There are plenty of resources on the web concerning what little facts are absolutely known about Finnish costume. Most of what I’ve learned about Finnish costume in the age of the Vikings (la…
Saying that someone with archaic views on gender roles lives in the Stone Age may not work anymore. A new study suggests that men and women in Lechtal, Germany during the Stone and Bronze Ages probably did not have the roles most people would assume.
The Iron Age was a period in human history that started between 1200 B.C. and 600 B.C. During the Iron Age, people across much of Europe, Asia and parts of Africa began making tools and weapons from iron and steel.
Two Finno-Ugric bows, the one to the left still needs to be wrappen in birch-bark. The bows used in Finland and parts of Scandinavia during historic times were of a composite design and with strong Asian influences. This bow type occupied a wast range of territory from the Northern rims of the Pacific ocean to the Atlantic coast of Scandinavia. There are some variations in construction and design of this bow type and it can be divided in two subcategories, the Finno-Ugric composite bow and the Siberian composite bow. A common term for these two types could be North Eurasian composite bows. Both subcategories are very similar in shape and size but they are constructed differently. The Finno-Ugric composite is a wood lamination constructed by joining two or up to four different pieces of wood. In Finland and among the Saami the back was made out of birch and the belly out of pine, cut out of a tree that had grown in a slant position and thus produced a special reaction wood that is much darker, harder and more saturated with sap than normal pine. This type of reaction wood pine endures a lot of compression but breaks easily. The birch slat that is glued on the back endures a lot of stretching and keeps the bow intact. The rigid siyahs are either added to the bow or are shaped of the prolongued ends of birch back slate. As the perch skin glue that was used to hold the parts together is very sensitive to moisture the finished bow was wrapped in birch bark. The covering also aided in holding the bow intact even in cold dry weather when the wood became more brittle. The range of this model extends from Scandinavia eastward to the middle ground between the Ob and the Yenisei river. Establishing the boarder area at the Ob river is based on the studies of the Finnish ethnographer U.T. Sirelius, and he also recognizes the Finno-Ugric bows as a distinct type. His studies only range as far as to the Khanty who live along the Ob and their bow is of the Fenno-Ugric subcategory. The Siberian bow type was found in the eastern parts of Siberia all the way to Pacific Ocean with some interesting intermediary forms along the borders. This bow type also occurs in some unique variations among Siberian Eskimo. The Siberian composite bow appears almost identical to the Finno-Ugric model, but there are differences in construction. The bow is usually made of one piece of wood with recurved ends. The bow is fitted with a sinew back covering. The sinew backing or the whole bow is sometimes covered with rawhide or thin strips of birch bark. The composite design seems to have reached Scandinavia from the East in the iron age, a discovery of a part of the bow-belly from Finland was dated to 200-300 years B.C. There are nine archaeological findings of Finno-Ugric bows from Sweden, Norway and Finland. For most parts the findings have been dated to iron-age and medieval times. Bows are constructed in various lengts, and some are actually quite long, one Khanty-bow in the museum of Zurich is 195cm. For most parts the bows where constructed to be as strong as possible as the arrows used were also heavy.
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The practice of sacrifice in Britain has a long history, but was particularly prolific during the Iron Age.
Applying a comprehensive analysis of genetic, historical, and archeological factors in two 6th-century barbarian cemeteries, researchers have gleaned new insights into a key era known as the Migration Period that laid the foundation for modern European society.
