Perëndesha Athina dhe simbole të tjera kozmogonike: simbolikë
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Albanian |
| Published: |
Tiranë
Botimet Tre Mariat
2007
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Abstract |
| Item Description: | Zsfassung in engl. Sprache u.d.T: Goddess Athena and other cosmogonic symbols |
| Physical Description: | 112 S. zahlr. Ill. |
| ISBN: | 9789992769140 |
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| 500 | |a Zsfassung in engl. Sprache u.d.T: Goddess Athena and other cosmogonic symbols | ||
| 650 | 4 | |a Alltag, Brauchtum | |
| 650 | 4 | |a Geschichte | |
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| 650 | 4 | |a Clothing and dress |z Albania |x History | |
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Record in the Search Index
| _version_ | 1804137328042573824 |
|---|---|
| adam_text | 1.
МЫ
figuren
e
hyjneshës Athina
dhé
simbole
të
tjera kultike
në
objekte
etnografice shqipta re.................................................................
7
2.
Bibliografia
..............................
1
............................................44
3.
Oponenca shkencore:
•Dr. Moikom ZEQO,
Harte
meridore,
të pakten që
nga koha
e qytetërimit të ndritur
minőik............................
48
•Prof.
As. Mark
TI RTA,
Luljeta
DANO
e përkushtuar
ndaj
thesareve të etnokulturës shqiptare
.............................54
•Prof. As. Agim
BIDO,
Unë
-
Xhubleta&Luljeta
-
në veprim, Oponencë e
dyfíshte e
materies dhe
mendimit në lëvizje
..................
¡
...........................................56
4.10
KARTOLIIMA:
Simbole
Etnogŕaflke
Shqiptare
...................63
5.
SUMMARY...........................................................................
105
105
GODDESS ATHENA
AND OTHER
COSMOGONIC
SYMBOLS
Luljeta
Dano
In the national Albanian costumes, one can see features inherited in a
faithful line from the Illyrian culture. However, the archaic and stiff
shape of the
xhubletë
goes as far back in time as the pre-Illyrian
age. The Black
Xhubletë,
the women s dress of
Malesi e
Madhe
and Dukagjin is the oldest and has an indisputably quadrimillennial
passport. According to foreign and Albanian scholars, the
xhubletë
closely approximates the ancient dress of
Knossos
in Crete, being in
common use in the entire Mediterranean world predating classical
antiquity. The Albanian
xhubletë
also bears a resemblance to the
figurine of the bronze period in
Dalmaţia:
the terracotta of Klicevac
(Bosnia). It can also be found as an item in the
Musée de l Homme
in Paris and in the British Museum as an ancient bronze figurine
representing a dancing woman.
In the Albanian territory, it was first encountered in a bimillennial
Illyrian cemetery, and discovered by
Gëzim Uruçi
ід
1984,
between
the villages of
Melgushë
and
Bushat,
near Shkodra. It was contained
in the tomb of a woman, a dentist by profession, whose laboratory
apparatus pieces testify to a high
stomatologie
quality.
In the ethnographic material of the national legacy of Albanians, one
can notice a multitude of cultic symbols. In my recent hypothesizing
stage of my research on them, I argue that they make valuable study
material for the scientific disciplines of anthropology, archaeology,
and after careful consideration
-
maybe even further back in time,
for the study of the myths of cosmogony. These signs are proprietary
symbols of either potent kings or gods.
Assistant professor Agim
Bido,
ethnologist, painter and poet of the
Albanian
xhubletë,
has revealed in his scholarly work the alphabet
and the vocabulary of women highlander embroiderers regarding the
ornamentalism of dress.
106
The double appellation of these symbols: firstly by the Highlander
embroiderers and secondly by the international initials
-
likewise in
the Olympic circles
-
can only partially overlap and match between
them. Nonetheless, semiotics does recognize and acknowledge them
as a unique codified system. For instance, one can find a plethora of
hieroglyphic Egyptian symbols in the dress of Mirdita women, such
as: the Egyptian Cross, the Lock of Life, the Sacred Lotus, and the
shape of the Cobra in the red socks of a bride, which are only worn in
the first year of marriage, etc.
This research focuses mainly on the figure of Athena and her myth,
relying principally on an analysis of ornaments embroidered in two
sashes of the
xhubletë.
Let us identify the illustrated figures in two sashes of the
xhubletë
(as
per
Heinrich Schliemann) -
the prominent figure which is to be found
in twenty-two thousand circles of terracotta from ancient Troy
-
the
figure of the goddess Athena, the protector of the Trojans, according
to the archaeological finds of Schliemann! It is precisely Athena with
all the parameters that Schliemann identified in the finds of Troy. She
has a face in the shape of an owl, big bulging eyes, is without legs or
wings, and has a bust height that in all the depictions of Pallas Athena
does not go below her navel. The navel of the legendary Pallas, with a
circle ten times bigger than that of the breasts and the umbilical cord,
are associated with the symbols of Zeus. A swastika with a sun in the
centre, as well as an image of a shield, is found in the middle.
The issue of the Black Athena has generated heated discussions
and frenzied controversy, and the Institute of Inter-university Studies
lists the Black Athena in the most unreliable books of the twentieth
century. The owl-eyed figurine, in the two sashes of the
xhubletë
is embroidered black on black, with woollen thread on the black
shajak
.
