#prehistoric spirituality

[eucanthos]

Aphrodite Paphia (of Paphos)

A conical basalt stone from the [pre-Greek] Sanctuary of Aphrodite, Palaepaphos site, Cyprus [birth of Venus' from Sea foam site]

Different populations of Cyprus worshiped a female divinity from as early as the Chalcolithic period (3900–2500 BC). The cult-site is active through the Late Bronze Age (c.1200 BC) to the end of the 4th century AD [Phoenician, Archaic, Classical, Hellenistic and Roman]

Valid scientifically evolution of Astarte (Mesopotamian) or Ishtar (Akkadian), great goddess of ancient Middle East.

The deity's representation (from recovered archeological relics) was of steatopygian female form (fertility figures)

Old Paphos (Palaepaphos), was settled by Greeks in the Mycenaean period, ca. 1600 to 1100 B.C.

Paphos was the offspring of Pygmalion and Galatea, the "milk-white" sculpture brought to life by Aphrodite.

According to Ovid, Cypriot sculptor Pygmalion detested the Propoetides' ways of practicing prostitution, and set a famous case of Agalmatophilia.

According to Pausanias, Aphrodite's worship was introduced to Paphos (Cyprus) from Syria, and from Paphos to Kythera in Greece

Some sources claim that the first priest was king Cinyras (according to Strabo, a previous ruler of Byblos in Phoenicia) [his (Cinyrad) dynasty ruled Paphos until its conquest by Ptolemy I of Egypt (294 BC)].

The adoration of Venus was particularly intense in the ancient period with religious ceremonies depicted on vases or bronze vessels. Common offerings to Venus were myrtle tree branches or essential oil [possibly linked to the blood of Adonis and the teardrops of Venus]

Representations on ancient ceramics depict people in a garden, amongst bushes, flowers and birds.

https://en.wikipedia.org/wiki/Sanctuary_of_Aphrodite_Paphia

https://www.hist.uzh.ch/de/fachbereiche/altegeschichte/assoziierteforschende/vonwartburg/forschungsprojekte/paphos/projects/aphrodite-at-paphos.html

https://www.polignosi.com/cgibin/hweb?-A=12594&-V=limmata

https://www.polignosi.com/cgibin/hweb?-A=7335&-V=limmata

https://www.cyprusisland.net/attractions/palaipaphos-kouklia-archaeological-site

https://en.wikipedia.org/wiki/Kouklia

https://www.britannica.com/topic/Aphrodite-Greek-mythology

https://en.wikipedia.org/wiki/Cinyras

https://www.britannica.com/topic/Astarte-ancient-deity

[waitineedaname]

do you think that prehistoric humans making cave paintings had any idea that people like them would see their art long after they're gone

I kind of think they must have, right? I mean, I doubt they could've predicted people seeing their art thousands of years later, I don't know if they could've grasped that sheer scale of time, but one of the earliest things ancient people were aware of was mortality, they must have at least known "someday, i will be dead, and there will be people who will be alive after me, and they might visit this cave." I mean, that's part of some the purpose of art, isn't it? the element of posterity and longevity? you see that a lot in art and literature, the idea of achieving immortality through art because even if you die, your art will outlive you and continue to influence people's lives long after you're gone. i don't know if that's what prehistoric people had in mind, but maybe they thought at least a few generations ahead. maybe when they held up their children to put handprints high above their heads, they thought that someday, their grandchildren might come to that same cave and see how small their parents' hands once were

[feralfennecfox]

my tattoo of a neanderthal skull with horseshoe crabs

[scotland]

Sunset over Ceann Hulavig stone circle on the Isle of Lewis 🌅

Ceann Hulavig is an ancient stone circle located on the Isle of Lewis in the Outer Hebrides, Scotland. This prehistoric site, also known as the Callanish IV stone circle, is part of a broader collection of megalithic structures known collectively as the Calanais Stones (or Callanish Stones). The Ceann Hulavig circle consists of standing stones arranged in a circular pattern and dates back to the Neolithic period, approximately between 3000 and 2000 BCE.

The Calanais Stones are a significant archaeological ensemble comprising several stone circles, standing stones, and other prehistoric structures scattered across the region. The primary and most famous site is the Calanais I, which features a central stone circle with a cruciform arrangement of monoliths extending from it. These ancient monuments are believed to have been constructed for ceremonial or ritualistic purposes, and they are aligned in ways that suggest an astronomical function, possibly related to lunar and solar cycles.

The exact purpose of the Calanais Stones remains a subject of ongoing research and debate. Theories suggest they could have served as a place of worship, a community gathering site, or an ancient astronomical observatory. The alignment of the stones indicates a sophisticated understanding of astronomy among the Neolithic people who built them.

Ceann Hulavig, like the other Calanais sites, offers valuable insights into the prehistoric past and the spiritual and social lives of the ancient inhabitants of the Isle of Lewis. These sites continue to attract researchers, historians, and tourists, drawn by their historical significance and the mystery that still surrounds their original use.

[meirimerens]

MEIRI!!!! i am taking a class in art history and i wanted to ask about your favorite paleolithic cave paintings, cause i know you're very passionate about that!

OOOHHAHHGRGHH MY GODDDD

YOU'VE AWAKEN MY EVIL POWER......

okay so this is gonna be real hard for me to choose. like reallll hard. but i think i can narrow it down. i don't know how much #info you need or how much Lore you care for me to add, but you've activated my trap card, so now you're stuck in the cave with me, i have the torch, and if you try to leave you won't find your way back. okay. let us start.

