PETROGLYPHS AND ENGRAVINGS REPRESENTATION ON
THE ROCKS OF THE AEGEAN THRACE (EVROS PREFECTURE)
Stamatis Α. Palazis - Stavros D. Kiotsekoglou Petroglyphs are the primeval communication codes of mankind and help us to understand some facets of man’s thinking. The plentiful environment led him to represent nature through the depiction of beneficial and fertile forces on the area’s rocks. It is easily understood why these forces with proliferating abilities that ensured nature’s bounty took a female form, exactly as represented in the petroglyphs of central Evros, surrounded by erogenous (vaginal) symbols or sometimes with scales weighting the soul (psychostasia-ψυχοστασία). The South Evros engravings are perhaps expressions of the secret symbolism of the Thracian tribes that inhabited the area. All the above will be presented by Greek Open University and EKATAIOS for discussion at the First International Symposium, Megalithic Monuments and Cult Practices, Blagoevgrad 2012, in honor of Prof. Dr. Sc. Vasil Markov.
Petroglyphs: Grammeni Petra, at the region of Mandra
Photographic support: fig. 1, 2.
Dimensions: about 1x1,5x1 height, altitude: 1.55m
Found by S. Palazis, Date: 23-02-2012
Place: Three kilometers southwest of Mandra (village) there is a woody area that is known as Grammeni Petra. It is named after the stone hillock which lay by the rural road on a narrow spot of the ridge on which the petroglyphs are found. The stone hillock covers a circular area nearly 7-8 m. in diameter. The almost spherical west
Fig. 1. Engraved depiction female form framed by erogenus symbols (Design S. Palazis)
Fig. 2. Engraved depiction
female and male form
.
2
side of the hill bears engravings that could constitute a single entity with the engravings which have been located in the nearby broken rock debris.
Description: Numerous engraved depictions of erogenous symbols (vulvas) that frame an engraved portrayal of a feminine figure resembling a phallus with wide open arms. A smaller masculine figure has been engraved above it and is combined with more but difficult to interpret shapes.
Commentary: Version 1: Baubo(=Βαυβώ) and Iacchus depiction. The feminine deity of fertility whose name means vulva is called Baubo. The vulva portrayals aimed to invigorate the periodically weakened vital powers of men and nature because the depiction of the genitals ensured the fertility and relieved people from the evil spirits. People worshiped Baubo on the island of Paros along with Demeter, Persephone and Zeus Eubuleus. It is believed that this was the source of Baubo’s worship in the orphic religion (Kern 1897). According to a subsequent source women worshiped a vulva effigy (Burkert 1993, 499, 583). According to Clemens Alexandrinus (Protr. 2, 20, 21) the old slave woman Baubo (=Iambe) jested with Demeter not using obscene language but using her own naked body and the emerging form of Iacchus from her vulva, as referred to in the Orphic Hymn, in an attempt to console Demeter for her lost daughter but also to remind her the ability she had to give birth to other children (Devereux 2006, 23, 49, etc.).
Version 2: What may be reflected are the lines of the Hesiod’s Theogony where great
Uranus came, bringing on night and longing for love, and he lay about Gaia, (Ηes. Theog. 126-127) spreading himself full upon her or the orphic version about cosmogony, (Αr. Av. 693 κ εξ) whereby the Night produced an seedless Egg, from which Eros and Phanes, the creators of the world, sprang.
Petroglyphs: Franka at the region of Mandra
Photographic support: 3, 4, 5, 6, 7, 8, 9.
Dimensions: about 1x1,5x1 height, altitude: 1.55m
Found by S. Palazis, Dates: 10-12-2011
Fig. 3. Anthropomorphic female deity (Design S.
Palazis)
Fig. 4. Arm with open palm
3
Place: 1,500 meters northwest to the Grammeni Petra petroglyphs and two kilometers south to Agriani village, behind the Arapi hill the Franka petroglyphs lay. Considering the Agriani village as the starting point, heading to the South and along the Franka stream, that stretches for two kilometers one should witness a small valley of approximately 5 hectares, through which the above-mentioned stream flows. Two rocky hillocks which bear inscribeded depictions and representations lay to the East of the valley, on the right bank of the stream at an altitude of 72 meters.
