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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. The article discusses miniature weathervanes that served the purpose of cloak pins. In this article I like to take you on a sea travel watching the stars.. Old Norse literature offers a rich variety of interesting examples when it comes to clothes and costumes. As with medieval literature in general, it is not uncommon that descriptions of dress or outward appearance can give an insight into the character of the wearer, together with his status in society. These are usually very simple, probably as simple as they come, and not much of a contribution to the history of clothes and costumes in Scandinavia when it comes to design, textiles, and handiwork. Accordingly, the article will focus on the symbolic nature of the clothes by taking a closer look at the trolls themselves, their community and social status as described in the literature. Last, but not least, it will look for a further meaning behind the literary texts from the perspective of medieval ideology, as represented in the symbolism of literature and the visual arts. With a special focus on the accounts and depictions of the Raven Banner, an iconic symbol of Norse expansion towards the west in the 9th to 11th centuries, I will here attempt to reconcile sources from Iceland, Norway, England and Ireland, in order to trace a connection between the kings and earls of what is now Norway and the bearers of the Raven Banner in Medieval Ireland and Anglo-Saxon England. For this purpose, I will first follow their lineages back to Ragnvald 'Heidumhaere' and Ragnar 'Lodbrok'. I will then attempt to tie up these two strings by discussing how these two forefathers may have been related. This overview will also form the basis for a discussion of whether the Raven Banner could be seen as a family banner. The spear is doubtlessly one of the most iconic weapons of the Viking Age. In addition to its numerous applications in armed conflict, where it was used by foot-and horseback warriors, the spear served as a potent emblem of power and social prominence. This paper examines a group of rare Viking Age miniatures shaped like spears and spearheads. Made of a variety of materials, including iron, silver, copper alloys and wood, these intriguing artefacts were probably carried on the body singly or as part of elaborate sets of religious paraphernalia. By investigating the contexts of their discovery, as well as their materiality and different practical applications, new ideas will be offered about the miniature spears' social and symbolic significance. These fragments form the basis for a discussion about women's burial clothing and the visual functions provided by textiles in burial rituals. The analysis concludes that each of the women wore a traditional suspended dress made of woollen fabric. Traces of outer clothing were also found in all the graves. The woman in the chamber grave at Hestnes was wearing a lined woollen cloak, decorated with embroidery of uncertain extent and a braided cord along the edge. In Skeiet Grave 2, the deceased woman wore a lighter shawl-like garment in linen which was fastened together with a ring pin. This woman also had an additional linen cloth attached to a trefoil brooch placed in a small chest at the foot of the grave. Most textile remains were found in the boat grave, Skeiet Grave In addition to the traditional suspended dress, the deceased was wearing an apron-like garment and a woollen cloak. The most spectacular textile find was the remains of a blue-dyed, down-filled woollen blanket which partially covered the deceased. Covering quilts are highly unusual in Viking Age graves in Scandinavia and only one case, from the famous Oseberg Ship, has, until now, been found in Norway. The Danish trade monopoly of the seventeenth and eighteenth centuries resulted in the implementation of strict regulations and controls on textile production, the introduction of weaving workshops equipped with new horizontal looms, and a deliberate attempt to phase out the production of homespun cloth on the warp-weighted loom. What was the fate of homespun cloth in this era of introduced industrialization in Iceland? This paper reports current research on these collections and suggests that homespun cloth did not die out in the late medieval period, but that it continued into the seventeenth and eighteenth centuries, declining