GENERAL LORE:

at least in the Franco-Cantabrian geographical and paleo-cultural area [this thing], which contains some of the most famous painted caves such as Lascaux, Chauvet, Pech-Merle, Altamira, etc, one main currently reigning hypothesis, because it allows to explain the most amount of [gesture] Stuff Going On, is that cave art exist within a magico-spiritual system of belief of the animist persuasion likely with shamanic elements. The places where walls were painted in the caves, were very, very rarely Living quarters. paleolithic tribes prefered to make camps outside, or just at the very entrance of caves: the depths were Hard to navigate, dangerous, possibly inhabited by predator animals. you didn't got to these places to fuck around; you went because you had a drive, you believed in something about them.

Jean Clottes (one of our main prehistorians in France, who wrote Pourquoi l'Art Préhistorique ?, or "Why Prehistoric Art", translated into english as "What is Paleolithic Art" which is fucking stupid, the "why" is the whole question he's trying to answer in the book, is this guy fucking stupid) identifies 4 main concepts that exist within indigenous, nomadic or semi-nomadic, hunter-gatherer, animist & shamanist societies and peoples, that are widely distributed (as such having "universal" elements) and could, likely, have been found within paleolithic societies, and possibly give us clues to their belief system, which are:

the INTERCONNECTEDNESS: of animal species between one another (explaining the numerous accounts of paloelithic art depiction species together, or separated), and of human and animal: including through mythologies in which humans were created from animal(s), or animal(s) later changed into human(s).

the FLUIDITY of the living world: animal species are recognized as kin, for they can become it; animal species are given, or projected-onto attributes that make a tribe, a clan, recognize themselves in it

the acceptation of the COMPLEXITY of the world: paleolithic people likely had deep, complex mythologies and cosmogonies, which we might Never, Ever, know anything about (this drives me insane.) their language, and their rites, might (have) reflect(ed) an understanding of the complixity of nature, or animals, that sedentary, then later capitalist societies might have lost the nuances of.

the PERMEABILITY of the living world(s). this again is seen in beliefs in the permeablity between human & animal, human a animal, animal as human: this is also where Shamanism might come into play. shamanism(s) rest(s) upon the conceptualization of the world as divided-but-permeable between a physical, living world, and an unseen, spirit world: the Shaman is the mediator, the person who can freely go between these two worlds, to communiate, to heal, to direct, to plead, etc. AND, and this is where it gets real interesting for The Caves: potentially, the belief in the permeablity of the cave rock itself: multiple painted sites might contain hints of a belief in the cave being the place where spirits dwell; and painting them is less "calling" or "invoking", even if there might be some of it, but rather "revealing". the cave itself, maybe, could (have) be(en) considered the place where spirits dwell, and come forth/from. more about that later.

WITH ALL OF THAT IN MIND. at least in the franco-cantabrian area, the placement of cave art is, very Very likely, extremely deliberate. it is not just the art that counts, but where it was made. we can ask ourselves, why it was made here, and not elsewhere. i am picking my answer on this axis. some caves might be so beautifully painted, but are The Vibes here? if the expression of this potential magico-spiritual complex and tens-of-thousands-of-years-spanning(!!!!!!!!!! this is nother thing that's fucking insane btw. did you know we are as close to Lascaux as Lascaux is to Chauvet, another very ornate painted cave. MULTIPLE TENS OF THOUSANDS OF YEARS) is visible, or #feelable, let's mention it. now onto the good part

CAVE ART THAT DRIVES ME CUCKOO CRAZY:

THE NIAUX (pronounced "Nyo") CAVE

reason: i've been there. twice. sobbed both times. came out changed like genuinely. made me go back to uni. the Niaux Cave is located in the Ariège (a-ryeh-juh) département [think smaller than a state bigger than a county] of southern france, in the Pyrénées (pee-reh-neh) mountains making the border with spain.

the almost entirety of the art is concentrated in the "Salon Noir" of the cave.

now. come close and listen to me. the Salon Noir is some 700 meters from both the modern entrance and the prehistoric one. today, like back then, you have to navigate rough, slippery terrain, crouchspaces, and generally accident-inducing (source: my dad slipped & fell just like our guide warned us about) walking space. for most of the way, the ceiling is 5 to 10 meters above, and the walls relatively close together (but not claustrophobic). the Salon Noir seems to be "indicated" by, on both of its sides, red symbol markings. now listen to me. the Salon Noir's ceiling is twice as high. even with modern lamps, you struggle to see it. now imagine. having walked all the way there, in the Wet, the fire of your torch or your grease hand-lamp to guide you, and suddenly not only can you not see the ceiling anymore, but the rock seems to speak back to you. the echo is intense, in the Salon Noir, way more than anywhere in the lower-ceiling'ed cave. your voice carries on for 5 full seconds, if you sing the rock continues singing after you. did you know? in france and spain, studies have shown that most parietal (=cave wall) art corresponds to particular acoustic features. did they sing? did they play the flute, the drums? did they use lithophones: the stalagtites & stalagmites, hit of small sticks, to make them ring? in the Salon Noir, most of the animals are bisons, as is very common in the franco-cantabrian area. now this is just something fun that our guide told us, possibly nothing more than an interesting coincidence, for its truth would rest on an unproven-hypothesis-within-an-unproven-hypothesis, but did you now that the female bison has the same gestational period as the human? 9 months.