Part from the Franka petroglyphs on the first rock
Description: The first rock protrudes from the ground about 40 cm and its dimensions are 1.50x1.80 meters. Various engravings can be seen on the upper part; what is easily discernible is an open palm (fig.5) erogenous fertility symbols (vulva fig.6) a cross, something that resembles a bear footprint (fig.7) whereas other engravings are less obvious with thin superficial lines and difficult to interpret engravings. Among the above mentioned figures one that is clearly visible is a feminine human figure in shape of a phallus with the arms wide open. Its dimensions are 10x10.5 cm. On the left hand there can be seen five fingers whereas a branch is probably held in the right hand (Fig.3). If we have a close-up to the right of the figure, one can find a shape that resembles an arm leading to an open palm with five fingers while in the foreground one can see a cross, the horizontal lines of which form two vertical tridents on both sides (Fig. 4).
Fig. 5. Palm and around erogenous symbols
Fig. 6. Erogenous symbol
Fig.7. Footprint bear
4
Fig. 8. Rock with petroglyphs
Part from the Franka petroglyphs on the second rock
Place: Another rock of oval shape lays only one meter near the above mentioned rock and bears inscribed depictions and representations on its south vertical side.
Description: A trapezoid shape pattern with vertical lines, that resembles a plan of a ploughed field(?) lays below the erogenous symbol in the top right hand corner. What
Fig. 9. Scales psychostasia with erogenus and idols symbols (Design S. Palazis)
5
is more we can see an axis with scales on each side. An erogenous fertility symbol (vulva) and a linear representation of a human figure (idol) have been inscribed below each pan. The scales in the upper part is in balance whereas the scales in the lower part are unbalanced reflecting the relationship between the erogenous symbol and the human representation (idol). Next to the scales in the lower part there can be seen an inscribed representation of a hut(?) (Fig.8,9).
Commentary: The Book of the Dead shows us the Weighing of the Heart of the Dead which is also depicted on the wall paintings of the Egyptian burial chambers and in the images on the papyri (Fig.10) (Budge 1895, Pl. III, fig. 1,2,3).
The scales had a salient if not the utmost role both in the financial life and the general ideology of the Aegean Mycenaeans prior to the Homeric era as attested by the gold balances (Fig.12) that have been found in Mycenaean tombs and symbol the weighing of the Soul after death (Καλτσάς 2001, cat. nr. Π81). The Hommeric psychostasia is differently conceived, since Zeus sets up his balance and places the fatal destinies (=εἴδωλα or κῆρες, Ιl. 23,104. 5, 449, 451 etc.) of the people and determines who is to be killed in battle (Hom. Il. 22, 209 etc.). This version is also
Fig. 10. Weighing the heart of the dead in the presence of the Egyptian deities.
Fig. 11. Black-figure lekythos in
490 BC London UK Museum
Fig. 12. Gold scales psychostasia
Mycenaean period (1600 BC)
National Archaeological Museum
6
depicted in the black figure of lekythos, whereby the souls of the two warriors who are to fight a duel are represented in the balance held by Hermes (Fig.11). The need the Greek artists felt to depict the mortals’ souls in a different way than the souls of the dead, that is in form of invisible spirits floating by the ones who were alive appears at the dawn of the 7th cent. BC. Therefore the souls are depicted as tiny, slender and graceful feathered shadows that resemble butterflies. They are denuded of sex, facial characteristics or clothing (Παλαιοθόδωρος 2010). The idols that are inscribed through the petroglyphs on the second Franka rock below the psychostasia balance are identical of the above-mentioned description. The Greeks of the pre-Orphism differentiate between two aspects of souls, the soul of the alive, which is called θυμός, (Hom. Ιl. 7, 131. Οd. 11, 201, 203, 221) and the soul of the dead, which is called νέκυς (=dead) and εἴδωλο. The properties of θυμός are rage, fury, aggressiveness, love, hatred, joy, sadness, mourning, embarrassment, respect, bang which delineate the vital soul, since according to the Greeks what goes down to the Underworld is not the impersonal and shapeless θυμός, which reincarnates into another person or creature; it is rather a personal and idol soul, a spiritual image, the ghost of the dead, the soul of the dead.
The genitals, be they masculine or feminine (fig.1,3,6,8,9,13,14) are considered an indication of vital power and hence symbols of the vital soul and apparently it is this vital soul which is symbolized through the erogenous symbols around the psychostasia balance next to the idol (the soul of the dead) (fig.9). The diversity depends on the mood of the Thracian artist to depict the two souls to be judged symbolically, each of which is depicted below the pans of the balance through the idol (miniature) and the vital soul (erogenous symbol). The death of the vital soul of the balance in the lower part leads to the birth of the vital soul in another life (reincarnation), (Λεκατσά 2000, 6-12, 18, 70. Rhode 1925, 6,51,55 etc.).