slowly thereafter. Moreover, homespun cloth of the early modern period evolved into something that was structurally different than its earlier medieval version, possibly in response to increased climatic fluctuations during the Little Ice Age. The textile material from Birka's graves is both well-known and often referenced. Not least, the cloth material in the burials has formed the basis for reconstructions of high-status fashion during the Viking Age. In addition to fine fabrics of high quality, these graves also include a variety of decorative elements interpreted as adornments consisting of glass and glittering stones that probably served as sequins. In some graves they have been found as cut glass pieces and loose stones, while in other graves they are still framed in a kind of passementerie work or as parts of embroidery. By considering these sequins and other bling in their context, both in relation to the costume but also to other objects in the grave, we want to give a more nuanced picture of how decorative elements such as these may have been used and perceived in their time. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Viking Age weather vanes - looking for the stars? Thomas Kamphuis. Leidorf Hedenstierna jonson et al sequins and other bling in viking age fashion Marianne Vedeler. Most of the examples come from archeological excavations of the nineteenth and twentieth century, and although they are often-quoted objects, their meaning has until recently been a mystery for researchers. This chapter presents an updated list of finds and discusses their different forms and current interpretations. Moreover, it places this type of artefact in the context of full-sized banners, flags, and weathervanes used in the Viking Age. Miniature Weathervanes: A Presentation of the Find Corpus At the moment, we are aware of at least eight miniature weathervanes, originating from seven localities. The variant of the weathervane is typical by its two pole sockets and no animal on the yard. The material is gilded copper alloy. Currently, the item is stored in the Swedish History Museum together with an 85 mm long pole. The object is now stored in the Gotland Museum, Visby. Prior to the act of cremation and subsequent burial, the dead presumably a man was laid on a bear fur along with dogs, a horse, a chest, a long knife, a silver-passamenterie decorated piece of clothing, two oriental silver coins from the ninth century, a comb, a whetstone, two ceramic cups, and an iron necklace with a hammer pendant. Based on Lamm Bild 4; fig. Three pole sockets hold a copper alloy circular shaft, which is broken on both ends. The grave has been dated to the tenth century. Currently, the weathervane is stored in the Swedish History Museum, Stockholm. The miniature weathervane was excavated in Novoselki village, Smolensk area Fig. The message also included a drawing, produced by Mikhailov himself after the discovery was made in Lamm stated that the find originated from grave no. Schmidt claims that the miniature weathervane was actually found in grave no. The artefact is stored in the Smolensk State Museum-Preserve. One of them does not show any trace of pole sockets, has more significant tassels, and is of Borre-style design Fig. Wearing a Banner: Cloak Pins with Miniature Weathervanes vane, but it is probably a remnant of a brooch or pendant. According to him, they were mainly status symbols and pieces of artistic value. At the same time, he held the opinion of the objects being a part of boat-models, similar to ship-shaped candlesticks that we know from Norwegian churches of the twelfth and thirteenth centuries. Lamm suggested the weathervanes could have been used to help with determining the angular height of astronomical objects. It seems that the poles were tapered in the socket part, while having the tip widened and flattened. Below the weathervane, there was an eyelet for attaching a textile string, which was used for fixing the pin. The resulting pin was probably meant to fasten cloaks, similarly to the widely-used ringed pins Fig. In terms of construction as well as geographical distribution, the most similar group of objects are so-called dragonhead pins, which were summarised by Figure Photo by Christopher Kunz. Kalmring and Holmquist. Both types of artefacts suggest a centralised manufacture, leading to the conclusion that they were distributed for instance as gifts among people belonging