Therefore, I will henceforth call it metaphorically: The
Black Athena. (Black Athena: The Afro-asiatic Roots of Classical
Civilization is the three-tome work by Martin
Bernal,
who, starting
from oriental linguistics proceeds on to archaeological and historical
data, propounding his argument that Western civilization -The Greek
Antiquity
-
descended from the Afro-asiatic roots of the Egyptian and
Phoenician cultures).
In her encyclopaedia of myths and female secrets, Barbara Walker
refers to Athena as the mother of the goddesses, deriving from Northern
Africa: Athena is one of the three goddesses of Libya named Metis,
Medusa and Anath or Ath-ena. In the inscription found in Larnaca,
107
Athena is referred to as Anath from Phoenicia. Her pre-Greek myth
originates from the lake Triton (the three queens). Egypt calls her
Isis,
so
Isis
is Athena too. Greeks call her Athena, born from the head of
Zeus after the foetus was taken by
Métis
___
The German founder of albanological studies, George V.
Hahn (1811-
1869),
in his three-tome work, Albanian Studies, dedicates quite a
substantial part to the alphabet (which he had previously published)
which the Albanians use in various towns of Albania, and he applies the
adjective: the Pelasgic Alphabet.
Hahn
uses the graphic spinning of this
alphabet, segmenting it with one eighth of the whole. (Take, for instance,
the letter b, lower case: by either spinning it or flipping it horizontally, it
will yield the letters q, p, or d.) Quite often, these European letters can be
swapped with Asiatic letters. The author compares it with the movement
of celestial bodies west to east. (He has also referred in his study to
Auér s
collection, where writing symbols of all world languages are included).
Hahn
reaches some main conclusions, the first two being: First, the
Albanian Alphabet and that of the Greek are derived from the Phoenician.
Second, the Albanian Alphabet has more symbols than the Greek or the
Phoenician, etc.
Athena, the most privileged genetic descendant of Zeus, generally appears
with a military aegis, and two goat horns; but Albanians better know this
Zeusian symbol as Scanderbegian or otherwise as the goat homs.
The two goat horns in the helmet of the National Hero of the Albanians,
about which have been written around eight thousand books during the
last five hundred years
-
very few titles having been written by Albanian
authors
-
are attributed to the scions of the genealogical line of the
Epiriotic dynasty. This starts with the myth of Aeakus, the son of Zeus
by his mortal wife, Aegina, Peleus Eacus, father of Achilles,
Pyrrhus
Neoptolemus, Alexander the Great, (in some coins, for instance, during
the reign of Lysimachus
(306-281
B.C.), the profile of Alexander in
a military helmet appears with the two goat horns.
Pyrrhus
of Epirus,
whose father was Eacides of Epirus, takes the name after Aeakus as the
most ancient of the tribe, which is why
Pyrrhus,
king of the elegance
of military strategies, poetics, human tolerance and moral principles,
more than anyone else, engraves that verse on the stone, imitating the
Homeric heroic act of Odysseus son of Laertes. After Diomedes kills
the Trojan spy, Dolonus, he offers the armoury and clothes to Athena.
So, like Odysseus, according to
Diodorus Siculus,
Plutarchus and
Pausanias,
in
274
B.C., Pirrhus of Epirus, will specifically offer with
108
an inscription, to the temple of Erichthonius Athena, many shields of
his enemies, the
Galatians,
allies of Macedonians, which were won
in battle. The inscription reads: Pirrhus of Molossians offers these
shields seized from the strong Galatians/to Erichthonius Athena/after
he defeated the army of Antigone/But this is not a great wonder/as the
Eacidians are still mighty warriors/As they always were in the past!
Gjon Kastrioti, father of Scanderbeg, was thus a descendant of this
dynasty. In the first edition in German of the History of Scanderbeg,
in
1537,
Marin Barleti
has placed a medal with Scanderbeg s profile
on p.4, with his inscription: Dux Epiri
et Alb,
i.e. Scanderbeg, leader
of Epirus and
Arber. In
another instance Scanderbeg
(1405-1468)
is
called:
Georgius Castriotus,
rex epirotatum.
If the symbol of the eagle is associated with Pirrhus of Epirus, in
the semiotics of Dodoni, it is implied in particular by the instinctive
aphotropaeic snake. His mother,
Olympia,
is widely known as
an epirotic princess with the same blood as that of the present-day
Albanians: In these mountainous regions, many festivals took
place in Dionysus honour and the women of Epirus, as well as the
Thracians, were distinguished for their religious frenzy. It is very
likely that
Olympia
was very sensitive to this. She obviously liked
the healing prayers and the rites of magic during which she danced
with snakes around her neck and on her head.
Olympia,
an excellent
connoisseur and practitioner of the magic spells of Samothrace,
user of dangerous subterfuges against her husband, king Phillip of
Macedonia, announced that she got pregnant by a divine snake and
not by her husband. Two divine snakes led the way, bearing tidings for
Alexander the Great
(356-323
B.C.) The two divine snakes are also
encountered in Mediterranean mythology in the legend of
Harmonia
who was married to Kadmos, son of the king of the Phoenicians,
Agenor.
He and his descendants ruled the regions of the tribe of
Enchelleas (present-day Pogradec, in Albania).
