Sunday, August 21, 2016

The Cross and The Dragon: The Pagan Roots of Irish Crosses





 
Article & Interview taken from:



Venceslas Kruta, an expert on Celtic art and civilization, explains the symbolism that underpins the Celtic cross

  When Celtic art is mentioned today, the term evokes the art that characterised those peoples now known as the ancient Celts – the peoples documented in the fifth century BC to the north of the Alps and recorded by classical historians during the following centuries as they expanded their territory towards the south and south-east. This art movement extended into Britain and Ireland once they had been Christianised in the first half of the fifth century.

So Celtic art can give the impression of being the artistic expression of all the peoples speaking the Celtic language. But the art of the ancient Celts was the result of a very long search for image-based expression, and the ideas common to the Celts since their origins vary according to the context. Venceslas Kruta, author of a new book, Celtic Art, explains its origins.


- We see a lot of crosses and dragons in Celtic art – what do they have in common?

 At first glance, very little. However, the Celts believed they were fundamental elements of a system, complex but consistent, which expressed their understanding of the universal order. The starting point is the notion of centre, a crucial concept for ancient Celts. It is here that the cosmic axis is supposedly found, imagined as a tree, preferably oak carrying mistletoe, whose branches support the canopy of heaven and the roots joining the underground world. It thus linked together three superimposed worlds: the Heavens, the Earth of the humans and the Underground world.

  - The representation of a world defined as four parts linked by a centre is one of the most frequent themes in Celtic art, isn’t it?

Yes, since the fifth century BC. Its simplest shape, a circle and a cross superimposed, is thus depicted on flat spoons most probably used for a ritual purpose, many of which have been found in Ireland. Their midpoint is sometimes pierced, suggesting their use during libations. This association of a cross, indicating the four major directions, and a circle, symbolising the limits of the territory that surrounds the central point, not only has a spatial value, but also a temporal one. The space defined by the journey of the sun and time can indeed not be separated: the four arms of the cross refer to the four daily events of the sun: from sunrise to sunset, including zenith and its equivalent underneath the horizon, but also the yearly events: solstices and equinoxes.





  - And what’s with the dragons?

The emblem of the pair of dragons, present on the Continent since the sixth century BC, decorated mostly weapons, especially sword scabbards of warriors in the fourth and third century BC. According to an account of the Welsh Mabinogi, such dragons would have been found on Excalibur, the legendary sword of King Arthur. The fight between the two dragons is figured in a most meaningful way on the cover/top of a remarkable artefact, the ceremonial jug from Brno, a masterpiece of Celtic art associated with the beginning of the bright season, the Beltane festival. It represents in a suggestive way most of the constellations that dominated in about 280BC the night sky on the day of this festival, as well as the one for both solstices and the Samain feast, beginning of the dark season.


  - What other images were there?

Several monuments have been discovered which marked the supposed place of the world axis, different for each community. This type of monument, known as their Greek name omphalos (umbilicus), has the shape of a pillar with decoration on each of its four faces. The most ancient one – the Pfalzfeld pillar in Rhineland, from the fifth century BC – and the most recent one – the Irish pillar of Turoe (Co Galway), probably from the first century BC – illustrate the evolution of this concept: from the representation of the divinity face wearing the mistletoe leaves, repeated on each side, to different images on each side, even maybe evocations of areas of the canopy of heaven that correspond to the four cardinal directions.

  - So this was about the Celts trying to impose some kind of order on their world?

The ancient Celts’ artworks are not made of borrowings or fortuitous inventions but are the expression of an extremely structured system of their idea of a universal order and its spatial and temporal understanding. Its dynamical aspect is fundamental. Its roots are ancient ones and its general elements are common to both continental and insular Celtic people. Those elements are one of the basis of their cultural unity.



  - And, finally, where does the Irish Christian cross come into all this?