Celtic knots - we see them everywhere, as decorations on jewelry, borders on rugs or picture frames, and in knitted clothing and scarves, but have you ever wondered about the meanings behind these intriguing designs? Join me on a little exploration through the fascinating world of Celtic symbols. Celtic knots and their meanings With no beginning and no end, Celtic knots are known as symbols of eternity or infinity. They are often given as gifts between lovers, friends or family as a symbol of everlasting love, friendship or loyalty. Celtic knots are ancient symbols and knot designs have been found in artwork as early as the 3rd century AD and can be seen on Roman floor mosaics. Many iconic examples of Celtic knots can be found in the famous Book of Kells. These interlaced designs reflected Celtic beliefs in continuity and the interconnectedness of life. Celtic trinity knot, or triquetra, meaning The Celtic trinity knot, also known as a triquetra, is a three-pointed knot. The Celts felt that everything important in the world came in threes. The number three had a deeply spiritual meaning and was found in many aspects of their culture. Here are just a few of those meanings: the three stages of life - youth, adulthood, old age the three elements - air, fire, water the three domains - earth, sea, sky past-present-future life-death-rebirth In Celtic stories, questions were often asked 3 times. Laws, maxims, knowledge and poetry were always arranged in triads. The number three was always associated with luck, importance and magic. The triquetra and similar Celtic knots also had great significance for Christians and could be found in Christian artwork throughout Britain and Ireland. The Christian meaning of the triquetra is usually related to the holy trinity of the Father, Son & Holy Spirit. It also resembles three interlocking fish; the fish is an ancient Christian symbol that predates the crucifix by hundreds of years. The number three is also significant for Christians because Jesus was resurrected in three days and the Devil made three unsuccessful attempts to tempt Christ in the desert. When accompanied by a circle, the triquetra represents eternity or the unity of the three elements represented in the knot. As a modern-day symbol, it can represent the three promises of a relationship - to love, honor and protect the person who wears it. It is also considered to be a protective symbol, as the interwoven lines are thought to "confuse" negative energies. Other modern-day uses include decorations in everything from jewelry and home decor to clothing and tattoos. In the hit TV show "Charmed", it represents the power of three. Celtic spiral knot or triskelion meaning The triskele or triskelion is an ancient symbol dating back to the Stone Age. The oldest surviving triskele is in Malta and is estimated to be 6500 years old. The best known triskele is in a burial mound in Newgrange, Ireland, and is part of an astronomical calendar carved into rock. It dates back to 3200 BC. The Newgrange monument was designed to remain dark until the winter solstice, when it filled with light, illuminating the triple spiral designs on the walls. Made of three spiral arms, the triskele seems to suggest a state of perpetual motion, as if its arms are moving outwards from the center. As a symbol, it is thought to represent motion, progress, cycles and advancement and suggests that we should always be trying to grow, develop and become better in every way. Like the trinity knot, it also represents the importance of things that come in threes. In addition to the meanings of the number three noted above, here are a few more: spirit-mind-body mother-father-child past-present-future creation-preservation-destruction the three Celtic worlds - spiritual, present, celestial For Neopagans and Wiccans, the triskele also represents the Triple Goddess of the Mother, Maiden and Crone and the Rule of Threes, which is the idea that your deeds will visit you three-fold. One interesting deviation from the original form of the triskele comes from the island of Sicily. The Gorgon, Medusa, was seen as the protector of the island. Her head is at the center, with three legs spinning around it to form the shape of the triskele. Celtic Love Knot Celtic love knots come in various shapes like ovals, circles or squares, bu their one defining feature is that they are made of two separate strands that are intertwined and inseparable from each other. The two strands represent the union of two souls to be forever in love or forever in friendship. Celtic Sailor's Knot The Celtic Sailor's Knot is a simple, but elegant design made from the intertwining of two ropes (#3 in the diagram). Dating back to ancient times when Celtic sailors left for long months at sea, these knots were woven to give to their loved ones when they returned. It was a way for sailors to remember loved ones and also for the loved ones to remember the sailor when he was away. Although the sailor's knot is simple to tie, it creates one of the strongest knots, symbolizing a bond that grows stronger under pressure and with the passage of time. They have come to represent eternal friendship, harmony, affection and love, but are also believed to bring good fortune to the wearer and to keep them safe at sea. One other interesting tidbit is that it was also used to wipe sweat from one's brow during hard physical labor, such as cleaning the deck or loading cargo. Using the knot, even for something usually considered unclean, like