There were born several sons, but the primogenitor, Illyrius, gave his
name to the large people of Illyrians in antiquity. After their deaths,
Harmonia
and Kadmos were transformed into two divine snakes. The
legend has it that the first Illyrians deviated the riverbed of a river, which
according to Stephen Byzantium was a river between the present-day
Drin and the Vjosa in Albania, in order to cut the common marital
grave and bury the afterlife treasures. They subsequently returned the
water so that the treasures could be preserved for eternity.
The figure of Athena in the sash of the
xhubletë
is accompanied by a
bunch of four snakes. These four snakes which appear in an array of
109
derivatives in the embroideries of northern Albanian women, are linked
to the four snakes of the coat of arms of Pirrhus of Epirus, which was
preserved for many generations until
1519.
It is now found in Turin:
four green snakes clenched by a hand in a crimson backdrop!
The basis of composition of the ornaments in these ethnographic items
is the left-right symmetry in relation to a single figure in the centre,
similar to the symbols of the Solar Cult, or with four Evangelists and
Christ
Pantocrator
in the middle. Elsewhere, one encounters the links
of
ADN,
the spectrum, constellations, a foetus, a uterus, the letter
S
which in most of the cases emerges lying crosswise and which
symbolizes a sun crescent and a half-snake. In optics,
S
represents
the path to the realization of seeing and in the ornamentics of the
dress of northern Albanian women, a commonly found sign is that of
the infinite, a horizontal eight, etc., whereas the counting of signs is
always a cultic number:
1,2,3,4,5, 6,7, 8,9, 10,12,13, 16,24,..
.etc.
For instance, a symbol which is found in the centre of
a xhubletë
apron
is three horizontal rows with the number of symbols starting from
the lower row in the ratio:
13:7:5,
a ratio which conveys significant
pyramidal codes, as yet unknown to us.
Originally, I paired this symbol with the spread of sound waves,
but after some deliberation I noticed a similarity with:
(1)
a graphic
representation of the gravitational magnitude of planet Earth
(2)
a structure of the spiral arms of the galaxy of the Milky Way
(3)
a conceptual photo of NASA. If we were to see outside of our
home galaxy, our galaxy of the Milky Way, we would observe the
extrapolated spiral arms of the Milky Way with the neighbouring
spiral galaxy NGC7331, which is likened to the Milky Way, whose
age is considered as old as the universe itself.
Thus, we juxtapose our tiny ethnographic symbol with the two
similar macroscopic ones from the field of physics and astronomy.
The possibilities offered today by the internet for such matching and
contrasting practices are infinite.
The wealth of figures, symbols juxtaposed as a text, in Albanian
ethnographic objects belongs to a transcendental aesthetics of
archetypes. To use Jung s terms, they are carried by the collective
unconsciousness which gradually become a sort of altar for the
conscious life, i.e. they comprise the tongue of the born psyche.
There is, in these signs, the aroma of the labyrinthine short stories by
the blind Jorge Luis
Borges! Heliogram:
the exchange of the part with
the whole! The universe with the part! The divergent, convergent and
по
parallel
mixture
of
codes! The unique
gesture of the Big Bang in all
the variety of Man s life!
If we embark on a hypothetical reading within linguistics,
anthropology, and a comparative synthesis between archaeology and
ethnography, mythology and pictographic writing, we can reach the
conclusion that the millions of pages which fill the internet today with
the title of Dragon (it was precisely its teeth which Kadmos planted
and from which the letters sprouted -the teeth of The Dragon of the
Gold Fountain) would take us on a new esoteric journey to the planet
of Mars, or Ares, according to the Greeks, and to the spiral arm of
Orion in the galaxy of the Milky Way. It may well have been that
this Dragon, with his androgynous components, has carried to Earth
the Cosmic Egg from which life was born. The
Cosmogonie
myth of
Hermopolis
claims the advent of five gods from the Sacred Town of
the Eight, an arch-god and four male gods, and that each of the four
brought with them their female part, i.e. four females in the shape of
a snake. It is likely that the four elements may have come together at
the same time, and independently of their unison came the genesis
egg which could not be seen because it existed before there was light.
Independently of the egg came the sun s light which the eight creation
elements of the universe elevated to the sky. Myths of cosmogony
from all continents and human races show that the Celestial Being was
sacrificed, was split into pieces, and thence Life came to Earth.
In the ornamentation of the
xhubletë
one can find a variety of derivatives
of the dragon mixed with the national symbol of the Albanians: the
bi-headed eagle. I have even seen embroidered on a traditional bag
which accompanies the costume of the
xhubletë,
(from the marvellous
private collection of Mrs. Linda
Spahiu,
the symbol of the dragon
emitting flames from its mouth, and a white egg
(a naïve pictogram),
which it has laid under its tail. According to Cirlot, the mythological
type of the whole is represented throughout the ancient world by the
androgynous gods
-
man and woman in one. Rebis, found among the
Egyptians, are hermaphroditic gods which are pertinent to the myth
of birth. In India, both genders spring from the same individual. In
the pre-Columbian Mexicans, Quetzalcoatl is a god that unites the
split values of the two genders on earth, male and female. Plato left
behind a plethora of illusions about the twin archetype of the being
manwoman as: God originally created man in the shape of a sphere,
where the bodies and the two genders were incorporated in one! But
even Zeus with Dion, his female half, or Adam who had his wife made
out of one of his own ribs, do not reveal anything more!