the bison to the right, with the red markings and the "eyebrows", is my dad's favorite: he says its profile looks like him, with his beard and his big nose, which to be fair, truly it does. in a previous-previous-previous-previous life my dad as an upper paleolithic era bison. this is my dad's paleolithic fursona.

my favorite is this horsie. see? she smiles.

so does this one on the left, a protome (= name for the depiction of only the front of an animal, of a human)

PERGOUSET (pronounced per-goo*-zeh) CAVE

(* but the "oo" sound is short)

i'm cheating a little. because this is not painting, it's carving. but i consider sculpture an art, and parietal carving to be as important and interesting as parietal paintings, so. take it or don't!

yeah the whole cave. you'll see why. basically if i think about Pergouset for too long my skin starts melting i foam at the mouth etc. anyways. since the cave is closed to the public, and basically only available to researchers' viewings, it is quite hard to find images of it, so we'll just ball on this one.

Pergouset is located in the département of the Lot, in southwest-central france. this region is Plentiful with caves, including Pech-Merle that is basically next door, and Lascaux 1.5h away. why this one & not any of those two? well. come closer.

okay. the pussies & this guy with his penis out cave. what's her deal. Well, first piece of lore is to know that, in the grand scheme of franco-cantabrian paleolithic cave art, human representations are minimal. animals make up the majority of depictions, however, "archetyped" or "stereotyped" human figures that insist on sex characteristics are Plentiful. and within representations of that, "female" archetypes outnumber "male" ones by a lot. basically you cannot cough on a paleolithic "human" depiction without landing on a vulva frankly. many such cases in life as well. one of the hypotheses, which Michel Lorblanchet brings forth in his book La Naissance de la Vie: Une Lecture de l'Art Parietal (from which the picture above is from) is that it could be part of a belief system in which the cave, the whole cave, itself could be a "female" principle or archetype: the whole of the cave a matrix, a uterus. basically its giving, it's giving birth. one of the biggest data point he has for that hypothesis is the Pergouset cave. in the Pergouset cave, carvings of vulvae rhythm a long narrow passage following an underground river. the 3 vulvae could represent that of pre-birth, that of currently-pregnant (with the line in the middle, like the pigmentation line on pregnant belly + carved over a convex part of the stone), and that of currently-actively-giving birth: "vulva 3" is just two streaks in the rock, surrounding a naturally-occuring hole in the rock: as if that feature of the cave itself had been recognized as It's Giving Birth / hereditary voice I Am Your Mother. as you can see on the picture, vulva 1 is all the way back in the #depths, in the #dark, and vulva 3 the closest to the exit, indeed to the light ( -> it's giving birth). now. and this is the insane thing. foaming at the mouth like unwell arms shaking rn. i've had to go pace 4 times since i started typing. in the depths of the cave, the animals that are carved are less (see the numbers on the picture). but also, they're... more fantastic. stranger, more unusual. lacking the realism that is typically associated with parietal art. they're... as if from a dream, an undetermined land of weirdness, of amorphousness. as they get closer to the light, they get more numerous, they proliferate, life crawls the walls: they become also more and more realistic. as we reach the last carved vulva, as it is giving, what is it: giving BIRTH, animals are numerous, abundant, fully formed, their visible selves in the world outside: it is as if the cave itself, the depths of cave itself, gave birth to these animals, formed them inside of itself, let them out from this unknown, amorphous, strange land beyond the stone, where human cannot reach. humans went in, and meticulously, sometimes using a natural relief in the stone for an eye, a feature, "released" the animals from the stone, "revealed" them from their state of hidden-inside-of-the-depths-ness. the whole cave this Mother from which all the animals drawn on the walls emerged.

tldr

[whencyclopedia]

Chaco Canyon

Chaco Canyon was the center of a pre-Columbian civilization flourishing in the San Juan Basin of the American Southwest from the 9th to the 12th century CE. Chacoan civilization represents a singular period in the history of an ancient people now referred to as "Ancestral Puebloans" given their relation to modern indigenous peoples of the Southwest whose lives are organized around Pueblos, or apartment-style communal dwellings.

Chacoans built epic works of public architecture which were without precedent in the prehistoric North American world and which remained unparalleled in size and complexity until historic times - a feat which required long-term planning and significant social organization. Precise alignment of these buildings with the cardinal directions and with the cyclical positions of the sun and moon, along with an abundance of exotic trade items found within these buildings, serve as an indication that Chaco was an advanced society with deep spiritual connections to the surrounding landscape.

Making this cultural fluorescence all the more remarkable is that it took place in the high-altitude semi-arid desert of the Colorado Plateau where even survival marks an accomplishment and that the long-term planning and organization it involved was carried out without a written language. This lack of a written record also contributes to a certain mystique surrounding Chaco - with evidence limited to objects and structures left behind, many tantalizingly significant questions about Chacoan society remain only partially answered despite decades of study.

Early Settlement

The first evidence of long-term human settlement in Chaco Canyon dates to the 3rd century CE with the construction of partially subterranean homes known as pithouses, structures which eventually were clustered together to form large villages. As inhabitants became increasingly integrated, single-story multi-room buildings began to appear in the 8th century CE among pithouse villages. Then, c. 850 CE, a remarkable change in Chacoan architecture began to take place which set it apart from that of any other Southwestern area. Whereas most contemporary buildings in the region contained less than ten rooms and were built out of wooden posts and adobe, Chacoans began to construct "great houses," colossal sandstone masonry structures which used thick walls to support multiple stories and hundreds of rooms. What it was that prompted such a dramatic and labor-intensive shift remains unknown today.

