Artifakt sa svastikom,delom kolovrata,Solarnog simbola, iz praistorijskog perioda pronadjen u Dakiji (Trakiji). The lance tips from Muncheberg (Henning, Die d. Runendenkmaler, Taf. I. 2) The swastika, under its two forms represented in archaic times the spring sun and the winter sun. These hieratic signs appear in various parts of the ancient world, where the Pelasgian race had once spread, in Europe, Asia and north Africa. The cult of the swastika existed in the countries of Dacia even during the Roman epoch. A votive monument discovered at Turda and dedicated to Diana (sister of Apollo) bears above it the sign (Archaeologisch-epigraphische Mittheilungen, II. p. 81). The exiled Dacians took with them to Britania this symbol of their religious beliefs. We find on an inscription of Cohort I Aelia Dacorum from Amboglanna, near Hadrian’s wall (C. I. L. vol. VII. nr. 825), the sign of the cross surrounded by a circle and the sign of the swastika with the arms turned towards east . As a traditional symbol, both these forms of the swastika are still used today by the Romanian people, on grave crosses (the village Garla-mare, Mehedinti district), and on the embroidery of the peasant women from Transilvania (Swastika and other Akkadic signs in the magazine “Tinerimea romana”, Bucuresci, 1898. Vol. I, p. 418). A particular archaeological importance is finally presented by the fact that on the two lance points figure as emblem the lightning, fabricated in antiquity by the Cyclops for Jove. Their form is archaic [7]. [7. Swastika and other various graphic characters in antique form figure in the thousands on the carved stones of which the monumental church “Trisfetitele” from Iasi is built. They are reproduced at Tocilescu, Revista pentru istorie, I, 1883, p. 242. Sometimes we find the symbolic signs of Jove’s thunderbolt and swastika, used in the 16th and 17th centuries in the Romanian Country, at the beginning of princely documents or diplomas, certainly on the basis of some traditions which today we do not know any more. So, on a document from 1596 (7104) of Mihai Vitezul, whose original is at the Library of the Romanian Academy, the sign appears as an archaic fulmen (thunderbolt). On other two documents, one of Radul Serban from 1607 (7115), the other of Radul, the son of Michnea, from 1612 (7120), both deposited at the Library of the Romanian Academy, this is replaced with a swastika in spirals, having the following forms]. Both inscriptions from the two lance tips are from right to left, a style of writing common to the Umbri, Etruscans, Osci, ancient Latins, and which is also present on archaic Greek monuments. The last two letters are FC, and the reading of the inscription should be: O L E T O S F (e) C (it) [8] [8. In regard to the deciphering of this word we also note here that an E under the form of can also be found on the Pelasgian inscription from Lemnos (Bull. D. Corresp. Hell. X. 3). And in Corpus inscr. Lat. III. nr. 147991 we find an = E. Polybius (X. 10. 11) mentions one Aletes, about whom the ancient traditions said that he might have discovered the silver mines and that for this he had been accorded divine honors. In antique legends an Oletis figures as demon of the lower world (Roscher, Lexikon). Henning though, in order to make a German word in runes out of the inscriptions from the lance tips, declares the letters O and from the beginning and end, as simple ornamentation signs, so that he could read the first inscription as RNNNGA, and the second as RANNGA. A lot of non-sense]. Here we end this study of the torc from Petrosa. We summarize: The treasure from Petrosa is neither Gothic, nor Byzantine, either by the form, or by the type of the ornamentation of its objects, and finally, by the inscription on the massive gold torc. This important monument of gold craftsmanship, unique in the world, belongs to another civilization, to other religious ideas. Everything appears as archaic, starting with the great gold disc, with Apollinic ornaments, from the platter with figures, among which Terra Mater and Apollo the Hyperborean hold the place of honor, and from the Phoenix fibula, and ending with the torc with Pelasgian graphic characters. We have here without doubt the remains of a religious treasure, composed of various precious objects consecrated in remote times to a famous temple of the Great Mother, or of Apollo the Hyperborean, in the countries from the Lower Danube. We are the first to hold such beliefs and convictions. Even at 1870, Cesar Bolliac, the initiator of archaeological studies in Romania, had expressed the following opinion: “some might say whatever they wanted, our archaeologists could squirm as much as they could, the vases from Petrosa are Dacian vases, in Dacian style, for a cult from Dacia” (Trompeta Carpatilor, 1870, nr. 876, pag. 3). And in another place he writes: “There are many characters on the bricks and stones from Slon, which could be similar with the characters on the bracelet (torc) from the gold treasure (of Petrosa), which, since its discovery to this day, I believed and still believe to be Dacian” (Trompeta Carpatilor, 1871, nr. 939, p.3, 4). Bolliac had explored various regions of the country from an archaeological point of view. He saw in the prehistoric