Ill
Millions of web pages bearing such titles as: the Cosmic Egg, the Zeus
Symbols, the Mystic Tree (of Life), the Mystic Flower (of Life) the
Egyptian Lock of Life, the Spider, the Scorpion and the Cockroach,
the Mystic Beetle, the Sacred Eight, the Delphic Phallus, the Trefoil
Leaf Of The Sacred Oak and the Two Crossed Leaves of The Sacred
Oak, and an abundance of other symbols of gods on our planet, which
are for the most part related to the Sun and the Dragon, etc., and the
juxtaposition of these embroidered symbols in the traditional dress of
Albanian highland women, encourages me to read them in such a way
as to believe that internet is not a sixteen- year-old, but is as old as
the Universe !
Dr. Moikom Zeqo points out especially for this edition that in my
opinion, the shape of the hairstyle of the highland women who use the
xhubletë,
and that of the women of the region of
Zadrima,
altogether
strange and special, has escaped the attention of scholars. Many
terracotta goddesses found in
Durrës,
belonging to the fifth to third
centuries B.C. have a striking similarity of hairstyle to that which is
still used in the north of Albania and
Zadrima.
Please do compare
the hairstyle in the frescoes of the palace of
Knossos,
and that in the
terracottas uncovered by Arthur Evans. The similarity is shocking, but
the extraordinary thing is that this hairstyle in some archetypes is still
living in (remove the )traditional dress, reduced to only a few special
occasions, such as in the religious holidays of the
Arbëresh
Women of
South Italy and Sicily, who emigrated there in vast numbers after the
death of Scanderbeg.
The influence from the south of Greece or even from Egypt is real.
Ornamentation in the dress of northern Albanian women appears in
four types: the first relates to wavy lines, an undulation which signifies
the cultic power of sweet and salty Waters. The second one is floral
and relates to the cult of the Tree of Life, which is linked to the cult of
Earth. The third type is generally associated with the figures of fowls,
dragons and sacred insects which signify the cultic omnipotence of the
Air and the Sky. The fourth type signifies the solar ornamentics, the
cult of the Sun, the Stars, and the Cosmic Fire.
This mental map, in particular that of the
xhubletë,
is syncretically a
clear structure of cosmogony in four primordial elements. My friend
Alexander Stipcevic, one of the great Illyrologs of our time, has
deciphered and pronounced the
cosmogonic
ornamentics in a more
reliable and more universal way.
112
The xhubletë
has entwined several self-contained cults. This special
dress, the heritage of Albanian Folk Culture, is a kind of mental map of
the ancient mythic legacies. This publication endeavours to modestly
complement this field, which for various reasons is considered to be
a grey area.
This is how the mental mythologies of the Illyrians and the Albanians
are perceived in the
xhubletë
which can metaphorically be compared
with the Lock of David, which locks and unlocks the great legacies.
The Bible says: That which the Lock of David can lock, nobody can
unlock, and what the Lock of David unlocks, nobody can lock.
Albanian scholars assert that, if the Polyphony of
Labëria
was placed
under the auspices of UNESCO, as a precious part of world culture,
the Black
Xhubletë,
as the oldest dress in the world at four thousand
years, must be placed under the patronage of the Albanian State and
the Western institutional authority.
This invaluable treasure of the Albanian national heritage can be
found in the State Fund (which boasts thirty thousand ethnographic
objects), in other state and private museums, in the encyclopaedic fond
(comprised of hundreds of thousands of negatives of the photographic
library Marubi), in personal archives (as photos as well as objects) of
Albanian academics in Albania, Kosovo, Montenegro and Macedonia,
as well as in a large number of private collections created during the
last two decades by such collectors as Linda
Spahiu, Gjon
Dukgilaj,
Majlinda Ndroqi, Shtjefen Ivezaj,
Nebi
Dervishi, Eltiana Shkreli,
Kaim
Murtiqi, Bujar Gazheli, Lulzim Perati,
Loreta Mokini,
Tonin
Nino, etc., and certainly in many other highland families, who hold for the
new generations up to ten
xhubletës
of their grandmothers.
Translated from Albanian by
Fredi Proko
Bayerische
Staatsbibliothek
Munoton
|
| adam_txt |
1.
МЫ
figuren
e
hyjneshës Athina
dhé
simbole
të
tjera kultike
në
objekte
etnografice shqipta re.
7
2.
Bibliografia
.
1
.44
3.
Oponenca shkencore:
•Dr. Moikom ZEQO,
Harte
meridore,
të pakten që
nga koha
e qytetërimit të ndritur
minőik.
48
•Prof.
As. Mark
TI RTA,
Luljeta
DANO
e përkushtuar
ndaj
thesareve të etnokulturës shqiptare
.54
•Prof. As. Agim
BIDO,
Unë
-
Xhubleta&Luljeta
-
në veprim, Oponencë e
dyfíshte e
materies dhe
mendimit në lëvizje
.
¡
.56
4.10
KARTOLIIMA:
Simbole
Etnogŕaflke
Shqiptare
.63
5.
SUMMARY.