Fig. 13. Erogenous symbol from the place Pournali
Fig. 14. Erogenous symbol from the place Vathyrema
7
On the aforementioned petroglyphs
All the petroglyphs unveil the presence of an ideology, a system of beliefs and values which is associated with religion, which in turn answers the questions each human being poses: Who am I? What are my origins? What happens after death?
It is beyond a shadow of a doubt that the central element in the religious life of Thrace particularly in the region of central Evros is an omnipotent feminine deity, which represents the continuation and rebirth of life in aeternum. The inscribed representation of the erogenous symbols (vulva) in all the images without exception represent the sacred power and denote motherhood, fertility and thus the creation of life. It is the means of the various versions of the Sacred Marriage and also the means through which God fertilizes women and the Earth. However the whole figure is not of significance; it is only that part which represents the entirety. Those symbols deriving from the female body are religious symbols of the creation of life and are characteristic of the Prehistoric Paleolithic and Neolithic Era (fig.15), during which a female deity is worshiped since the female power played a widespread religious part: being the creator of life, it reflected the matrilineal system, which was prevalent in those days (Gimbutas 2001, 94, 161 etc.).
The long wide-open arms resulting in wide-open fingers resembling a priest stance might depict some power, something that has occurred or might occur, an active power (Sansoni - Gavaldο 2001- 2002.) The Thracian artist has inscribed this
exact feminine deity in shape of a phallus surrounded by erogenous symbols at Grammeni Petra.(Fig. 1,2) The feminine deity has a salient position of authority,
Fig. 15. Carved vulva lovated on top the temble Lepenski Vir, late 7th millenium
Fig 16. Fragments Thracian ceramic from the Late Bronze Age until the end of the first millennium BC.
8
whereas the masculine figure, which has been inscribed above plays a secondary role, might have been her husband or son. The masculine figure is also a symbol of authority, expresses sexual power and might be purified and/ or transformed into spiritual power (Ηarrison 1995-97, 78, 166 ).
The anthropomorphic feminine deity in the shape of a phallus which has been inscribed at Franca (fig.3) is of the same style, surrounded by erogenous symbols, an arm and a palm inscribed on the stone (fig.4) and solely a palm. (Fig.5) The open palm recurs on petroglyphs and might denote possession, power, supremacy or even supernatural beings that are distinguished by the enormous arms. (Fig.7) It is therefore a sign which denotes their presence and their dissimilarity from human-beings.
George Vizyinos associated Babo of the recent tradition with Baubo of the Eleusinian Mysteries, which according to the Orphic tradition was referred to as Iacchus’(=Dionysus) nurse, a fact which will later be attested by N. Politis. (Θρακιώτης 1991, 148) Behind the temporary, ridiculous representation of Babo’s character, who along with her wooden figurine, her premature baby who lies in the cot, carries only few magic connotations, one must trace the underlying signs that at some point in the long distant past these might have acted as substitutes of rites, reminding us of the Baubo myth. The myth is ascertained by Comparative Ethnology and is also validate herein through the images provided (Varvounis 2003.
Παπαμανώλη 2008, 62).
Next to the feminine, anthropomorphic deity in shape of a phallus a psychostasia balance has been inscribed (Πολυμέρου 1987-1998). The coexistence and identification of the vital soul (erogenous symbol) and the dead soul (idol) is apparent; this identification is the idea of the blissful survival, to which the Orpheus followers are led through reincarnation. Depicting the erogenous symbols on the psychostasia balance testify the direct association of chthonic and life giving Baubo, who is an aspect of Great Mother with the teachings of the Orphic religion according to Clement of Alexandria (Protr. 2,20,21). According to the Orphic tradition Baubo of the Eleusinian mysteries substitutes Iambe, personification of the comic element at those mysteries where the rituals were of a serious and melancholic character. Baubo is for the first time referred to in the Orphic hymn and introduces comically lascivious verses at the Festivals of Demeter (Devereux 2006).