Continue reading...

[villainsimpqueen]

Ivonyok Lore!

Here is my Ivonyok (Cave Na'vi ) Lore!

Most of this art is made by @nin3kyuu

To the Lore!

Ivonyok Clan Overview

---

Physical Features

Body Structure

- Two arms, two legs, two queues, and two long tails with a bulby end.

- Four ears in a butterfly shape.

Vision and Perception

- Limited vision, relying on echolocation and tail sensors to navigate.

Hearing

- Acute hearing for detecting faint sounds through caves.

Appearance and Clothing

- Mostly nude with dark blue or purple skin and bioluminescent markings.

- Wear sacred silks for specific occasions.

---

Social Bonds

Platonic Mate Bond

- Formed in adolescence, fulfilling companionship, emotional, and sometimes sexual needs.

- Adopt children of a deceased platonic mate.

Mate Bond

- Equivalent to marriage, involving lifelong emotional and spiritual connections.

---

Beliefs and Spirituality

Ewya's Heart

- Believe cave systems are the heart of Ewya, the source of all Na'vi souls.

Origins of Other Na'vi Clans

1. Swimmers: Originated from Ivonyok adapting to ocean life.

2. Sun Chasers: Originated from Ivonyok chasing sunlight to the surface.

3. Sky Climbers: Originated from Ivonyok climbing to high mountains.

4. Sand Dancers: Originated from Ivonyok adapting to desert life.

5. Night Seers: Originated from Ivonyok discovering the night sky.

6. Ash Breathers: Banished Na'vi living in volcanic regions.

Reincarnation

- Souls begin in the Ivonyok clan, reincarnating into other clans to learn their ways.

- Ghost Walkers are reborn Ivonyok achieving peace after sudden death.

---

Clan Structure

Tsahík

- Spiritual leader, healer, and ritual practitioner.

Olo'eyktan

- Leader responsible for clan welfare and protection.

- Titles passed to chosen heirs.

Weavers

- Create sacred silk clothing.

Gatherers

- Collect food and ingredients.

Brewers/Trancers

- Craft alcoholic beverages, holding high status as well as Hallucinogenic snacks.

---

Important Animals

- Archulugans: Giant spider-like creatures for silk.

- KaliWayans: Bioluminescent scorpions in thermal vents.

- Pafnemipa: Blind weasel-like moles as mounts.

- Toruktsyìp: Glow worms for illumination.

---

Ecosystems

- Tidal Pools: Clean water sources.

- Mushroom Forests: Food sources.

- Root Forests: Used for funerals and spiritual connections.

- Thermal Vents: Sauna-like rituals and fermentation.

---

Living Arrangements

Dens

- Dens made using queues, with offspring pods suspended from ceilings.

- Water-filled stone bowls catch hatching offspring.

---

Way of Life

- Lead peaceful lives, enjoying pleasures while maintaining balance.

- Emphasize spirituality, strong social bonds, and respect for each other’s sensory perceptions.

- Value actions and behavior over physical appearance, cherishing deep emotional connections.

Clan Status?-

-Open clan. Any one can make a Ivonyok oc or Mix child of the Ivonyok.

You must Tag me in your posts! @villainsimpqueen Please do not steal my ideas i am more than willing to help you brainstorm fanclan ideas/lore.

-Mind You! Mix children may form mutations due to their Ivonyok parents having more Limbs and body Structure than other Na'vi.

-The Ivonyok is based on the idea of being All Na'vi great ancestor before the Na'vi clans seprated and Evoluved to the modern Na'vi we Know now.

-This is like if us mordern humans had bred with a prehistoric Human species, their would be mutations, those mutations however are free game & Up to imaginations.

Can be skin colors, markings, extra limbs (Queues, tails, ears, eyes)

[theanic-devotion]

Reminder

You can worship A Great Goddess/Mother Earth sort of entity without it being based off an ancient or prehistorical religion. There doesn't need to be a paleolithic indo-european goddess worshipping culture for you to believe in a goddess figure.

There is no need to make up history or speculate about the so-called "Venus Figurines" in order to validate your religion/spirituality.

I have recently realized I believe in a Mother Goddess (Though I believe she is all genders and none, She just feels mothery to me) and have been working toward venerating her. It isn't Hellenic/Greek or Kemetic/Egyptian or Norse or Celtic or anything earlier.

Love,

A pagan and a history enthusiast

[jasminewalkerauthor]

Deep dives into folklore: stone henge

Stonehenge, the iconic prehistoric monument standing on the Salisbury Plain in England, has captivated the human imagination for centuries. This deep dive essay embarks on an exploration of the folklore surrounding Stonehenge and the myriad theories proposed to unravel the enigmatic origins of this ancient structure.

I. Folklore and Mythic Narratives:

Stonehenge's folklore is rich with mythic narratives that span centuries and cultures. In Arthurian legend, Merlin is said to have transported the stones from Ireland and arranged them as a monument of healing. The Welsh tale of the Giant's Dance attributes the creation of Stonehenge to giants who brought the massive stones from Africa. These folklore elements intertwine with the cultural fabric of the British Isles, weaving a tapestry of fantastical tales around the monument.