wiping away sweat, somehow seems to make the knot more special to receive. This is especially true if it is given to a lover, since there may be some scent of the sailor left behind on the knot. Celtic Dara Knot The word "dara" can be traced back to the Irish word "doire" which means oak tree. The knot is a representation of an oak tree's root system. Trees were sacred to the Celts and especially the Druids. Known as the king of the forest, the oak tree was especially revered for its strength and longevity. It is said that the mighty oak is the tree most prone to lightning strikes and even when struck, it will continue to thrive. Oak trees were a symbol of power, strength, wisdom and endurance. Because of this, the oak tree's roots, and thus the Dara knot, are a symbol of our own inner strength and wisdom. Shield Knot The Shield knot is similar to the Dara knot in that it always has four "leaves", but its design is usually simpler and starker. It often is in the shape of a circle, with its pathway weaving through the center to create a square shape. The Shield knot is known as a symbol of protection and was placed near sick people to ward off evil spirits. It usually was drawn with thick strands, tightly-intertwined to represent and impenetrable, unbreakable barrier. Quaternary Knots Quaternary knots are any Celtic knots made of four leaves or elements and are symbols of things that come in fours. Here are just a few: the four directions the four seasons the four elements of earth, fire, water and air the four Celtic festivals of Samhain, Beltane, Imbolc and Lughnasadh the four great treasures of Tuatha de Danaan, the group who reclaimed Ireland from the Fomorians. The four treasures were magical talismans the men carried as defense and for attack - a spear, a stone, a sword and a cauldron. the emblem of Brigid, the Queen of Four Fires, who possessed the four wisdoms of hand, hearth, head and heart. More Celtic Symbols Celtic Cross The meaning behind the Celtic cross is debatable and shrouded in mystery, but these well-known symbols are prevalent in Irish culture and can be seen on any roadtrip through the Irish countryside. Early crosses were about 8 feet high and later crosses were much taller, with the very tallest being an impressive 23 feet high. The Celtic "high" crosses with arms that do not extend outside the ring, were made between the 8th and 12th centuries. Celtic crosses have their roots in ancient pagan beliefs. It is thought that the circle might have been a sun symbol or possibly a halo. It has also been suggested that the basic shape of the cross resembles trees, where were considered sacred. Some sources say that the cross was introduced by St. Patrick. Legend says that St. Patrick combined the cross of Christianity with the pagan sun while trying to convert the heathen Irish. Placing the cross on top of the circle symbolized Christ's supremacy over the pagan sun. Other sources say that the cross originally had four even arms within the circle and was believed to be a sun symbol. St. Patrick then took this cross and extended one of its arms to make it look more like the Christian cross. Claddagh Rings Claddagh rings date back to 17th century Ireland and come from the Galway fishing village of Claddagh. They are sometimes used as friendship rings, but more commonly as engagement and wedding rings. Claddagh rings are related to a group of European finger rings called "fede rings". The word "fede" comes from the Italian phrase "mani in fede", meaning "hands [joined] in faith" or "hands [joined] in loyalty". It is said that the hands in the design represent friendship, the heart is for love, and the crown is for loyalty. The rings also have a long tradition of being handed down as family heirlooms, usually from the mother to eldest daughter or from the grandmother to granddaughter. During the Irish Potato Famine of 1845-1849, a million people died from disease or starvation and another million people fled the country. Claddagh rings were one of the few valuable possessions they kept with them on the journey. Sometimes, it was the family's only savings and became the daughter's inheritance. One famous legend tells about a sailor named Richard Joyce who came from the fishing village of Claddagh. It is said that he and his entire crew were captured by pirates and sold as slaves in Algeria. Richard was purchased by a goldsmith who taught him his craft. He was kept for 14 years and after his release, he returned to Galway to find his true love, who was waiting for him. Using specks of gold he had collected from the goldsmith's shop each day, he fashioned these into a ring for his sweetheart and went on to make many more rings. His initials can be found on one of the earliest Claddagh rings. Did you know the Claddagh ring has special meanings depending on how its worn? When worn on the right hand, with the point of the heart towards the fingers, it means you are single and looking for love. When worn on the right hand, with the point towards your wrist, it means you are in a relationship. When worn on the left hand with the point of the heart towards the fingers, it means you are engaged. When worn on the left hand, with the point towards the wrist, it means you are married. A nice motto that elegantly sums up the meaning of the Claddagh in just a few words is "let love and friendship reign". The Claddagh also has meanings for Christians in that it represents the Holy Trinity, where the left hand symbolizes Jesus, the right