105
105
GODDESS ATHENA
AND OTHER
COSMOGONIC
SYMBOLS
Luljeta
Dano
In the national Albanian costumes, one can see features inherited in a
faithful line from the Illyrian culture. However, the archaic and stiff
shape of the
xhubletë
goes as far back in time as the pre-Illyrian
age. The Black
Xhubletë,
the women's dress of
Malesi e
Madhe
and Dukagjin is the oldest and has an indisputably quadrimillennial
passport. According to foreign and Albanian scholars, the
xhubletë
closely approximates the ancient dress of
Knossos
in Crete, being in
common use in the entire Mediterranean world predating classical
antiquity. The Albanian
xhubletë
also bears a resemblance to the
figurine of the bronze period in
Dalmaţia:
the terracotta of Klicevac
(Bosnia). It can also be found as an item in the
Musée de l'Homme
in Paris and in the British Museum as an ancient bronze figurine
representing a dancing woman.
In the Albanian territory, it was first encountered in a bimillennial
Illyrian cemetery, and discovered by
Gëzim Uruçi
ід
1984,
between
the villages of
Melgushë
and
Bushat,
near Shkodra. It was contained
in the tomb of a woman, a dentist by profession, whose laboratory
apparatus pieces testify to a high
stomatologie
quality.
In the ethnographic material of the national legacy of Albanians, one
can notice a multitude of cultic symbols. In my recent hypothesizing
stage of my research on them, I argue that they make valuable study
material for the scientific disciplines of anthropology, archaeology,
and after careful consideration
-
maybe even further back in time,
for the study of the myths of cosmogony. These signs are proprietary
symbols of either potent kings or gods.
Assistant professor Agim
Bido,
ethnologist, painter and poet of the
Albanian
xhubletë,
has revealed in his scholarly work the alphabet
and the vocabulary of women highlander embroiderers regarding the
ornamentalism of dress.
106
The double appellation of these symbols: firstly by the Highlander
embroiderers and secondly by the international initials
-
likewise in
the Olympic circles
-
can only partially overlap and match between
them. Nonetheless, semiotics does recognize and acknowledge them
as a unique codified system. For instance, one can find a plethora of
hieroglyphic Egyptian symbols in the dress of Mirdita women, such
as: the Egyptian Cross, the Lock of Life, the Sacred Lotus, and the
shape of the Cobra in the red socks of a bride, which are only worn in
the first year of marriage, etc.
This research focuses mainly on the figure of Athena and her myth,
relying principally on an analysis of ornaments embroidered in two
sashes of the
xhubletë.
Let us identify the illustrated figures in two sashes of the
xhubletë
(as
per
Heinrich Schliemann) -
the prominent figure which is to be found
in twenty-two thousand circles of terracotta from ancient Troy
-
the
figure of the goddess Athena, the protector of the Trojans, according
to the archaeological finds of Schliemann! It is precisely Athena with
all the parameters that Schliemann identified in the finds of Troy. She
has a face in the shape of an owl, big bulging eyes, is without legs or
wings, and has a bust height that in all the depictions of Pallas Athena
does not go below her navel. The navel of the legendary Pallas, with a
circle ten times bigger than that of the breasts and the umbilical cord,
are associated with the symbols of Zeus. A swastika with a sun in the
centre, as well as an image of a shield, is found in the middle.
The issue of the 'Black Athena' has generated heated discussions
and frenzied controversy, and the Institute of Inter-university Studies
lists the Black Athena in the most unreliable books of the twentieth
century. The 'owl-eyed' figurine, in the two sashes of the
xhubletë
is embroidered black on black, with woollen thread on the black
shajak
.
Therefore, I will henceforth call it metaphorically: The
Black Athena. (Black Athena: The Afro-asiatic Roots of Classical
Civilization is the three-tome work by Martin
Bernal,
who, starting
from oriental linguistics proceeds on to archaeological and historical
data, propounding his argument that Western civilization -The Greek
Antiquity
-
descended from the Afro-asiatic roots of the Egyptian and
Phoenician cultures).
In her encyclopaedia of myths and female secrets, Barbara Walker
refers to Athena as the mother of the goddesses, deriving from Northern
Africa: 'Athena is one of the three goddesses of Libya named Metis,
Medusa and Anath or Ath-ena. In the inscription found in Larnaca,
107
Athena is referred to as Anath from Phoenicia. Her pre-Greek myth
originates from the lake Triton (the three queens). Egypt calls her
Isis,
so
Isis
is Athena too. Greeks call her Athena, born from the head of
Zeus after the foetus was taken by
Métis
_'
The German founder of albanological studies, George V.
Hahn (1811-
1869),
in his three-tome work, Albanian Studies, dedicates quite a
substantial part to the alphabet (which he had previously published)
which the Albanians use in various towns of Albania, and he applies the
adjective: the Pelasgic Alphabet.
Hahn
uses the graphic spinning of this
alphabet, segmenting it with one eighth of the whole. (Take, for instance,
the letter b, lower case: by either spinning it or flipping it horizontally, it
will yield the letters q, p, or d.) Quite often, these European letters can be
swapped with Asiatic letters. The author compares it with the movement
of celestial bodies west to east. (He has also referred in his study to
Auér's
collection, where writing symbols of all world languages are included).
Hahn
reaches some main conclusions, the first two being: First, the
Albanian Alphabet and that of the Greek are derived from the Phoenician.
Second, the Albanian Alphabet has more symbols than the Greek or the
Phoenician, etc.