Chronology: Depicting anthropomorphic deities creates liaisons with a historical period, especiall the post-Homeric and Hesiodic period, as was the case with
9
depicting idols lacking facial characteristics. In the 4th and 5th century Plato believed in the immortality of soul, which is due to be repeatedly reincarnated which in contrast to the Aristotelian philosophy which denied the immortality of soul. The prehistoric hand-made pottery of the Late Bronze Age (Hoddinott 2001, 98-99) from the Vigla peak which is situated 1.5 Km as well as the relief pottery which dates back to the Late Bronze Age up to the 1st century BC., functions as the archaeological context of the petroglyphs. (Fig. 16) The engravings on the surface do not support any further information about the artist. Thus, I would suggest we date them to a time between the Late Bronze Era and the 1st cent. BC with more possible date the period from the 7th cent. BC to the end of the pre-Christian millennium .
Engravings in the village Iana (Alexandropolis) Photographic support: 17, 18.
Found by S. Kiotsekoglou and A. Nalbantis, Dates: 10-12-2011
Description: On a rocky hillock which lies at the Iana village one can see deep engravings, some of which end into small round-shaped basins (fig.17) On another flat hillock close to the above-mentioned one can see small basins, which may attest the Thracians’ astronomic knowledg (Fig. 18).
Bibliography
Varvounis, G.M., 2003. Balkan Resultants and Folkloristic Influences in the Thracian Dromenon of Babo, Παρνασσός, 35, pp.253-264.
Budge, E.A.W., 1895. The Book of the Dead, The Papyrus of Ani, Dover Publications Inc., New York.
Burkert, W., 1993. Griechische Religion der archaischen und klassischen Epoche, series Die Religionen der
Menscheit, Vol.15, Uster 1977, Gr. Transl., Ν. Mπεζαντάκος-Α. Αβαγιανού, Καρδαμίτσα, Athens.
Devereux, G., 2006. Baubo, la vulve mythique, Paris 1983, Gr. Transl. Γ.Τόλιας, Ολκός ΕΠΕ, Athens.
Gimbutas, M., 2001. The Living Goddesses, Berkeley 1991, Gr. Transl. N. Σιδέρη, Αρχέτυπο, Τhessaloniki.
Fig. 17. Engravings with small round basins
Fig. 18. Small round basins
10
Harrison, J.E.,1995-97. Prolegomena to the Greek religion, Cambridge 1903, Gr.Transl. B.Tάτση, Ιάμβλιχος, Athens.
Hoddinott, R. F. 2001. The Thracians, Thames & Hudson, 1981, Gr.Transl. Ε. Αστερίου, Οδυσσέας, Athens.
Θρακιώτης, Κ., 1991. Λαϊκή πίστη και θρησκεία στη Θράκη, Ρήσσος, Athens.
Καλτσάς, Ν., 2001. Τα γλυπτά. Εθνικό Αρχαιολογικό Μουσείο, κατάλογος, Kapon, Athens.
Kern, O., 1897. s.v. ‘‘Baubo,’’ RE, 3,1, pp.150-151.
Λεκατσά, Π., 2000. Η ψυχή. Η ιδέα της ψυχής και της αθανασίας της και τα έθιμα του θανάτου, Καστανιώτη, Athens.
Παλαιοθόδωρος, Δ., 2010. Οι απεικονίσεις των ψυχών στην αρχαία τέχνη, Αρχαιολογία και Τέχνη, 118, pp.7-13.
Παπαμανώλη, A., 2008. O Eραστής της Γης, Αρχαιολογία και Τέχνη, 109, pp.61-65.
Πολυμέρου - Καμηλάκη, Α., 1987-1998. Μετρήσεις: Συμβολισμοί και Πραγματικότητα, ΕΚΕΕΛ, 28, pp. 5-28
Rohde, E., 1925. Psyche. The Cult of Souls and Belief in Immortality among the Ancient Greeks, Engl. Transl., W.B. Hillis, Routledge, London .
Sansoni U. - Gavaldo S., 2001-2002. L’ ipotesi sciamanica nell’arte rupestre della Valcamonica. Note per un’indagine, in AA. VV., 2001-2002, Sciamanismo e mito, Atti del XVI Valcamonica Symposium, 24-29 Settembre 1998, BCSP, 33, pp.49-56
Abbreviations
BCSP = Bullettino Camuno di Studi Preistorici
ΕΚΕΕΛ = Επιτηρίς του Κέντρου Ερεύνης της Ελληνικής Λαογραφίας, RE = Real-Encyclopadie, Paulys Wissova
Stavros D. Kiotsekoglou, Archaeologist, S.T.L.S.
Member of the History and Ethnology Department, D.U.TH.