hand is the Holy Ghost and the crown is for God. St. Brigid's Cross St. Brigid's Cross is a distinctive cross with a square at its center from which four arms radiate outwards. It is usually made of rushes, but sometimes straw is used as well. The cross is thought to keep evil, fire and hunger away from the home where it is displayed. St. Brigid, a patron saint of Ireland, is known as the founder of the first Irish monastery in County Kildare. Legend says that when she was looking for a place to build her community, she asked the King of Leinster for a piece of land that she thought would be perfect for the convent - it was next to a forest where people could collect firewood and berries and there was a lake nearby to provide water. When the king laughed at her proposale and refused to give her any land, she prayed to God to soften his heart. She then approached the king again and asked if he would be willing to give her only as much land as her cloak would cover. The king, thinking she was joking, agreed to the ridiculous request. Instead of laying her cloak on the ground, Brigid gave it to her four sisters. With each one holding a corner of the cloak, they began to run in the four directions. The cloak grew and grew, soon covering many acres of land. The king, fearing that her cloak would soon cover all his land, begged her to call back her sisters and he would give her a decent plot of land. Brigid agreed, and soon afterward, the king converted to Christianity and began to help the poor and aided in the building of the convent. The convent was known for making jam from the local blueberries which was sought all over Ireland. A new tradition is to eat jam on February 1st to honor this miracle. The story of the creation of Brigid's cross begins with her being called upon to console a dying pagan chieftain. The man was restless and delirious. As she prayed by his bedside, she picked up some rushes from the floor and began weaving them into a cross. After some time, the sick man became curious and asked what she was doing. As she began to explain the meaning of the cross, the man gradually calmed down. Inspired by the story, he asked to be converted to Christianity and was baptized before his death. Ogham Ogham was the first form of writing in Ireland and was used to record the earliest Irish texts dating from the 3rd to 6th century CE. The Ogham alphabet is shrouded in mystery, but it is known that the names of many letters can be traced back to the names of individual sacred trees. Ogham is made of groups of vertical lines, either slanted or flat, arranged along a vertical root and is read from bottom to top. About 400 surviving examples of Ogham can still be found in Ireland and Western Wales. Written on standing stones and wood carvings, most inscriptions are of personal names. Ogham was used for monuments and other practical purposes, such as keeping records and lists, but it also had magical purposes and is used for modern-day divination. Shamrocks The shamrock has long been associated with Irish culture and has been a symbol of Ireland since the 18th century. Because the shamrock has 3 leaves and because the number 3 had great significance to the Celtic people, it is thought that St. Patrick used the shamrock to turn the Celtic pagans towards Christianity. One of the first links of the shamrock to St. Patrick is its appearance on St. Patrick's coppers or Halpennies in 1675. These appear to show St. Patrick preaching to a crowd while holding a shamrock. There are also pictures of St. Patrick driving the snakes out of Ireland with a cross in one hand and a sprig of shamrocks in the other. Today, shamrocks are used in St. Patrick's Day parades and celebrations worldwide. Cernunnos Known as the "Horned God of the Animals", Cernunnos is the protector of the forest and of all trees, plants and animals. He is often shown with wild, shaggy hair and wearing the antlers of a stag. He holds a torc in one hand and a snake or large worm in the other, sitting cross-legged amongst the animals in a forest. Cernunnos is known to be a fierce warrior who fights his enemies with the plants, roots and trees which he controls. However, he also has a gentle side and plays music when one of his enemies dies by his hands. the Green Man The Green Man is an ancient symbol with images that date long before the Christian religion, even before the days of the Roman empire. He is usually a middle-aged or older man, whose face is surrounded with leaves, vines and flowers. Sometimes this vegetation sprouts from his mouth or sometimes his face is made entirely of leaves, seeming as if he is born from the natural world. He is believed to be a symbol of growth and rebirth, the blossoming of spring and the cycles of the seasons. But, just as spring leads to summer and then to winter, he is also a symbol of death and of endings. There are many images of the Green Man found on graves, but now, his face is an empty skull, yet still blooms with flowers and leaves. Today, modern pagans see the Green Man as a symbol of seasonal renewal and ecological awareness. In Wicca, he is one of the representations of the Horned God. Celtic Symbols in Nature Trees Trees were sacred to the Celts and were thought to have links to the upper and lower worlds. With their roots deep in the earth and their trunks growing high into the sky, it has been thought that the Celts believed the very top branches of trees swept against the edge of heaven. The Celts, and especially the Druids, had