The ultimate step of its symbolic representation is the Irish Christian cross, on which the pattern is arranged vertically. The Christ figure is in the centre – it has thus become the axis that links the heavenly, terrestrial and infernal worlds. However, on some of the crosses, solar patterns are depicted in place of the Christ. Even the pair of dragons can be found on some of them, which are supposed to have their annual fight. Such is the case of a cross of Gallen Priory (Co Offaly), where dragons coil up around a giratory pattern, a sort of curvilinear swastika, or on a Dromiskin cross (Co Louth). This confirms that the specific shape of the Irish cross is the result of a reuse of the old Image of the World in the Christian iconography. None of this is unusual, since the meaning of origin was fully compatible with the Christian doctrine. In Ireland, the image has thus been treated the same way texts from the traditional literature have been, turned away from their most obvious pagan aspects, and customised with a Christian aspect to best serve the new religion.

 Venceslas Kruta is one of the world’s leading experts on Celtic art and civilisation and author of Celtic Art (Phaidon)





Saturday, August 13, 2016

The Perseids Meteor Shower 2016




"The Perseid meteor shower, the most prolific meteor shower of the year, peaks on the night of August 11, 2016. The Perseids is a favorite of many stargazers because it shows more bright meteors than most showers, usually about 50-60 per hour.

Like most meteor showers, the Perseids are simply dust-sized pieces of icy debris expelled from a comet, in this case, Comet Swift-Tuttle. As the Earth passes through the comet’s debris trail once each year, some particles streak through our atmosphere and heat up, leaving a transient bright glow we call a meteor. The tiny particles burn up in the atmosphere. Very few, if any, make it to the Earth’s surface. Some hit the moon, too, though they’re too faint to see, even with a telescope.

The Perseids build slowly, starting in late July when you might see 3 to 4 an hour. They peak when Earth passes through the thickest part of the debris stream on August 11-12. At the peak of the show, in clear, dark sky, you might see as many as 60 meteors an hour."

Dorset - England

Cantabria - Spain

Jankowo - Poland

Vienna - Austria

Lindisfarne - England

Holloko - Hungary


Friday, August 5, 2016

Die Wilde Jagd


Painting: Franz RitterVon Stuck - Die Wilde Jagd
Music: Giuseppe Verdi - Requiem Mass Tuba Mirum

"One of Stuck's best-known paintings "The Wild Chase" depicts Wotan (Odin) on horseback leading a procession of the dead. It was completed about 1889, the year of Hitler's birth, and it has acquired a kind of semi-legendary status as the face of Wotan in the painting greatly resembles Hitler's."

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Tuesday, July 26, 2016

Graveland 2016 - A Multi Culti Stand-up Comedy




(A gay-friendly Robert Fudali. Here in a photo with Adam Darski)

I suppose every viewer of this blog know the Polish band GRAVELAND. Up untill now, to the mind of most Black Metal listeners the name of Graveland is strongly associated with Pagan Racialism and Underground uncompomising spirit. But not anymore!
(In reality Fudali has nothing to do with such "extreme" ideas. In the old true underground days responsible for this in Graveland was Capricornus & Karcharoth. The attitude and ideas of these two persons shaped Graveland. Fudali just followed...)

 Its been some months now since the latest incidents that took place in Poland. Graveland organized some gigs and antifa wanted to cancel them. The usual old story. Because of this Rob Darken issued an official statement about where Graveland stands for these days. Even to last few (i`m talking here to persons with dignity and self-respect not blind followers and other sheep) who were naive enough to still consider Graveland as some sort of "fighters with true ideals" this statement leave no room for similar further "misunderstandings".


Graveland today are nothing but an Anti-racist/Anti-fascist band that openly promote multiculturalism,  pro-zionism and a modern form of harmless cosmopolitan "paganism" far away from the true ideals of European heritage.
By still continuing supporting this band, buying his releases and merch you now know what "cause" you support. Keep that in mind.

The following statement and photo are posted by Robert Fudali himself on his personal facebook  account on 15th of April 2016.

 "For many years all over the world arrives fans Graveland
They come among others from countries in which it would seem, the metal is not very popular, such as China, Mongolia, Israel, Iran, Turkey, Burma, Mexico, Bolivia, Chile, India. Wherever reaches Metal Graveland gaining fans and recognition of authentic, not artificially created by commercial studios.