Email: stavroskiotsekoglou@gmail.com
Stamatis A. Palazis, Designer, indipendent researcher
THE ROCKS OF THE AEGEAN THRACE (EVROS PREFECTURE)
Stamatis Α. Palazis - Stavros D. Kiotsekoglou Petroglyphs are the primeval communication codes of mankind and help us to understand some facets of man’s thinking. The plentiful environment led him to represent nature through the depiction of beneficial and fertile forces on the area’s rocks. It is easily understood why these forces with proliferating abilities that ensured nature’s bounty took a female form, exactly as represented in the petroglyphs of central Evros, surrounded by erogenous (vaginal) symbols or sometimes with scales weighting the soul (psychostasia-ψυχοστασία). The South Evros engravings are perhaps expressions of the secret symbolism of the Thracian tribes that inhabited the area. All the above will be presented by Greek Open University and EKATAIOS for discussion at the First International Symposium, Megalithic Monuments and Cult Practices, Blagoevgrad 2012, in honor of Prof. Dr. Sc. Vasil Markov.
Petroglyphs: Grammeni Petra, at the region of Mandra
Photographic support: fig. 1, 2.
Dimensions: about 1x1,5x1 height, altitude: 1.55m
Found by S. Palazis, Date: 23-02-2012
Place: Three kilometers southwest of Mandra (village) there is a woody area that is known as Grammeni Petra. It is named after the stone hillock which lay by the rural road on a narrow spot of the ridge on which the petroglyphs are found. The stone hillock covers a circular area nearly 7-8 m. in diameter. The almost spherical west
Fig. 1. Engraved depiction female form framed by erogenus symbols (Design S. Palazis)
Fig. 2. Engraved depiction
female and male form
.
2
side of the hill bears engravings that could constitute a single entity with the engravings which have been located in the nearby broken rock debris.
Description: Numerous engraved depictions of erogenous symbols (vulvas) that frame an engraved portrayal of a feminine figure resembling a phallus with wide open arms. A smaller masculine figure has been engraved above it and is combined with more but difficult to interpret shapes.
Commentary: Version 1: Baubo(=Βαυβώ) and Iacchus depiction. The feminine deity of fertility whose name means vulva is called Baubo. The vulva portrayals aimed to invigorate the periodically weakened vital powers of men and nature because the depiction of the genitals ensured the fertility and relieved people from the evil spirits. People worshiped Baubo on the island of Paros along with Demeter, Persephone and Zeus Eubuleus. It is believed that this was the source of Baubo’s worship in the orphic religion (Kern 1897). According to a subsequent source women worshiped a vulva effigy (Burkert 1993, 499, 583). According to Clemens Alexandrinus (Protr. 2, 20, 21) the old slave woman Baubo (=Iambe) jested with Demeter not using obscene language but using her own naked body and the emerging form of Iacchus from her vulva, as referred to in the Orphic Hymn, in an attempt to console Demeter for her lost daughter but also to remind her the ability she had to give birth to other children (Devereux 2006, 23, 49, etc.).
Version 2: What may be reflected are the lines of the Hesiod’s Theogony where great
Uranus came, bringing on night and longing for love, and he lay about Gaia, (Ηes. Theog. 126-127) spreading himself full upon her or the orphic version about cosmogony, (Αr. Av. 693 κ εξ) whereby the Night produced an seedless Egg, from which Eros and Phanes, the creators of the world, sprang.
Petroglyphs: Franka at the region of Mandra
Photographic support: 3, 4, 5, 6, 7, 8, 9.
Dimensions: about 1x1,5x1 height, altitude: 1.55m
Found by S. Palazis, Dates: 10-12-2011
Fig. 3. Anthropomorphic female deity (Design S.
Palazis)
Fig. 4. Arm with open palm
3
Place: 1,500 meters northwest to the Grammeni Petra petroglyphs and two kilometers south to Agriani village, behind the Arapi hill the Franka petroglyphs lay. Considering the Agriani village as the starting point, heading to the South and along the Franka stream, that stretches for two kilometers one should witness a small valley of approximately 5 hectares, through which the above-mentioned stream flows. Two rocky hillocks which bear inscribeded depictions and representations lay to the East of the valley, on the right bank of the stream at an altitude of 72 meters.