to high social strata. Contextually, the grave of Novoselki can be dated in a similar way. The Birka finds most likely date to before the last quarter of the tenth century. It is not unlikely that all of the abovementioned examples of both main types date to the tenth century, especially its first three quarters. Interestingly, some dragonhead pins have a similar date. Due to issues of preservation of organic material, usually finds made of metal especially sheet metal survive in the archaeological record — such finds have been recorded in present-day Denmark, Norway, Sweden, and the Baltics. They are always quarter-circle or triangular in shape and are usually made of gilded copper alloy and occasionally of silver. Tassels, apparently made of organic material, were attached to the prepared holes. This archaeological overview of Viking Age weathervanes can be concluded by mentioning spearheads that have a wire wrapped around the socket, probably originally intended for attaching a linen pennon. The depicted material is undoubtedly a fine textile or sheet metal. When the depicted objects show some decoration, it often contains bird motifs, crosses, or geometric shapes. In this context, it is crucial to emphasise that weathervane miniatures most likely show vanes mounted on ship masts or ship bows. In general, iconography of the eighth-tenth centuries shows sheet metal vanes on masts e. It is beyond doubt that they were extremely valuable items, and some even had their own names. The decorations, often depicting a raven symbol, were embroidered into the fabric. The symbolism associated with the flags is remarkable — they were treated as living objects that were capable of independent decisions and had the capacity to bring victory or defeat to the bearers. Encomium Emmae Reginae says that the embroidered raven symbol appears spontaneously on the flag at the time of the declaration of war. The only other information we have about them based on written sources is that they are symbols of supreme luxury, that they could be removed and re-deployed, that they were shining, made a distinct sound, and that they helped determine the direction of the wind. Not every ship owner could afford such an accessory though. The weathervane was undoubtedly affordable only to a relatively small and elite group of people who owned massive and lavishly equipped vessels. What does all this suggest about the use of weathervane miniatures? Their owners and bearers seem to have formed a small, closed, privileged group of people who moved in the Baltic Sea area and up the extensive river systems all the way to the Old Rus. In general, travelling by sea could be typical for this group of people, which is one of the possible reasons for the shape of the miniatures, which refers to the banners used on ship masts. Production of miniature weathervanes in present-day Sweden, including Gotland, can be expected sometime during the tenth century, and it cannot be ruled out that this was the official fashion of royal courts in Sweden. Based on our current knowledge of the distribution and manner of wearing of analogous pins, it is most likely that miniature weathervanes were also worn on the right shoulder and probably served as cloak fasteners. Keynes eds Encomium Emmae Reginae. Cambridge University Press, Cambridge. Dumville, D. Lapidge eds Brewer, Cambridge. Gade, K. Skaldic Poetry of the Scandinavian Middle Ages 2. Brepols, Turnhout: — Linder, N. Haggson eds Schultz, Uppsala. Schultz, Uppsala: 32— Secondary Sources Baetke, W. Hans Fix, Greifswald. Vitterhets Historie och Antikvitets Akademien, Stockholm. Bischoff, V. Viking-Age Sails: Form and Proportion. Journal of Maritime Archaeology 1— Blindheim, M. Bruk og teknikk. Viking 85— Brandt, B. Stockholm universitet, Stockholm. Bandlundeviken — a Viking Trading Centre on Gotland. Burenhult ed. Remote Sensing, vol. Stockholm University, Stockholm: — Bruce-Mitford, R. Antiquity —8. Christensen, A. The Viking Weathervanes were not Navigation Instruments! Cleasby, R. An Icelandic-English Dictionary. Oxford Clarendon Press, Toronto. Creutz, K. Stockholms universitet, Stockholm. Graffiti na vostochnyh monetah. Ekberg, V. New Interpretations of Viking Age Weathervanes. Frykberg, Y. Syrholen i Dala-Floda socken. Arwidsson ed. Birka II Vitterhets Historie och Antikvitets Akademien, Stockholm: 31—8. Speculum 87 4 : — Hjardar, K. Vike Vikings at War. Casemate, Oxford and