They listen to Graveland, seeing in him the values ??that really appreciate, because not only see them as valuable qualities for themselves, but for the fact that they are universal!
I am glad that through music Graveland someone living in Mexico interested in their indigenous beliefs associated with the Aztecs, that someone who lives in China and Mongolia under the influence of music Graveland reaches for his sword, constructs his first armor, expands knowledge of historical and archaeological interest of his country, enters or assumes a reconstructive.
That someone who lives in Iran, in spite of the fear of reprisals is interested in the ancient knowledge and beliefs of the Persians. Once I had contact with a boy from Burma who to get the plate Graveland have to cross borders illegally. I sent him a plate to Thailand given by his friend's address. T-shirts and sweatshirts Graveland buy eg. The fans of Israel.
This is because someone who really listens to Graveland, becoming a fan and lover begins simply understood Graveland creativity.

Because I think that everyone, regardless of skin color, creed, or political opinion. If listens and supports Graveland. He is my friend and Graveland! And it will always be, no matter what political option will want to censor or manipulate the works of Graveland!

Graveland values ??are universal, because for many years I am fascinated with the culture warrior, which is a feature of many cultures and civilizations throughout the earth.
My fascination and inspiration old ancient beliefs, also lost civilizations, have a huge impact on the image of Graveland in its musical form and content of the texts.
These are the values ??that create the epic nature of Graveland. It is the way we Graveland many years supply, which many people in the world understands perfectly!

I do not like some people who are struggling to Graveland associate with the flow NSBM, because they believe that the values ??that guided the Graveland are politically incorrect!
For many years, they have certain influence as it receives the Graveland in the world. They try to attach the label Graveland NSBM. Repeat like a mantra epithets at me that I am a Nazi, racist, etc. Materials propagated by these people are permeated with hatred! They wear special features of intolerance. Sometimes they take the form of outright absurd! For them the proof that you're a Nazi, you may even be a joint photo with someone whom they oppress.

Censorship is a symbol regimes. I abhor censorship and the people who are part of it. I remember the times of communism in Poland, and as the time runs censorship. As an attempt to limit our freedom and prevent the liberation of revolutionary thought which led the Polish nation for freedom! Organizations that today are trying to censor Graveland and many other metal bands are exactly the same, from what supposedly want to defend! Apparatus of repression and censorship regime dictatorship!

Graveland once played Black Metal. I was under the influence of uncompromising rebel trend in metal. In those days produced such albums as "Celtic Winter" or "Following the Voice of Blood". These albums were the then rebellious voice of Black Metal underground, which resulted in countries with weak democracies, they have been banned.
Today the agenda of censorship are trying to mainly use against Graveland arguments related to the history of Black Metal Graveland. They focus on ancient history Graveland, where it is easy to concoct their arguments against me. It shows, for example. Photos of the band Honor signing them as Graveland! This is not censorship but even ordinary hideous political propaganda! Censorship begins propagandize! Is it just me, but if the world really begins to resemble "1984" Orwell!

Metal music symbolizes everything together has the word FREEDOM!
And nobody has the right to censor metal music! Nobody has the right to intimidate teams limit their creative freedom! During our work we will judge us fans of metal music in the world! And only their voice and opinion counts!"

 

Sunday, July 24, 2016

The Last King




"In the year 1206 Norway is raged by civil war. The King's illegitimate infant son, Håkon Håkonsson, which half the kingdom wants killed off, is guarded in secrecy by two men. A story which changed the course of the country's history."



Saturday, July 16, 2016

Le Camp des Saints 1973 & Nice 2016




What a novel written in 1973 had to do with the recent happenings in Nice? 
Lets find it out...

Here is the story behind the novel Le Camp Des Saints:

"The Camp of the Saints (Le Camp des Saints) is a 1973 French apocalyptic novel by Jean Raspail. The novel depicts a setting wherein Third World mass immigration to France and the West leads to the destruction of Western civilization....."

Full story here: 


Take notice of this detail in the plot:

 An Indian "wise man" then rallies the masses to make an exodus to live in Europe. Most of the story centers on the French Riviera, where almost no one remains except for the military and a few civilians, including a retired professor who has been watching the huge fleet of run-down freighters approaching the French coast

Nice and Promenade des Anglais are not a part of the French Riviera?
A really remarkable coincidence!

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Wednesday, July 13, 2016

Black Pigeon Speaks

An intresting Youtube Channel which as it seems doesn`t share with the current establishment the same views on "diversity" and other "sensitive" topics....