Part from the Franka petroglyphs on the first rock
Description: The first rock protrudes from the ground about 40 cm and its dimensions are 1.50x1.80 meters. Various engravings can be seen on the upper part; what is easily discernible is an open palm (fig.5) erogenous fertility symbols (vulva fig.6) a cross, something that resembles a bear footprint (fig.7) whereas other engravings are less obvious with thin superficial lines and difficult to interpret engravings. Among the above mentioned figures one that is clearly visible is a feminine human figure in shape of a phallus with the arms wide open. Its dimensions are 10x10.5 cm. On the left hand there can be seen five fingers whereas a branch is probably held in the right hand (Fig.3). If we have a close-up to the right of the figure, one can find a shape that resembles an arm leading to an open palm with five fingers while in the foreground one can see a cross, the horizontal lines of which form two vertical tridents on both sides (Fig. 4).
Fig. 5. Palm and around erogenous symbols
Fig. 6. Erogenous symbol
Fig.7. Footprint bear
4
Fig. 8. Rock with petroglyphs
Part from the Franka petroglyphs on the second rock
Place: Another rock of oval shape lays only one meter near the above mentioned rock and bears inscribed depictions and representations on its south vertical side.
Description: A trapezoid shape pattern with vertical lines, that resembles a plan of a ploughed field(?) lays below the erogenous symbol in the top right hand corner. What
Fig. 9. Scales psychostasia with erogenus and idols symbols (Design S. Palazis)
5
is more we can see an axis with scales on each side. An erogenous fertility symbol (vulva) and a linear representation of a human figure (idol) have been inscribed below each pan. The scales in the upper part is in balance whereas the scales in the lower part are unbalanced reflecting the relationship between the erogenous symbol and the human representation (idol). Next to the scales in the lower part there can be seen an inscribed representation of a hut(?) (Fig.8,9).
Commentary: The Book of the Dead shows us the Weighing of the Heart of the Dead which is also depicted on the wall paintings of the Egyptian burial chambers and in the images on the papyri (Fig.10) (Budge 1895, Pl. III, fig. 1,2,3).
The scales had a salient if not the utmost role both in the financial life and the general ideology of the Aegean Mycenaeans prior to the Homeric era as attested by the gold balances (Fig.12) that have been found in Mycenaean tombs and symbol the weighing of the Soul after death (Καλτσάς 2001, cat. nr. Π81). The Hommeric psychostasia is differently conceived, since Zeus sets up his balance and places the fatal destinies (=εἴδωλα or κῆρες, Ιl. 23,104. 5, 449, 451 etc.) of the people and determines who is to be killed in battle (Hom. Il. 22, 209 etc.). This version is also
Fig. 10. Weighing the heart of the dead in the presence of the Egyptian deities.
Fig. 11. Black-figure lekythos in
490 BC London UK Museum
Fig. 12. Gold scales psychostasia
Mycenaean period (1600 BC)
National Archaeological Museum
6
depicted in the black figure of lekythos, whereby the souls of the two warriors who are to fight a duel are represented in the balance held by Hermes (Fig.11). The need the Greek artists felt to depict the mortals’ souls in a different way than the souls of the dead, that is in form of invisible spirits floating by the ones who were alive appears at the dawn of the 7th cent. BC. Therefore the souls are depicted as tiny, slender and graceful feathered shadows that resemble butterflies. They are denuded of sex, facial characteristics or clothing (Παλαιοθόδωρος 2010). The idols that are inscribed through the petroglyphs on the second Franka rock below the psychostasia balance are identical of the above-mentioned description. The Greeks of the pre-Orphism differentiate between two aspects of souls, the soul of the alive, which is called θυμός, (Hom. Ιl. 7, 131. Οd. 11, 201, 203, 221) and the soul of the dead, which is called νέκυς (=dead) and εἴδωλο. The properties of θυμός are rage, fury, aggressiveness, love, hatred, joy, sadness, mourning, embarrassment, respect, bang which delineate the vital soul, since according to the Greeks what goes down to the Underworld is not the impersonal and shapeless θυμός, which reincarnates into another person or creature; it is rather a personal and idol soul, a spiritual image, the ghost of the dead, the soul of the dead.
The genitals, be they masculine or feminine (fig.1,3,6,8,9,13,14) are considered an indication of vital power and hence symbols of the vital soul and apparently it is this vital soul which is symbolized through the erogenous symbols around the psychostasia balance next to the idol (the soul of the dead) (fig.9). The diversity depends on the mood of the Thracian artist to depict the two souls to be judged symbolically, each of which is depicted below the pans of the balance through the idol (miniature) and the vital soul (erogenous symbol). The death of the vital soul of the balance in the lower part leads to the birth of the vital soul in another life (reincarnation), (Λεκατσά 2000, 6-12, 18, 70. Rhode 1925, 6,51,55 etc.).