a special reverence for oak trees. In fact, the word "Druid" comes from the Celtic word for "oak". Depictions of sacred trees can be found on coins and altars, often accompanied by images of deities. Water Because of its cleansing and life-giving properties, water was seen as a symbol of purification, both of body and mind. The Celts believed that water, fresh and pure from a spring, had the power to cure disease. They also felt that it was sacred because it had a cyclical nature and seemed to have a link to the upper and lower worlds. When it fell from the sky as rain, they felt it was a gift from the sky god. This rain was then absorbed by the earth, later to reappear in springs. Fire The Celts had a sacred fire festival called Beltane, a name which is thought to have come from a Celtic-Gaelic word meaning "bright/sacred fire". It was held to mark the blossoming of spring and was meant to celebrate the fertility of the land. During the festival, all the fires in the community would be put out. A new fire would be lit, either by the head of the village or a spiritual leader. From this new fire, one or two bonfires would be lit and all the animals of the community would walk around or between the fires. This was thought to protect them in the coming year and increase their number of offspring. Finally, all members of the village would take pieces of the sacred fire back to their homes and relight their own hearths to bring them good fortune for the year. Keeping the hearth fire alive was of great importance and it was only allowed to die once a year - on the eve of the Beltane festival. If the fire died at any other time, it had to be "borrowed" from a neighbor and no one wanted to do that because it was believed that this gave the borrower power over the cattle and wealth of the lender. Snakes Celtic snakes can be found in Irish art, crafts and books and can have various meanings depending on the Celtic tribe. Most commonly, they are seen as a symbol of rebirth because they have the ability to shed their skin, leaving behind an old version of themselves and starting over again, fresh and new. When the snake is seen in a coiled position, with its tail in its mouth, it is a symbol of infinity or the circle of life. They are also known as a symbol of fertility because of their ability to produce many offspring. Noteworthy Pieces of Irish Jewelry Celtic Torc The torc, also known as a torq or torque, was a large, rigid metal neck ring with an opening at one end. It was the most prestigious item of Celtic jewelry and was a sign of wealth and status. In stone carvings, Celtic gods could be seen wearing or holding a torc and in ancient Irish stories, they were said to have supernatural powers. They were also used as talismans for protection against evil and were thought to be so powerful that some Celtic warriors went straight into battle naked, wearing nothing but their torc. Some torcs were found broken into pieces by enemies who feared their power. The word "torc" comes from the latin word "torquis", meaning "to twist", since many of the pieces were twisted in shape. There were five main types of torcs: a twisted ribbon, such as a thin strip of gold twisted into a spiral a plain circle carved with animal heads on the ends flared, making a wide crescent shape and hollow, with stones or pieces of metal inside them Celtic Brooch Celtic brooches were an early version of the safety pin worn by men and women to fasten cloaks or other clothing. Usually circular, with a long pin going through the middle, every surface was ornately decorated with stylized animals and Celtic knotwork, even the backside, which could not be seen when worn. The circle is a representation of infinity and may have been influenced by the pagan symbol of the sun. Both men and women wore brooches. For women, wearing a brooch was a rite of passage into adulthood and they usually did not wear jewelry until they were married. Men usually wore brooches on their cloak on the shoulder. Women wore them slightly lower and closer to their chest, but also used them as hair pins. In time, these brooches became very ornamental and were symbols of wealth and status. Some brooches became so large and the pin so long that they would injure people passing by and laws had to be passed to keep them a reasonable size. In the 7th and 8th centuries, fine materials like coral from the Mediterranean, enamel, stone and shells further enhanced the beauty of these brooches. They were also a sign of wealth, since only rich people could afford these fine materials. Some brooches have been found in graves, indicating that they were thought to ensure status and authority even in the afterlife. In the 8th century, Vikings attacked Ireland, plundering and destroying their monasteries. They brought many fine metals with them and created a new form of brooch - the thistle brooch. They also brought Celtic art back to Scandinavia and helped spread the art of Celtic metalwork. Summary I hope this short article leaves you with a slightly better understanding of symbols in Celtic culture. As you have read, many of the symbols are linked to ideas of eternity and infinity, reverence towards nature, or connection to spiritual worlds. Are there Celtic symbols that have a special meaning for you? Let us know about them in the comments! This article is brought to you by Woot & Hammy - "Our mission is to be a place for Wiccans, Pagans, and others to find affordable, high-quality jewelry that will help them express