Philadelphia. Jets, I. Lahingu maod : Skandinaavia 9. Bleile Bodendenkmalpflege in Mecklenburg-Vorpommern 81— Kalmring, S. Holmquist Antiquity — Kivikoski, E. Die Eisenzeit Finnlands: Bildwerk und Text. Kulakov, V. Stratum Plus 5: — Lamm, J. Die wikingerzeitliche Miniaturwetterfahne aus Menzlin, Lkr. Ostvorpommern, und verwandte Funde. Bodendenkmalpflege in Mecklenburg-Vorpommern 57— Lukman, N. Classica et Medievalia — Myhre, B. Gansum Skipshaugen e. Borrefunnet — Midgard historisk senter, Borre. Nordgren, I. Norr, S. Norr ed. Uppsala University, Uppsala: 83— Lamm Bildsteine auf Gotland. Metalldetektorn i praktiskt bruk. Department of Archaeology and Classical Studies, Stockholm. Salin, B. Schirren, M. Menzlin, Lkr. Bodendenkmalpflege in Mecklenburg-Vorpommern Shmidt, E. In Smolenskie drevnosti, Vyp. Uppsala universitet, Uppsala. Vitterhets Historie och Antikvitets Akademien, Stockholm: 15— Die Wikingerzeit Gotlands IV:1—3. Wild, L. November Viking Research Network, Melbourne: 37— Online Source Kunz, Ch. As I have previously noted in an article from ,1 if it has eye holes, we can assume not only that the mask was worn by someone but also that it was almost certainly observed by others, something that implies that a performance of some kind took place. This performance involved a performer; the observers who are naturally participators in the Figure Photo by Matthias S. Toplak, Viking Museum Haithabu. At the same time, what was once a static object the mask has suddenly come to life. In short, new rules have entered the space, the performer being well-aware that they have more freedom and less need for inhibition than before. With regard to the way the mask itself is understood, comparative folkloristic and anthropological research has shown that traditional masks are often kept out of sight when they are not used for performances adding a degree Figure Courtesy of Nordiska museet, Stockholm, Sweden. Figure Image of Lussia and a jolesvein, Forsand, Rogaland, Norway. Courtesy of Norsk Etnologisk Gransking. The Magic of the Mask performance by particular, recognised mask-makers using particular materials, sometimes working only at a particular times and then destroyed afterwards sometimes as part of particular ritual traditions. This means that as objects, they demand respect, not least because they contain power and freedom, something that in turn implies that the bringing out and the putting away of the mask itself will often involve a degree of ritual and a link with the past, ancient, reused masks also carrying within them a sense of connection to the forefathers or other previous wearers. For logical reasons, they commonly form part of ritual activities, ranging from the political to the religious, and not least because of their effects on both the performer and the audience. Karol Schauer. Furthermore, images always raise the question of whether real life is being depicted, or activities in another supernatural world. Most have roots in totemistic belief of some kind and the idea that the wearing of the mask commonly associated with animals of some kind bestows the wearer with the power of the animal in question. For logical reasons, one can see associations if distant with shamanistic practices. None of the examples given appear to have pure entertainment value. Each, in some way or another, appears to have close connections with the world of religious belief and practice. One of comparatively few human figures in the petroglyphs from this area most images are of wild animals , there is good reason to place this figure alongside other images from the same area showing another horned figure and a group of figures standing on a boat that appear to be wearing bird masks. Large-scale evidence drawn from the numerous Bronze Age petroglyphs of southern Sweden and Norway in the period between 1, and BC underlines that masking involving among other things the continued use of horns, and then winged bird costumes, much like those still worn in eagle dances by the Native Americans of New Mexico still formed a central part of religious activities Figs Courtesy of Knut Helskog. After Gunnell The Magic of the Mask Figure The probability must be that they too had a religious purpose that was associated not only with power, but also performances involving music reflected by the lurer , dance, and acrobatics. The images in question which were evidently only meant to be seen by a few chosen people show female