Fig. 13. Erogenous symbol from the place Pournali
Fig. 14. Erogenous symbol from the place Vathyrema
7
On the aforementioned petroglyphs
All the petroglyphs unveil the presence of an ideology, a system of beliefs and values which is associated with religion, which in turn answers the questions each human being poses: Who am I? What are my origins? What happens after death?
It is beyond a shadow of a doubt that the central element in the religious life of Thrace particularly in the region of central Evros is an omnipotent feminine deity, which represents the continuation and rebirth of life in aeternum. The inscribed representation of the erogenous symbols (vulva) in all the images without exception represent the sacred power and denote motherhood, fertility and thus the creation of life. It is the means of the various versions of the Sacred Marriage and also the means through which God fertilizes women and the Earth. However the whole figure is not of significance; it is only that part which represents the entirety. Those symbols deriving from the female body are religious symbols of the creation of life and are characteristic of the Prehistoric Paleolithic and Neolithic Era (fig.15), during which a female deity is worshiped since the female power played a widespread religious part: being the creator of life, it reflected the matrilineal system, which was prevalent in those days (Gimbutas 2001, 94, 161 etc.).
The long wide-open arms resulting in wide-open fingers resembling a priest stance might depict some power, something that has occurred or might occur, an active power (Sansoni - Gavaldο 2001- 2002.) The Thracian artist has inscribed this
exact feminine deity in shape of a phallus surrounded by erogenous symbols at Grammeni Petra.(Fig. 1,2) The feminine deity has a salient position of authority,
Fig. 15. Carved vulva lovated on top the temble Lepenski Vir, late 7th millenium
Fig 16. Fragments Thracian ceramic from the Late Bronze Age until the end of the first millennium BC.
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whereas the masculine figure, which has been inscribed above plays a secondary role, might have been her husband or son. The masculine figure is also a symbol of authority, expresses sexual power and might be purified and/ or transformed into spiritual power (Ηarrison 1995-97, 78, 166 ).
The anthropomorphic feminine deity in the shape of a phallus which has been inscribed at Franca (fig.3) is of the same style, surrounded by erogenous symbols, an arm and a palm inscribed on the stone (fig.4) and solely a palm. (Fig.5) The open palm recurs on petroglyphs and might denote possession, power, supremacy or even supernatural beings that are distinguished by the enormous arms. (Fig.7) It is therefore a sign which denotes their presence and their dissimilarity from human-beings.
George Vizyinos associated Babo of the recent tradition with Baubo of the Eleusinian Mysteries, which according to the Orphic tradition was referred to as Iacchus’(=Dionysus) nurse, a fact which will later be attested by N. Politis. (Θρακιώτης 1991, 148) Behind the temporary, ridiculous representation of Babo’s character, who along with her wooden figurine, her premature baby who lies in the cot, carries only few magic connotations, one must trace the underlying signs that at some point in the long distant past these might have acted as substitutes of rites, reminding us of the Baubo myth. The myth is ascertained by Comparative Ethnology and is also validate herein through the images provided (Varvounis 2003.
Παπαμανώλη 2008, 62).
Next to the feminine, anthropomorphic deity in shape of a phallus a psychostasia balance has been inscribed (Πολυμέρου 1987-1998). The coexistence and identification of the vital soul (erogenous symbol) and the dead soul (idol) is apparent; this identification is the idea of the blissful survival, to which the Orpheus followers are led through reincarnation. Depicting the erogenous symbols on the psychostasia balance testify the direct association of chthonic and life giving Baubo, who is an aspect of Great Mother with the teachings of the Orphic religion according to Clement of Alexandria (Protr. 2,20,21). According to the Orphic tradition Baubo of the Eleusinian mysteries substitutes Iambe, personification of the comic element at those mysteries where the rituals were of a serious and melancholic character. Baubo is for the first time referred to in the Orphic hymn and introduces comically lascivious verses at the Festivals of Demeter (Devereux 2006).