themselves and their beliefs, and by doing so, help to expand awareness and acceptance of them and their communities." Click here to visit our site. Image Credits: Introductory image of Celtic cross - By Tracy from North Brookfield, Massachusetts, USA (Flickr) [CC BY 2.0 (https://creativecommons.org/ licenses/by/2.0)], via Wikimedia Commons Celtic triquetra drawing - By User:Melian [Public domain], from Wikimedia Commons Celtic triquetra with circle diagram - By AnonMoos (initial SVG conversion of PostScript source by AnonMoos was done by Indolences) [Public domain], via Wikimedia Commons Triskele carvings at Newgrange Monument - By Jal74 [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)], from Wikimedia Commons Medusa Triskele drawing - By Giuseppe Barberis [Public domain], via Wikimedia Commons Sailor knots diagram - Public domain, https://en.wikipedia.org/wiki/File:Nf_knots.png#filelinks Celtic dara knot - https://pixabay.com/en/celtic-knot-silhouette-shape-365844/ Celtic shield knot - Public domain, https://commons.wikimedia.org/wiki/File:Shield_knot_(basic_form,_grey).svg Celtic cross in graveyard - By Aeris3 [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)], from Wikimedia Commons Gold Claddagh ring - I, Royalcladdagh [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/) or CC BY-SA 2.5 (https://creativecommons.org/licenses/by-sa/2.5)], via Wikimedia Commons Silver Claddagh ring - By de:Benutzer:Momo, https://commons.wikimedia.org/wiki/File:Ring-of-claddagh.jpg#file St. Brigid's cross - By Culnacreann [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY 3.0 (https://creativecommons.org/licenses/by/3.0)], from Wikimedia Commons Painting of St. Brigid - By Patrick Joseph Tuohy (HughLane.ie) [Public domain], via Wikimedia Commons Ogham carvings - By Rosser1954 Roger Griffith [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], from Wikimedia Commons and cc-by-sa/2.0 - © kevin higgins - geograph.org.uk/p/1850184 St. Patrick stained glass window - Andreas F. Borchert [CC BY-SA 3.0 de (https://creativecommons.org/licenses/by-sa/3.0/de/deed.en), CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], from Wikimedia Commons Cernunnos - Nationalmuseet [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or CC BY-SA 2.5 (https://creativecommons.org/licenses/by-sa/2.5)], via Wikimedia Commons Green Man - https://www.maxpixel.net/Wooden-Old-Green-Man-Decoration-Wood-3369511 Green Man skull - By No machine-readable author provided. SiGarb assumed (based on copyright claims). [Public domain], via Wikimedia Commons Misty rain on cliffs - https://www.maxpixel.net/The-Water-Cycle-Fog-Water-Water-Droplets-2415242 Beltane fire festival - By Stub Mandrel, https://en.wikipedia.org/wiki/File:Beltane_Fire_Dragon.jpg, https://creativecommons.org/licenses/by-sa/3.0/ Ouroboros circle snake - https://pixabay.com/en/snake-celtic-circle-logo-eating-40427/ Gold Celtic torc - [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons Silver Celtic torc - By Rosemania (https://www.flickr.com/photos/rosemania/4121249496) [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons Sideways Celtic brooch - By Johnbod [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], from Wikimedia Commons Gold Celtic brooch - By Johnbod [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0) or GFDL (http://www.gnu.org/copyleft/fdl.html)], from Wikimedia Commons
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Most of historical texts about Vikings comes from Christian sources, particularly monks who were the favorite victims of Viking raids and so ended up describing their enemies in a very tendentious manner and without esteem, thus distorting their real historical image. 1. "The Vikings practiced pillage as the only way of life or livelihood". One of the most popular images we have of the Vikings is being looters and raiders whose main occupation was practicing raids wherever they went, stealing, raping, looting and burning all that was left in its wake. Yet again we are facing a myth historically refuted. It is important to realize that our written records of the Viking Age are typically dated from 200 to 300 years after the events described. Until recently, almost all we had to know about the Vikings were chronicles written by those contemporaries who suffered Viking attacks, such as Christian chronicles - as the Anglo-Saxon Chronicle - where obviously the only image we have about the Vikings is as looters, since it is probably the only one that they saw or wanted to see those who were attacked by them. However, today we know that the Vikings rather than looters and raiders were mainly farmers and traders who spent most of the year taking care of their farms and lands and traveling to trade their products. They would have their expeditions - generally small - mainly in summer if they could afford it and, it seems, as an alternative method to get riches quickly. In fact, many inhabitants of the Vikings territories during the Viking Age, probably never went to an expedition. 