Athena, the most privileged genetic descendant of Zeus, generally appears
with a military aegis, and two goat horns; but Albanians better know this
Zeusian symbol as Scanderbegian or otherwise as the goat homs.
The two goat horns in the helmet of the National Hero of the Albanians,
about which have been written around eight thousand books during the
last five hundred years
-
very few titles having been written by Albanian
authors
-
are attributed to the scions of the genealogical line of the
Epiriotic dynasty. This starts with the myth of Aeakus, the son of Zeus
by his mortal wife, Aegina, Peleus Eacus, father of Achilles,
Pyrrhus
Neoptolemus, Alexander the Great, (in some coins, for instance, during
the reign of Lysimachus
(306-281
B.C.), the profile of Alexander in
a military helmet appears with the two goat horns.
Pyrrhus
of Epirus,
whose father was Eacides of Epirus, takes the name after Aeakus as the
most ancient of the tribe, which is why
Pyrrhus,
king of the elegance
of military strategies, poetics, human tolerance and moral principles,
more than anyone else, engraves that verse on the stone, imitating the
Homeric heroic act of Odysseus son of Laertes. After Diomedes kills
the Trojan spy, Dolonus, he offers the armoury and clothes to Athena.
So, like Odysseus, according to
Diodorus Siculus,
Plutarchus and
Pausanias,
in
274
B.C., Pirrhus of Epirus, will specifically offer with
108
an inscription, to the temple of Erichthonius Athena, many shields of
his enemies, the
Galatians,
allies of Macedonians, which were won
in battle. The inscription reads: 'Pirrhus of Molossians offers these
shields seized from the strong Galatians/to Erichthonius Athena/after
he defeated the army of Antigone/But this is not a great wonder/as the
Eacidians are still mighty warriors/As they always were in the past!'
Gjon Kastrioti, father of Scanderbeg, was thus a descendant of this
dynasty. In the first edition in German of the History of Scanderbeg,
in
1537,
Marin Barleti
has placed a medal with Scanderbeg's profile
on p.4, with his inscription: Dux Epiri
et Alb,
i.e. Scanderbeg, leader
of Epirus and
Arber.' In
another instance Scanderbeg
(1405-1468)
is
called:
Georgius Castriotus,
rex epirotatum.
If the symbol of the eagle is associated with Pirrhus of Epirus, in
the semiotics of Dodoni, it is implied in particular by the instinctive
aphotropaeic snake. His mother,
Olympia,
is widely known as
an epirotic princess with the same blood as that of the present-day
Albanians: 'In these mountainous regions, many festivals took
place in Dionysus' honour and the women of Epirus, as well as the
Thracians, were distinguished for their religious frenzy. It is very
likely that
Olympia
was very sensitive to this. She obviously liked
the healing prayers and the rites of magic during which she danced
with snakes around her neck and on her head.'
Olympia,
an excellent
connoisseur and practitioner of the magic spells of Samothrace,
user of dangerous subterfuges against her husband, king Phillip of
Macedonia, announced that she got pregnant by a divine snake and
not by her husband. Two divine snakes led the way, bearing tidings for
Alexander the Great
(356-323
B.C.) The two divine snakes are also
encountered in Mediterranean mythology in the legend of
Harmonia
who was married to Kadmos, son of the king of the Phoenicians,
Agenor.
He and his descendants ruled the regions of the tribe of
Enchelleas (present-day Pogradec, in Albania).
There were born several sons, but the primogenitor, Illyrius, gave his
name to the large people of Illyrians in antiquity. After their deaths,
Harmonia
and Kadmos were transformed into two divine snakes. The
legend has it that the first Illyrians deviated the riverbed of a river, which
according to Stephen Byzantium was a river between the present-day
Drin and the Vjosa in Albania, in order to cut the common marital
grave and bury the afterlife treasures. They subsequently returned the
water so that the treasures could be preserved for eternity.
The figure of Athena in the sash of the
xhubletë
is accompanied by a
bunch of four snakes. These four snakes which appear in an array of
109
derivatives in the embroideries of northern Albanian women, are linked
to the four snakes of the coat of arms of Pirrhus of Epirus, which was
preserved for many generations until
1519.
It is now found in Turin:
four green snakes clenched by a hand in a crimson backdrop!
The basis of composition of the ornaments in these ethnographic items
is the left-right symmetry in relation to a single figure in the centre,
similar to the symbols of the Solar Cult, or with four Evangelists and
Christ
Pantocrator
in the middle. Elsewhere, one encounters the links
of
ADN,
the spectrum, constellations, a foetus, a uterus, the letter
S
which in most of the cases emerges lying crosswise and which
symbolizes a sun crescent and a half-snake. In optics,
S
represents
the path to the realization of seeing and in the ornamentics of the
dress of northern Albanian women, a commonly found sign is that of
the infinite, a horizontal eight, etc., whereas the counting of signs is
always a cultic number:
1,2,3,4,5, 6,7, 8,9, 10,12,13, 16,24,.
.etc.
For instance, a symbol which is found in the centre of
a xhubletë
apron
is three horizontal rows with the number of symbols starting from
the lower row in the ratio:
13:7:5,
a ratio which conveys significant
pyramidal codes, as yet unknown to us.