Chronology: Depicting anthropomorphic deities creates liaisons with a historical period, especiall the post-Homeric and Hesiodic period, as was the case with
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depicting idols lacking facial characteristics. In the 4th and 5th century Plato believed in the immortality of soul, which is due to be repeatedly reincarnated which in contrast to the Aristotelian philosophy which denied the immortality of soul. The prehistoric hand-made pottery of the Late Bronze Age (Hoddinott 2001, 98-99) from the Vigla peak which is situated 1.5 Km as well as the relief pottery which dates back to the Late Bronze Age up to the 1st century BC., functions as the archaeological context of the petroglyphs. (Fig. 16) The engravings on the surface do not support any further information about the artist. Thus, I would suggest we date them to a time between the Late Bronze Era and the 1st cent. BC with more possible date the period from the 7th cent. BC to the end of the pre-Christian millennium .
Engravings in the village Iana (Alexandropolis) Photographic support: 17, 18.
Found by S. Kiotsekoglou and A. Nalbantis, Dates: 10-12-2011
Description: On a rocky hillock which lies at the Iana village one can see deep engravings, some of which end into small round-shaped basins (fig.17) On another flat hillock close to the above-mentioned one can see small basins, which may attest the Thracians’ astronomic knowledg (Fig. 18).
Bibliography
Varvounis, G.M., 2003. Balkan Resultants and Folkloristic Influences in the Thracian Dromenon of Babo, Παρνασσός, 35, pp.253-264.
Budge, E.A.W., 1895. The Book of the Dead, The Papyrus of Ani, Dover Publications Inc., New York.
Burkert, W., 1993. Griechische Religion der archaischen und klassischen Epoche, series Die Religionen der
Menscheit, Vol.15, Uster 1977, Gr. Transl., Ν. Mπεζαντάκος-Α. Αβαγιανού, Καρδαμίτσα, Athens.
Devereux, G., 2006. Baubo, la vulve mythique, Paris 1983, Gr. Transl. Γ.Τόλιας, Ολκός ΕΠΕ, Athens.
Gimbutas, M., 2001. The Living Goddesses, Berkeley 1991, Gr. Transl. N. Σιδέρη, Αρχέτυπο, Τhessaloniki.
Fig. 17. Engravings with small round basins
Fig. 18. Small round basins
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Harrison, J.E.,1995-97. Prolegomena to the Greek religion, Cambridge 1903, Gr.Transl. B.Tάτση, Ιάμβλιχος, Athens.
Hoddinott, R. F. 2001. The Thracians, Thames & Hudson, 1981, Gr.Transl. Ε. Αστερίου, Οδυσσέας, Athens.
Θρακιώτης, Κ., 1991. Λαϊκή πίστη και θρησκεία στη Θράκη, Ρήσσος, Athens.
Καλτσάς, Ν., 2001. Τα γλυπτά. Εθνικό Αρχαιολογικό Μουσείο, κατάλογος, Kapon, Athens.
Kern, O., 1897. s.v. ‘‘Baubo,’’ RE, 3,1, pp.150-151.
Λεκατσά, Π., 2000. Η ψυχή. Η ιδέα της ψυχής και της αθανασίας της και τα έθιμα του θανάτου, Καστανιώτη, Athens.
Παλαιοθόδωρος, Δ., 2010. Οι απεικονίσεις των ψυχών στην αρχαία τέχνη, Αρχαιολογία και Τέχνη, 118, pp.7-13.
Παπαμανώλη, A., 2008. O Eραστής της Γης, Αρχαιολογία και Τέχνη, 109, pp.61-65.
Πολυμέρου - Καμηλάκη, Α., 1987-1998. Μετρήσεις: Συμβολισμοί και Πραγματικότητα, ΕΚΕΕΛ, 28, pp. 5-28
Rohde, E., 1925. Psyche. The Cult of Souls and Belief in Immortality among the Ancient Greeks, Engl. Transl., W.B. Hillis, Routledge, London .
Sansoni U. - Gavaldo S., 2001-2002. L’ ipotesi sciamanica nell’arte rupestre della Valcamonica. Note per un’indagine, in AA. VV., 2001-2002, Sciamanismo e mito, Atti del XVI Valcamonica Symposium, 24-29 Settembre 1998, BCSP, 33, pp.49-56
Abbreviations
BCSP = Bullettino Camuno di Studi Preistorici
ΕΚΕΕΛ = Επιτηρίς του Κέντρου Ερεύνης της Ελληνικής Λαογραφίας, RE = Real-Encyclopadie, Paulys Wissova
Stavros D. Kiotsekoglou, Archaeologist, S.T.L.S.
Member of the History and Ethnology Department, D.U.TH.
Email: stavroskiotsekoglou@gmail.com
Stamatis A. Palazis, Designer, indipendent researcher
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