariot with two wheels, it is a anthropomorphic male statue, with a bird-head. On this bird, up, it’s an incision which represent two symbol of swastika (in left is a right-facing swastika and in the right place is a left-facing swastika).

Between them are two spirals, and in the front of them, in opposite side, in vertical direction, are two little circles.

Another left-facing swastika it’s at the base of abdomen.

Some historians think that this piece represent Hyperborean Apollo, which it’s the eternal Sun. These presumptions start because of the old legend which tell us that Apollo travel to Hyperborea into a chariot pulled by swans (you can observe that at the war chariot with three wheels).

Serbian historian Trbuhovic think that this miniaturistic chariot it’s used for practicing at a uranian and solar ritual, or for invocation of rain, because the noisiness from the chariot it’s like the noise of thunder.

Other hypothesis inform us that this war-chariot it could represent a vehicle for transportation to the otherworld, from the Sky. As examples you can see the chariot of Thor, drawn by two goats “Toothgnasher” and “Toothgrinder” or the chariot of Perun, which become Saint Elias at Christians.

The faces of birds could represent the soul of the deceased.

By Kogaion

Valhalla

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Scene from the movie Valhalla (1986) by Peter Madsen.

Ásgarðr, world of the Æsir.
Vanaheimr, world of the Vanir.
Miðgarðr, world of humans.
Niflheimr, world of the primordial element of ice
Álfheimr, world of the Álfar (elves).
Jötunheimr, world of the jötnar.
Muspellheim, world of the primordial element of fire.
Svartálfaheim, world of the Svartálfar (black elves).
Svartalfheim or Nidavellir, world of the Dvergar (Norse dwarves).