Originally, I paired this symbol with the spread of sound waves,
but after some deliberation I noticed a similarity with:
(1)
a graphic
representation of the gravitational magnitude of planet Earth
(2)
a structure of the spiral arms of the galaxy of the Milky Way
(3)
a conceptual photo of NASA. If we were to see outside of our
home galaxy, our galaxy of the Milky Way, we would observe the
extrapolated spiral arms of the Milky Way with the neighbouring
spiral galaxy NGC7331, which is likened to the Milky Way, whose
age is considered 'as old as the universe itself.'
Thus, we juxtapose our tiny ethnographic symbol with the two
similar macroscopic ones from the field of physics and astronomy.
The possibilities offered today by the internet for such matching and
contrasting practices are infinite.
The wealth of figures, symbols juxtaposed as a text, in Albanian
ethnographic objects belongs to a transcendental aesthetics of
archetypes. To use Jung's terms, they are carried by the collective
unconsciousness which gradually become a sort of altar for the
conscious life, i.e. 'they comprise the tongue of the born psyche.'
There is, in these signs, the aroma of the labyrinthine short stories by
the blind Jorge Luis
Borges! Heliogram:
the exchange of the part with
the whole! The universe with the part! The divergent, convergent and
по
parallel
mixture
of
codes! The unique
gesture of the Big Bang in all
the variety of Man's life!
If we embark on a hypothetical reading within linguistics,
anthropology, and a comparative synthesis between archaeology and
ethnography, mythology and pictographic writing, we can reach the
conclusion that the millions of pages which fill the internet today with
the title of 'Dragon' (it was precisely its teeth which Kadmos planted
and from which the letters sprouted -the teeth of The Dragon of the
Gold Fountain) would take us on a new esoteric journey to the planet
of Mars, or Ares, according to the Greeks, and to the spiral arm of
Orion in the galaxy of the Milky Way. It may well have been that
this Dragon, with his androgynous components, has carried to Earth
the Cosmic Egg from which life was born. The
Cosmogonie
myth of
Hermopolis
claims the advent of five gods from the Sacred Town of
the Eight, an arch-god and four male gods, and that each of the four
brought with them their female part, i.e. four females in the shape of
a snake. It is likely that the four elements may have come together at
the same time, and independently of their unison came the genesis
egg which could not be seen because it existed before there was light.
Independently of the egg came the sun's light which the eight creation
elements of the universe elevated to the sky. Myths of cosmogony
from all continents and human races show that the Celestial Being was
sacrificed, was split into pieces, and thence Life came to Earth.
In the ornamentation of the
xhubletë
one can find a variety of derivatives
of the dragon mixed with the national symbol of the Albanians: the
bi-headed eagle. I have even seen embroidered on a traditional bag
which accompanies the costume of the
xhubletë,
(from the marvellous
private collection of Mrs. Linda
Spahiu,
the symbol of the dragon
emitting flames from its mouth, and a white egg
(a naïve pictogram),
which it has laid under its tail. According to Cirlot, the mythological
type of the whole is represented throughout the ancient world by the
androgynous gods
-
man and woman in one. Rebis, found among the
Egyptians, are hermaphroditic gods which are pertinent to the myth
of birth. In India, both genders spring from the same individual. In
the pre-Columbian Mexicans, Quetzalcoatl is a god that unites the
split values of the two genders on earth, male and female. Plato left
behind a plethora of illusions about the twin archetype of the being
manwoman as: 'God originally created man in the shape of a sphere,
where the bodies and the two genders were incorporated in one! But
even Zeus with Dion, his female half, or Adam who had his wife made
out of one of his own ribs, do not reveal anything more!'
Ill
Millions of web pages bearing such titles as: the Cosmic Egg, the Zeus
Symbols, the Mystic Tree (of Life), the Mystic Flower (of Life) the
Egyptian Lock of Life, the Spider, the Scorpion and the Cockroach,
the Mystic Beetle, the Sacred Eight, the Delphic Phallus, the Trefoil
Leaf Of The Sacred Oak and the Two Crossed Leaves of The Sacred
Oak, and an abundance of other symbols of gods on our planet, which
are for the most part related to the Sun and the Dragon, etc., and the
juxtaposition of these embroidered symbols in the traditional dress of
Albanian highland women, encourages me to read them in such a way
as to believe that internet is not a sixteen- year-old, but 'is as old as
the Universe'!
Dr. Moikom Zeqo points out especially for this edition that 'in my
opinion, the shape of the hairstyle of the highland women who use the
xhubletë,
and that of the women of the region of
Zadrima,
altogether
strange and special, has escaped the attention of scholars. Many
terracotta goddesses found in
Durrës,
belonging to the fifth to third
centuries B.C. have a striking similarity of hairstyle to that which is
still used in the north of Albania and
Zadrima.
Please do compare
the hairstyle in the frescoes of the palace of
Knossos,
and that in the
terracottas uncovered by Arthur Evans. The similarity is shocking, but
the extraordinary thing is that this hairstyle in some archetypes is still
living in (remove "the")traditional dress, reduced to only a few special
occasions, such as in the religious holidays of the
Arbëresh
Women of
South Italy and Sicily, who emigrated there in vast numbers after the
death of Scanderbeg.'
The influence from the south of Greece or even from Egypt is real.