II. Astronomical Alignments: A Cosmic Connection

One prevailing theory suggests that Stonehenge served as an astronomical observatory, aligning with celestial events such as the solstices and equinoxes. The configuration of the stones appears to have been deliberately positioned to mark the movements of the sun and moon. This theory posits that Stonehenge was a sophisticated calendar or ceremonial site, reflecting the profound importance of celestial cycles in the spiritual and cultural practices of its builders.

III. Rituals and Ceremonial Functions:

Another theory proposes that Stonehenge functioned as a sacred space for rituals and ceremonies. The alignment of the stones with celestial events may have served a dual purpose, allowing the ancient builders to not only mark time but also create a sacred arena for religious observances. The presence of burial mounds in the vicinity suggests that Stonehenge may have been a site for funerary rituals, honoring ancestors and aligning with the cycles of life and death.

IV. Social and Cultural Hub:

Some scholars propose that Stonehenge served as a social and cultural hub, drawing people from distant regions for communal activities and trade. The sheer effort required to transport the massive stones over long distances suggests a collaborative and organized effort. Stonehenge may have functioned as a meeting place where diverse communities gathered for seasonal festivals, trade exchanges, or important cultural events.

V. Symbolic and Metaphysical Interpretations:

Stonehenge's enduring mystery has also fueled more esoteric and metaphysical interpretations. Some believe that the monument possesses mystical energies, acting as a portal or conduit for spiritual experiences. New Age enthusiasts and modern pagans often visit Stonehenge during significant celestial events, seeking a connection with ancient wisdom or a transcendent experience.

VI. Architectural Ingenuity:

The technological prowess of the ancient builders of Stonehenge remains a subject of fascination. The precision with which the massive stones were quarried, transported, and erected suggests advanced engineering skills. Recent archaeological discoveries, such as the Stonehenge Riverside Project, have shed light on the complexity of the surrounding landscape, indicating a network of features that complemented the monument's function.

Stonehenge, with its colossal stones standing in silent testimony to the mysteries of the past, continues to inspire wonder, speculation, and exploration. The folklore surrounding this ancient monument, intertwined with Arthurian legends and tales of giants, adds a layer of enchantment to its narrative. Meanwhile, the diverse theories about its origins—from astronomical observatory to cultural hub—reflect the enduring quest to unravel the multifaceted significance of Stonehenge in the lives of its builders and in the broader context of human history. As ongoing research and discoveries unfold, Stonehenge remains an archaeological and cultural treasure, inviting us to contemplate the enduring enigma of this iconic site.

[creature-wizard]

Remember in the beginning, God was a Woman. Historical, archeological and biblical facts only serve to substantiate and restore our spiritual Faith and Belief in the Divine Feminine. Wisdom, Shekinah, Great Mother, Shakti, Neith and Mother Earth are all a few of the regenerative reminisces of our innate human nature's needs to remain connected to the Giver of Life and to bask in the glow of our MOTHER.

New Agers just can't stop being misogynist, transphobic, racist, and antisemitic with their Great Goddess bullshit, huh?

(For the unaware, the Great Goddess hypothesis was proposed by Eduard Gerhard in the mid-19th century. There has never been a shred of evidence to substantiate his proposal that prehistoric people were all monotheistic for a goddess, but certain conspiracy theorists refuse to let go of the idea, because it effectively lets them rebrand Christian gender essentialism as ~feminism~. See also: Eugenicist and bioessentialist beliefs about magic.)

[yoga-onion]

Legends and myths about trees

Celtic beliefs in trees (11)

L for Luis (Rowan) - January 21st - February 17th

“Lady of the Mountains - Second month of the Celtic tree calendar”

Star: Sun; Gender: female; Gemstone: tourmaline; Patron: Brigantia, Brigid, St. Brigid; Symbols: living vigour + holy fervour, life force + spiritual power

Slender tree with smooth grey bark and graceful branches reaching towards the sky. In May, it produces an abundance of plump white flowers, which cluster together to form clusters the size of an adult palm. The flowers are very small, with five petals and sepals, and the ripe berries turn from green to red as autumn progresses. The rowan nut has a small pentagonal star shape on the opposite side of the base, and the pentagram has been known as a symbol of protection against evil since prehistoric times.

The rowan tree is dedicated to the ancient Britons' goddess Brigantia and the Irish goddess of liberal arts, Brigid who is associated with wisdom, poetry, healing, protection, blacksmithing and domesticated animals. Both Brigid and Brigantia have an aspect as patron goddesses of farmers and their livestock, promising the arrival of spring and a bountiful harvest. Together they are said to keep shooting flaming arrows made of rowan, which follow the sun all year round.

Since they are the goddesses who spin the thread and weave the cloth, it is they who continue to weave the everlasting fabric of life, guide the sun through the stars that occupy positions in the sky and keep the wheels of the seasons turning.

The Celtic festival of Imbolc takes place on 1 February and is dedicated to Brigid. This is because Brigid brings inspiration and visions to us and awakens the spirit of the year from its sleep. Imbolc is also the first 'Seasonal Purification Day' that comes around in the year, and on this day, the witches celebrate the Sabbath.

Rowan was once thought to be protected by this tree, as was the earth energy contained in ley lines (straight lines connecting ancient sacred sites and ruins) and menhirs (standing stones). Druids planted these trees at their ritual sites and used the smoke from burning rowan trees to invoke the spirits of the dead and warriors. The smoke from burning rowan trees was also often used to predict the course of a love affair.