figures in long dresses and wearing bird headdresses or masks of some kind. This latter figure appears to be dancing and carries two spears. Among the numerous other figures that appear on the tapestry are dancers, adorants, and what seem to be a number of women wearing bird and boar masks. If this is so, it would certainly add weight to the idea that the totemistic animal mask was still seen as giving its wearer additional supernatural power. Indeed, all the evidence suggests that these warriors lost control of themselves as they entered battle. AD found in Hedeby adds further support to the ida that animal masks were still being used during the Viking period, although as has been stressed earlier, the background of these particular masks is unknown. The account in question describes an intertwining circle dance involving weapons which the Germanic Varangian Guard at this time predominantly made up of Scandinavians apparently presented for the Byzantine emperor in Constantinople at Christmas time. Image: Mary Storm. All in all, on the basis of the evidence noted above, it appears evident not only that masks and dramatic activities of one kind or another played a role in various ritual activities in the north from the late Stone Age until the arrival of Christianity, but also that they were seen as providing a connection to the supernatural world. Fischer transl. Saxo Grammaticus. The History of the Danes. Faulkes, A. Snorri Sturluson. Fulk, R. Whaley ed. Skaldic Poetry of the Scandinavian Middle Ages 1. Brepols, Turnhout: Olrik, J. Saxonis Gesta Danorum. Adam of Bremen. Scriptores rerum Germanicarum. Hahnsche, Hannover. Tschan, F. Columbia University Press, New York. Um berserki, berserksgang og amanita muscaria. Almgren, O. Almgren, B. Arent, A. Bing, J. Botteldoom, E. Dubois eds Renaissance de Livre, Waterloo. November in Halle Saale. Gollancz, New York. Coles, J. Bengtsson Rock Carvings of Uppland: A Guide. Societas archaeologica Upsaliensis, Uppsala. Oxbow Books, Oxford. Ellis Davidson, H. Pagan Scandinavia. Eckhoff, E. Eliade, M. Patterns of Comparative Religion. Shamanism: Archaic Techniques of Ecstasy. Emigh, John. University of Pennsylvania Press, Philadelphia. Gelling, P. Davidson The Chariot of the Sun. Dent and Sons, London. Glob, P. Goldhahn, J. Bahn, N. Gudnitz, F. Broncealderens monumentalkunst. Gunnell, T. The Origins of Drama in Scandinavia. Masks and Mumming in the Nordic Area. Gunnell ed. Introduction: Performance Stages of the Nordic World. Masks and Performance in the Early Nordic World. The Journal of Folklore Research. Folklore och Performance Studies: En introduction. Gutjahr, M. Heinesen, W. Heinesen Det fortryllede lys. The Night of the Gryla. Heinesen ed. Helskog, K. Helleristningene i Alta: Spor etter ritualer og dagligliv i Finnmarks forhistorie. Alta museum, Alta. Holmqvist, W. The Dancing Gods. Honigmann, J. The Masked Face. Honko, L. Honko, S. Hougen, B. Osebergfunnets billedvev. Nockert eds Osebergfunnet IV: Tekstilene. Janson, E. Hygen, A. Die Textilfunde aus dem Hafen von Haithabu. The Magic of the Mask Janson, S. Bertilsson Forum, Helsingborg. Knuts, E. Masks and Mumming Traditions in Sweden. Kraus, C. Das gotische Weihnachtsspiel. Krafft, S. Dreyer, Oslo. Lanz, N. Maraszek, R. Masken und Maskerierungen der Bronzezeit in Europa. Meller, H. April Montgomery, J. Muensterberger, W. Murphy, L. Nordbladh, J. Steinsland ed. Words and Objects. Olrik, A. Oxenstierna, E. Natur och Kultur, Stockholm. Pettitt, T. Traditions of the People: Customs and Folk Drama. Tydeman ed. Alt Price, N. Mortimer An Eye for Odin? European Journal of Archaeology — Ruiu, F. Imago, Nuoro. Rutherford, W. Shamanism: The Foundations of Magic. Aquarian Press, Wellingborough. Schechner, R. Performance Studies: An Introduction. Routledge, London and New York. Stutz, L. Larsson, H. Kindgren, K. Knutsson, D. Simonsen, P. Tolley, C. Shamanism in Old Norse Myth and Magic. Tonkin, E. Bauman ed. Vedeler, M. Scandinavian Academic Press, Oslo. Sound Source Hedninga Other Media Source Donahue, L. BBC 4. Popular Music Monica Maghirang. Aulao de arquivologia Alfa Con Benedito Soares. Cassandra Clare Alex Rote. Feedback provision and use in teaching and learning: a case study Samuel Laryea. Olhares sobre a fotografia Nuno A Pinheiro. The long delay Phillip R. Systems thinking leadership: New explorations for school improvement Chen Schechter.

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