Ornamentation in the dress of northern Albanian women appears in
four types: the first relates to wavy lines, an undulation which signifies
the cultic power of sweet and salty Waters. The second one is floral
and relates to the cult of the Tree of Life, which is linked to the cult of
Earth. The third type is generally associated with the figures of fowls,
dragons and sacred insects which signify the cultic omnipotence of the
Air and the Sky. The fourth type signifies the solar ornamentics, the
cult of the Sun, the Stars, and the Cosmic Fire.
This mental map, in particular that of the
xhubletë,
is syncretically a
clear structure of cosmogony in four primordial elements. My friend
Alexander Stipcevic, one of the great Illyrologs of our time, has
deciphered and pronounced the
cosmogonic
ornamentics in a more
reliable and more universal way.
112
The xhubletë
has entwined several self-contained cults. This special
dress, the heritage of Albanian Folk Culture, is a kind of mental map of
the ancient mythic legacies. This publication endeavours to modestly
complement this field, which for various reasons is considered to be
a grey area.
This is how the mental mythologies of the Illyrians and the Albanians
are perceived in the
xhubletë
which can metaphorically be compared
with the Lock of David, which locks and unlocks the great legacies.
The Bible says: 'That which the Lock of David can lock, nobody can
unlock, and what the Lock of David unlocks, nobody can lock.'
Albanian scholars assert that, if the Polyphony of
Labëria
was placed
under the auspices of UNESCO, as a precious part of world culture,
the Black
Xhubletë,
as the oldest dress in the world at four thousand
years, must be placed under the patronage of the Albanian State and
the Western institutional authority.
This invaluable treasure of the Albanian national heritage can be
found in the State Fund (which boasts thirty thousand ethnographic
objects), in other state and private museums, in the encyclopaedic fond
(comprised of hundreds of thousands of negatives of the photographic
library Marubi), in personal archives (as photos as well as objects) of
Albanian academics in Albania, Kosovo, Montenegro and Macedonia,
as well as in a large number of private collections created during the
last two decades by such collectors as Linda
Spahiu, Gjon
Dukgilaj,
Majlinda Ndroqi, Shtjefen Ivezaj,
Nebi
Dervishi, Eltiana Shkreli,
Kaim
Murtiqi, Bujar Gazheli, Lulzim Perati,
Loreta Mokini,
Tonin
Nino, etc., and certainly in many other highland families, who hold for the
new generations up to ten
xhubletës
of their grandmothers.
Translated from Albanian by
Fredi Proko
Bayerische
Staatsbibliothek
Munoton |
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| geographic | Albania Social life and customs |
| geographic_facet | Albania Social life and customs |
| id | DE-604.BV023080615 |
| illustrated | Illustrated |
| index_date | 2024-07-02T19:36:56Z |
| indexdate | 2024-07-09T21:10:32Z |
| institution | BVB |
| isbn | 9789992769140 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016283642 |
| oclc_num | 569084091 |
| open_access_boolean | |
| owner | DE-12 DE-Re13 DE-BY-UBR |
| owner_facet | DE-12 DE-Re13 DE-BY-UBR |
| physical | 112 S. zahlr. Ill. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Botimet Tre Mariat |
| record_format | marc |
| spelling | Dano, Luljeta ca. 20./21. Jh. Verfasser (DE-588)1123104255 aut Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë Luljeta Dano Tiranë Botimet Tre Mariat 2007 112 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T: Goddess Athena and other cosmogonic symbols Alltag, Brauchtum Geschichte Clothing and dress Symbolic aspects Albania Clothing and dress Albania History Symbol (DE-588)4058716-2 gnd rswk-swf Albaner (DE-588)4068517-2 gnd rswk-swf Volkskultur (DE-588)4063849-2 gnd rswk-swf Albania Social life and customs Albaner (DE-588)4068517-2 s Volkskultur (DE-588)4063849-2 s Symbol (DE-588)4058716-2 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016283642&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016283642&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Dano, Luljeta ca. 20./21. Jh Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë Alltag, Brauchtum Geschichte Clothing and dress Symbolic aspects Albania Clothing and dress Albania History Symbol (DE-588)4058716-2 gnd Albaner (DE-588)4068517-2 gnd Volkskultur (DE-588)4063849-2 gnd |
| subject_GND | (DE-588)4058716-2 (DE-588)4068517-2 (DE-588)4063849-2 |
| title | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë |
| title_auth | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë |
| title_exact_search | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë |
| title_exact_search_txtP | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë |
| title_full | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë Luljeta Dano |
| title_fullStr | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë Luljeta Dano |
| title_full_unstemmed | Perëndesha Athina dhe simbole të tjera kozmogonike simbolikë Luljeta Dano |
| title_short | Perëndesha Athina dhe simbole të tjera kozmogonike |
| title_sort | perendesha athina dhe simbole te tjera kozmogonike simbolike |
| title_sub | simbolikë |
| topic | Alltag, Brauchtum Geschichte Clothing and dress Symbolic aspects Albania Clothing and dress Albania History Symbol (DE-588)4058716-2 gnd Albaner (DE-588)4068517-2 gnd Volkskultur (DE-588)4063849-2 gnd |
| topic_facet | Alltag, Brauchtum Geschichte Clothing and dress Symbolic aspects Albania Clothing and dress Albania History Symbol Albaner Volkskultur Albania Social life and customs |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016283642&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016283642&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT danoluljeta perendeshaathinadhesimboletetjerakozmogonikesimbolike |