For the Celts, the rowan was a symbol of nature's abode and vigorous life activity. Sacred, yet magically powerful, the rowan tree protects us from temptation and disease and was therefore discouraged from being cut down.

木にまつわる伝説・神話

ケルト人の樹木の信仰 (11)

L は Luis (ﾅﾅｶﾏﾄﾞ) - 1月21日～2月17日

『山の淑女〜ケルトの木の暦の第2月』

星: 太陽、性: 女性; 宝石: トルマリン、守護神: ブリガンティア、ブリギッド、聖ブリギッド、シンボル: 生きる活力＋聖なる熱情、生命力＋霊力

なめらかな灰色の樹皮をもつ、すらりと細身の木で、優美な枝が天にむかって伸びている。5月になると白くふっくらとした花をふんだんに咲かせ、それらが群がって大人の手のひらほどの房を作る。花はとても小さく、5弁の花びらと萼ををもち、秋が深まるにつれ、熟した実は緑色から赤色に変色する。ナナカマドの実には柄の反対側に小さな五角形の星型がついているが、5線星型は太古の時代から魔除けのシンボルとして知られている。

ナナカマドの木は、古代ブリトン人たちの女神ブリガンティアや、アイルランドの学芸をつかさどる女神ブリギッドに捧げられている。彼女は知恵、詩、癒し、保護、鍛冶、家畜と関連している。ブリギッドもブリガンティアも、農牧の民とその家畜を守護する女神としての一面を持ち、春の到来を約束し、豊かな収穫をもたらすとされている。この二人は共にナナカマドでできた燃える矢を放ちつづけ、その矢は太陽の後を一年中追い続けるといわれている。糸を紡ぎ、布を織る女神であることから、とこしえに続く生命の布を織りつづけ、天空に位置を占める星の間を縫って太陽を導き、季節の歯車を回し続けるのもこの二人である。

ケルト人の祭りであるインボルクは2月1日に行われ、ブリギッドに捧げられる。ブリギッドが霊感や幻視を私たちにもたらし、一年の精霊を眠りから覚ましてくれるからである。インボルクは一年で最初にめぐってくる「季節祓いの日」にも当たり、この日、魔女たちはサバトを祝う。

かつてレイライン (古代の聖地や遺跡を結ぶ直線)やメンヒル (立石) に含まれる大地のエネルギーは、ナナカマドに守られていると信じられていた。ドルイドたちは祭壇の場にこの木を植え、ナナカマドを燃やした煙で死者の霊や戦士を呼び出していた。ナナカマドを燃やした煙はまた恋の行方を占う際にもよく使われた。

ケルト人にとって、ナナカマドは、自然が宿すシンボルであり、旺盛な生命活動の象徴でもあった。神聖で、しかも魔法の力をもつナナカマドは、誘惑や病気から私たちを守ってくれるので、伐採は慎むべきとされていた。

[a-dinosaur-a-day]

how many video game ideas do you even have?

an incomplete list of the bajillion video game ideas I have had over the past ten years (if you want verification, @raptorcivilization is usually the schmuck I pitch to) that I can't do because I lack infrastructure and resources:

a redo of the eyewitness dinosaur hunter game for the modern era (but obviously without the eyewitness brand) - so a 3D virtual museum environment with an on-site dig that brings dinos back to life. would include the history of birds after the end-cretaceous.

a redo of the magic school bus explores the age of dinosaurs game (doesn't have to be associated with magic school bus, a cute kulinda protag will work fine) - so a point and click game where you go to different environments, learn about the history of life, play mini experiments and mini games to learn, etc.

a museum tycoon game (why the fuck doesn't this already exist) (I have an elaborate system in my head that would include ethical collection and museum reputation as important factors)

prehistoric photo safari - you go back in time to different ecosystems and take pictures of various things you're asked to take pictures of, like "a pennaraptoran preening" or "a tyrannosaur family group" that kind of thing

an aviary zootycoon/planet zoo esque game - basically you're creating a zoo but it's only birds. I'm not bitter about planet zoo, no, whose asking.

or just another zoo simulator that's a better spiritual successor to zoo tycoon than planet zoo is, so it would include aquatic and extinct stuff like the zoo tycoons always did >_> also more birds

the same idea as above but now it includes fossil/extinct birds too, you're welcome

a game where you go back in time and gather prehistoric life and bring them back to the present and try to recreate extinct ecosystems, with an emphasis on ecosystem dynamics

similarly, an ecosystem simulator like tyto-ecology except... better. and still being developed. and mostly focused on extinct ecosystems.

a stardew-style farming game but you're ravens in a post-human world, creating a new society from scratch. as birds.

a bajillion different @saurian-game - like games set in different environments including the Manda Beds of the Triassic, the Jiufotang Formation of the Jurassic, literally anything other than the red beds of the Permian, Fossil Lake in the Eocene... the list goes on

domesticated Kulindadromeus sheephearder game (@paleopinesofficial you can just steal this idea and put it in your game, that's fine)

fossil stories - basically you live the life of different extinct animals based on their fossils, so dueling/fighting dinosaurs and stuff like that. it would be your basic choose your own adventure story type dealio.

a dinotopia video game. that's it. that's the entire concept. maybe something like simcity or the sims but in dinotopia. there's something there.

jewish themed stardew valley (this isn't dinosaur/bird or prehistoric life related, I'm just annoyed at the christonormativity in stardew [why does xmas exist in this alternate universe] and want to make a jewish version out of spite)

pet parrot simulator. mainly so that people who love parrots but really can't care for them can play the game. also so people who are thinking of getting a parrot can play the game and find out if they really can take care of one. I recognize pet simulators exist but they're never really accurate when it comes to parrot care.