civilization of Dacia only an uninterrupted line from the epoch of polished stone to the Roman times. Bolliac attributed this civilization to the Dacians, whom he considered as the native population of these countries [9]. [9. The hypothesis of the Gothic origin of the treasure from Petrosa. Those who insisted that the inscription on the torc from Petrosa is formed of Gothic runes, and that this inscription contains a German text (gutani owi hailag), were forced to declare in order to give weight to this hypothesis, that also the figures which decorate the platter from Petrosa represent nothing else but the divinities of the German pantheon Walhalla. Apollo, the Pelasgian god, received in this new baptism the name of Balder, the son of Odin, the goddess Opis was renamed Verdandri, Venus Freya, Hercules Thor, and Ianus, the son of Apollo, the father of the Pelasgian nation, was identified with the evil spirit Aegir, to whom was also conferred the position of Neptun of the Goths, etc. (Notice sur la Roumanie, 1868, p. 382). In order to expose how superficial and unsuitable were these characterizations, keep in mind that this Grimr Aegir, who spit venom and fire, and drank the blood of people and animals (Grimm, Deutsche Mythologie, II. 1854, p. 969), had received, by the grace of these enflamed runists, a place of honor on a sacrificial platter, immediately near Apollo, the god of beneficial light, and in front of the great divinity Terra Mater, the abundant source of all the good things. We believe at the same time that here is the place to mention a few words about the last publication of Odobescu, “Le Tresor de Petrossa” (Paris, 1900). Odobescu had never distinguished himself for his historical and archaeological studies. Antique history, art history, archaeology, epigraphy, were always only hobby occupations for him. Lacking more real knowledge, and always lacking the gift to penetrate the mysteries of the historical and archaeological sciences, he had been strongly impressed by the opinion of the Evangelical priest from Bucuresci, Neumeister, that the text of the inscription on the torc from Petrosa might have been “gutani owi hailag”, the meaning of which could have been “dem guten Scythenland heilig”. This was a hypothesis which in all his later writing Odobescu tried, as he himself admits, only to develop and complete (Notice sur la Roumanie, 1868, p. 371). After the various articles and notes, which he had published about the treasure from Petrosa during the years 1865-1877, had made no impression on the scientific community, he published in French, at Paris, in the last years of his life, a big book with the title “Le Tresor de Petrossa”, in forms more luxuriant than scientific. This was an incoherent agglomerate of compilations about various art objects, from various epochs, without any basic erudition, without any critical synthesis, and even more elementary, without the author being able to observe the distinctive character of each epoch per se; a work in which he proposed the following three capricious interpretations for the similarly imaginary text “gutani ocwi hailag”: 1. “To Odin, Scythia consecrated”; 2. “Hasn’t the Goth (people) consecrated Scythia?” 3. “Isn’t Scythia consecrated for a Goth?” (Le Tresor de Petrossa, Tome I. p. 414). And Odobescu had written such a big book, in order to give this fantastical interpretation ! In regard to the final conclusion of his work, he formulates it like this (TN – translation from French): “The pieces which constitute the treasure found at Petrossa originate with a Germanic people, who upheld paganism, very probably the Goths, who had inhabited Dacia from the 3rd to the 5th centuries ad (!?) (Tom. III. p. 6). And in order to give an appearance of truth to this wrong theory, Odobescu presents the figures from the platter of Petrosa as having a barbarian aspect (Tom. II. 33) from the point of view of its art, as well as of the types shown, although the scholar Dr. Bock had stated even in 1868 that this platter was the work of a great master (Mitth. d. k. k. Central-Commission. XIII. 109). Odobescu also added a new letter, inexistent in the text of the torc, , which in his facsimiles, formed ad-hoc, appeared in very marked forms; and in order to give more credence to his imaginary letter, he affirmed that the torc had been broken in 1875 exactly above the lettersand (Le Tresor de Petrosa, I, p. 358,376, 397, 398 and Pl II), when in reality the breakage had happened only above the letter. Finally, in order to obscure as much as possible the Pelasgian or Greek character of the platter, Odobescu placed Apollo last, among the divinities figured on the platter (II. p. 39). We think this characterizes the work of Odobescu well enough. The hypothesis that the treasure from Petrosa could have been of Gothic origin has been lately abandoned even by the French archeologist De LInas, who in his 1887 publication “Origines de l’orfevrerie cloisonné” declares that the various figures grouped on the inside of the platter from Petrosa have no connection with the mythology of the Goths, the same opinion having been expressed by Dr. Fr. Bock even around the year 1868].
Posted on: Sun, 28 Dec 2014 15:15:21 +0000
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