2. "The Vikings were a barbaric, savage and illiterate society of rapists". Again, this myth was a result of the only sources we had about the Vikings, until recently, and they were essentially a negative opinion. This image that has come to us is a "dirty", "ragged", "savage" and "rough" Vikings. However, we know some things that demolish this myth; According to the Chronica by John Wallingford, "thanks to their habit of grooming the hair every day, bathing every Saturday and change clothes regularly, are capable of undermining the virtue of married women and even seduce the daughters of our noble to transform them into their beloved". We are talking about a time when hygiene was stigmatized by Christianity as something "sensual" and "pagan". Vikings were a society with a hygiene concept pretty "modern", they washed daily, every Saturday bathed (in contrast to their Christian contemporaries who bathed and changed his clothes, at most, twice a year: one in the fall and one in spring, coinciding with the arrival of cold or heat, time to change their clothes by a cooler or warmer ones), did laundry and changed their clothes regularly and had impressive objects of care hygiene. Something that Christians didn't until many centuries later. In addition, the Vikings took care their physical appearance, both in their hair and their ways of clothing that became substantially refined. We know they liked the decorations, beads, jewelry carved with great detail and meticulous decorative elements. We know they liked the clothes of rich fabrics like silk - that brought through trade to places as far away as Byzantium and Baghdad - and bright and cheerful colors like red or blue that decorated with rich embroidery performed themselves with colored threads. And not just in appearance is the issue, the office of skald (poet), was one of the most valued among the Vikings, who were considered socially at the height of the nobles. The Vikings not only enjoyed the material art, but they were a society fascinated by knowledge - in this case of oral tradition - which greatly enjoyed poetry, art in reaching unsuspected levels of refinement for the period from which we are talking about. Poetry, mythology and knowledge were absolutely important for the Vikings, do not forget that their chief god, Odin, not only was considered the god of victory or war, but also the god of wisdom who didn't hesitate to offer his eye on the Well of Mimir for gaining wisdom and knowledge. About raping, there is not one single contemporary source even accusing the Vikings of raping anybody. Where comes from such reputation? About one century after the Viking Age, monks started for the first time to accuse the Vikings of rape. In other words: about 100 years after the Viking Age had ended. In fact, the raping of a free woman was one of the few reasons on which the Vikings and their assembly government applied the death penalty ("human sacrifice"). Of course, we are not saying that rape didn't happen, as it has happened in all societies of history, but to blame an entire society of it is fallacious. All this leads us to the topic of treatment of women during Viking Age. Viking women, as any other European women, were the transmitters of culture and knowledge of their society and they leaded home affairs. A viking woman had her dowry freely available and could apply for divorce when she believed appropriate. Viking women were not owned by anyone and they had a voice to freely say what they believed opportune and to make decisions. Viking woman was an essential part of society. This is very different to what happened in Christian society, where women were perceived as a source of sin and evil. According to Christianity, every person was born guilty of original sin because Eve tempted Adam in the story of the Garden of Eden from the Bereshit בְּרֵאשִׁית (Genesis) book. Eve, therefore, was responsible for the inherent sinfulness of mankind and the sufferings of the human race. During the Middle Ages, the Church used the Latin term maleficae (malignant) to name the "witches" i.e. those who preserved the pre-Christian traditions from prehistoric origins, in order to demonize and accuse the pagans of practicing the "worship to Devil". These ancient traditions, as it has been said, were generally transmited by women and that's why the term "witch" is usually more applied to a female figure than a masculine. 3. "Norse paganism approved homosexuality". This myth comes specially from Christians who call themselves as "nationalists" taking the post-Viking age Christian writers as sources, but contrary to their fantasies, homosexuality did not have a good reputation during the Viking age as portrayed by the Christian writers. It is fair to say that Christian extremism and paranoia wanted to see perversions in almost any action did by pre-Christian cultures, similarly to what happened next with homosexual authors distorting European mythology, specially Greek mythology. In ancient Norse sagas Loki (a dark entity, who did not receive any kind of worship, related to chaos, fraud and deceit in Norse Mythology) accused Odin of being effeminate in Lokasenna, for practicing seiðr magic, which was seen as a feminine magic. But since Odin is the most important of all Gods, he is indeed above such laws. The fact that Loki insults Odin calling him homosexual, and Odin immediately replied angrily, shows that the Pagan Norse did not approve homosexuality, and many of modern pagans hold to this idea. The effeminate in ancient Nordic cultures was called ergi, and it was a pejorative term. This is shown in the laws against offenses and insults. For example in the legal code Grágás it says: There are three major terms when someone calls effeminate that lead to a lawsuit if this is said to a man, or if it is sexually used by another man, then the injured party can sue for terms of abuse, and even has the ability to retaliate in combat these words used against him. It also mentions