I know I have more but these are the best ones. The ones I come back to the most are the museum tycoon game, the prehistoric photo safari game, and the redo of the magic school bus dino game; and @raptorcivilization is keeping the dream alive for the remake of the eyewitness game.

[meltingchaos]

*makes a witchsona so I can annoy belos*

Meet Charon Fen, a Witch / Swamp Nixie (otherwise known as a 'Swamp Sleeper')! These creatures of the isles, much like their prehistoric ancestors 'Stone Sleepers', spend hundreds of years hibernating in the marshlands, connecting with the magic of the titan and the in-between realm in a spiritual slumber. When hibernating, Nixies will blend into the landscape, simply appearing as logs, moss or mounds of earth to the untrained eye.

Charon did just that. Sleep for a few hundred years before being abruptly awoken. Construction coven scouts rocked his peaceful rest whilst foraging for palistrum wood. The whole world was drastically different. Stepping foot into the modern day from the Deadwardian era would be daunting for anyone. But for Charon, nothing could be more scary than waking up in the distant future and seeing a familiar face. A familiar face he was 'friends' with hundreds of years ago. A familiar face who he knew the truth about. A familiar face who he didn't think would survive this long. The Emperor himself. Or, as Charon knew him, the lost human; Philip Wittebane.

Notes:

Most Nixies are far more daunting than Charon; all over 6 feet and comprised of solid woodland materials. Charon can cover his whole body in a hard wooden shell, matching his hands, feet and tail but that's just a protective exoskeleton he can manifest.

He doesn't have a coven sigil. He struck a deal with Belos that as long as he isn't given one, he won't expose the truth. It's not that Belos thinks anyone will believe him, but he agreed.

His Palisman is called Quag (short for Quagmire). Often gets called Quagington, Quaggle, Quack Quack. Lots of nicknames this one.

Belos wants to keep him in close proximity, just to keep an eye on him. Charon works as a bounty hunter who's also tasked with keeping the Basilisk experiments at bay and recovering escapees. Basilisks and Nixies remained enemies for countless centuries due to their disputes over magic. It's rumoured that their feuds led to the eventual extinction of the species.

I like to think there are other types of Nixies than the swamp ones. Freshwater Nixies and Saltwater Nixies. I will need to design them all one day.

He has gills on his neck and waist to help him breathe underwater.

I tried to condense stuff as much as I could for this post! I have so many IDEASSSSS. Here's his TH page btw! (under construction)

he's so mean and cocky and I cried over accidentally killing a blue bottle fly today. We are not entirely alike but that's okay, I still love him. He's more of an oc than a sona.

[wyvernstuff]

🪐 WYV’S PINNED *ೃ༄ 🐾

hihi i’m Wyv! You should read my carrd that’s in my bio but if you’re too lazy for that here are the basics: I’m 19 years old and first awakened in 2018. I use it/its pronouns on here primarily, but I use she/he (please mix it up!) as well. My otherkinity is a mix of spirituality (the majority of my kintypes I believe to be past lives) and psychology (mental + coping mechanism). I have quite bad anxiety and fatigue, please be patient with me!

I am a dragon! It’s my primary kintype and I have many dragon forms I identify with. I am also a shapeshifter! My other primary kins are a house cat and a (fallen) angel. My secondary kins include a prehistoric sea creature, alien, wolf and multiple types of owls and large cats. I’d love to be friends with other nonhumans but especially those who share my kintypes! I’m here to make friends, don’t be afraid to interact or message me! c:

My fictionkin identities will be rarely discussed on here but I will list the ones that matter; I am elio from pokemon Ultra Moon and Clara Oswald from Doctor Who! (I’d prefer not to see doubles because I heavily see myself as these characters but I wish them no ill will, I just won’t interact!)

Tags you should check out:

#wyvern posting

#kin art

I have a sideblog ( @strugglekin ) where I take requests for kin related moodboards/stimboards/self care/kin art, so go follow me there as well!

DNI if you are under 13 or identify with/interact with proship, IRL gore, truscum, terf, anti kin, anti mogai content, para, AI ‘art’

[mask131]

If Middle-earth is Earth in the past, is there any possibility for the magic to return? The magical creatures are probably all dead, but I assume the more spiritual beings like the Maiar and the Valar should still be around, right?

Asked this to a couple of friends that are Tolkien fans and they couldn't answer me.

Now I am NOT at all a Tolkien expert. I will try my best to answer you but I can't recommend you enough to go check actual lore-wise people for Tolkien... I know there are a handful of Youtube channels dedicated to explaining little tidbits of lore and answering specific questions about Tolkien's works. "In Deep Geek" or "Nerd of the Rings" are good starting places for casual Youtube videos about Tolkien lore, to listen in some spare time or just as background.

Now it depends what you mean by "magic" but, taking into account the whole "Middle-Earth is just prehistoric Earth/England's mythology" angle, in this sense, yes you are right about the point.