that those trying to avoid marriage were penalized by law. A man who refused marriage was called fuðflogi (lit. man who flees the female sex organ) while a woman avoid marriage was flannfluga (lit. she who flees the male sex organ). The Old Norse word used in the law code and literature for an insult was níð, which may be defined as "libel, insult, scorn, lawlessness, cowardice, sexual perversion, homosexuality". From níð are derived such words as níðvisur ("insulting verses"), níðskald ("insult-poet"), níðingr ("coward, outlaw"), griðníðingr ("truce-breaker"), níðstông ("scorn-pole"), also níða ("to perform níð poetry"), tunguníð ("verbal níð"), tréníð ("timber níð", carved or sculpted representations of men involved in a homosexual act, related to niíðstông, above). Níð was part of a family of concepts which all have connotations of passive male homosexuality, such as: ergi or regi (nouns) and argr or ragr (the adjective form of ergi) ("willing or inclined to play or interested in playing the female part in sexual relations with another man, unmanly, effeminate, cowardly"); ergjask ("to become argr"); rassragr ("arse-ragr"); stroðinn and sorðinn ("sexually used by a man") and sansorðinn ("demonstrably sexually used by another man"). A man who is a seiðmaðr (one who practices women's magic) who is argr is called seiðskratti. The case of the "goldgubber" plaques. There is a pseudo-scientific text circulating Internet claiming that there are archaeological "proofs" of vikings approving "homosexual marriages": "A provoking bit of information is provided in the art-historical evidence as well. There exist a good number of small gold foil plaques known as goldgubber which depict a couple embracing. Frequently these are assumed to be Freyr, god of fertility, and Gerð, the beautiful giant maiden, and many commentators such as Hilda Ellis-Davidson believe that they may have been used at weddings.(Ellis-Davidson, Myths and Symbols, pp. 31-31 and p. 121). However, if one looks closely, at least two of the surviving goldgubber depict same sex couples embracing, one two bearded figures, another two women with the typical long, knotted hair, large breasts, and trailing dresses! Since these plaques in general are associated with weddings and sexual union, it is tempting to assume that these two same sex examples represent and/or commemorate homosexual relationships. Of course, the plaques in question could simply depict two friends embracing. Another possible explanation is that, in many cultures, people do not dance with the opposite sex, only with members of their own gender, and that therefore these figures may be representations of dancers." Two gullgubber plaques presented as an allegedly "proof of gay marriage" among vikings. Gullgubber are art-objects, amulets, or offerings found in Scandinavia and dating to the Nordic Iron Age. They consist of thin pieces of beaten gold (occasionally silver), usually between 1 and 2 sq. cm. in size, usually stamped with a motif, and are the oldest examples of toreutics in Northern Europe. Approximately 3,000 gullgubber have been found, from approximately 30 sites in Norway, Sweden, and the greatest number in Denmark. No fewer than 2,350 were found at the settlement of Sorte Muld on the Danish island of Bornholm, while over 100 were found at Lundeborg, near Gudme on the Danish island of Funen, and 122 at Uppåkra, Scania, Sweden. Relatively few gullgubber have so far been found in Norway. Many of the gullgubber that have been found in Norway and Sweden depict a man and a woman facing each other, sometimes embracing, sometimes with a branch or a tree visible between them. Sometimes the figures' knees are bent and they may be dancing. Some have only a single figure, either male or female, or an animal. A few are unstamped cutouts. Sharon Ratke, in her dissertation on the gullgubber, has added a further category of "wraiths" and suggests that they may indicate that some gullgubber were a tribute to the dead or to travellers. She rejects the notion of dancing, interpreting those figures as static and classing them among the wraiths. Recent attempts have been made to interpret the gestures of the couples depicted on gullgubber in terms of christian-medieval sources such as the Sachsenspiegel, as denoting "betrothal" or "marriage". However, almost 2,500 of the 3000 (That is 78-83%) have been found at Sorte Muld, on the Danish island of Bornholm, by far the highest number at any site. The second highest number, were found not far away at Uppåkra, Scania, Sweden. At both Uppåkra and Sorte Muld, the majority of the gullgubber do not depict couples. At Uppåkra, most depict men, a smaller number depict women, and only a few depict couples. Therefore and first of all, it is highly questionable to pretend that these objects are mostly associated with "weddings" or "sexual unions". Secondly, of the 3000 gullgubber found, only two of them depict same sex couples, that is, only 0.06%. So, why to interpret these objects as part of such a minority phenomenon as homosexualism rather than as part of a truly widespread and accepted phenomenon as friendship? That's because the interpretations of these people are biased by their own preconceptions and by their twisted and sick minds. Pretendig this as a "proof" of "widespread acceptance of homosexualism among vikings", implies a lack of intellectual honesty and it reflects that these conclusions are politically motivated.
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