Most of the fabulous and fantastical creatures of legends and myth are dead or gone, and it is the whole point of Tolkien's work. The Lord of the Ring is literaly the tale of how an entire Age ended. It is something that begins quite early in The Hobbit, with the death of what was the last great dragon, but one doesn't get the full scope until we reach The Lord of the Rings, and by the end of it we are hit with everything. The Elves are fading away, the Wizards have all broken off in various ways, Sauron and his underlings are no more, the rings of power have no power anymore, the Ents are doomed to extinction, even some of the last descendants of the eldritch horrors like the Balrog or Shelob are dead. The great wonders of Middle-Earth are gone, beautiful or horrible, and it is sad and an end - but also a new beginning for a new age. And in this sense, yes, magic is technically gone or going away by the end of the Lord of the Rings.

But, as you pointed out, it doesn't mean "magic" is still disappeared forever, because in the Tolkien universe, magic IS the world. As you said, indeed, the Valar/Maiar are still around, and will always be there until the end of time. They are just out of reach and out of sight: this is one of the big themes of the Silmarillion, since it is the book where we go from "The gods walk the same earth we walk today" to "The gods are nowhere to be seen and work in mysterious ways". The whole point is that the Valar slowly retracted themselves from the universe, isolating themselves in the West, acting less and less in mortals affairs, imposing indirect means of interacting with fate and events rather than direct action... And it is part of the entire aesthetic of Tolkien's Legendarium: the regression of magic is constant, and while the world described in The Lord of the Rings seems like the "magical world" we today lost, when one reads the Silmarillion you realize LotR's Middle-Earth was actually a pretty drab and mundane world compared to the earlier Ages of the World. It is just that the very passing of Ages means that less and less magic and wonders happen - it is the Tolkien's way.

But they are not gone. There is still of this "magic" left around, it is just out of reach, hard to spot, not usually seen - and you have to know what you are looking for. Just like the Valar, who will always be there, but mortals cannot reach them, nobody remembers them, and they don't interact with us anymore. I think it was in The Hobbit that Tolkien literaly began by saying that some Hobbits still lived around England, though they hide away from humans and thus one would need tough chance to ever find them. It was just a "child's story" narrative device, but it still set the tone for the idea that there are remnants of LotR's Middle-Earth in our day and age (well more like in the 19th/early 20th century England), the same way Middle-Earth had by the time of LotR remnants of the first ages of the world (Shelob reminding of the distant threat of Ungoliant, or Galadriel's vial containing a last piece of primordial light).

Plus, you have to remember Tom Bombadil. The guy is definitively still around. And that's his role. When did he get there, we will never know, because he was never born - but he was there at some point, and he was there long before everybody else, and he will be there long after everybody else, and he'll still be around probably until the end of the world. As I said in my previous post, many people dismiss Tom Bombadil in LotR because yes, he provides nothing to the plot - but they miss his importance, that he is here as a symbolic and almost metaphysical character, as a tool not just to worldbuild but also to show the whole idea of this world. Yes the elves and dwarves and orcs are gone, and there are no more great wizards or terrible dark lords... but there will always be somewhere this weird singing guy who is definitively not human and nobody knows where he comes from, with his nature-spirit of a wife, and his grumpy murderous neighbor Old Willow. And I think it is quite important to understand Tolkien's whole approach to the "fading of magic". Tolkien's world is one of constant "degradation" (to the point he even stopped writing his story about a Fourth Age because he realized it would be much too bleak and dark even for him), but it is also one that is tied to his production for children and an interest in fairytale and children stories, and as such it also teaches to go search the real magic today not in immense dragons, or powerful elf-queens, or cursed antique jewels, but rather in a few Hobbits living their life hidden in some shire, or in an excentric Tom Bombadil deep within beautiful old woods.

[shamandrummer]

Archaeoacoustics: The Archaeology of Sound

Archaeoacoustics, a burgeoning field within archaeology, combines the study of ancient sites and artifacts with the science of sound. By examining how sound was used and experienced in historical contexts, researchers can gain unique insights into the lives, cultures, and environments of ancient peoples. This post will delve into the principles of archaeoacoustics, its methodologies, significant findings, and the implications of these discoveries for our understanding of history.

What is Archaeoacoustics?

Archaeoacoustics is the interdisciplinary study that merges archaeology, acoustics, and sometimes anthropology, to understand the role of sound in past human activities. This field investigates how ancient peoples produced, manipulated, and perceived sound, whether in rituals, communication, or daily life. By reconstructing these soundscapes, archaeoacoustics offers a sensory dimension to historical inquiry, enriching our interpretation of archaeological sites and artifacts.

Methodologies in Archaeoacoustics

Acoustic Measurements and Simulations

One of the primary methods in archaeoacoustics involves acoustic measurements and simulations. Researchers use modern technology to analyze the acoustics of ancient structures such as theaters, temples, and caves. Tools like sound level meters, directional microphones, and computer simulations help in understanding how sound behaves in these environments. By measuring reverberation times, frequency responses, and sound distribution, archaeologists can infer the acoustic properties and possible uses of these spaces.

Sound Mapping

Sound mapping is another critical technique, where the distribution of sound within a particular area is documented. This involves creating detailed maps that illustrate how sound travels and is experienced at different locations within a site. These maps can reveal areas of optimal acoustics that may have been used for specific activities, such as speech, music, or ritual practices.

Experimental Archaeology

Experimental archaeology also plays a role in archaeoacoustics. By recreating ancient instruments or sound-producing devices, researchers can explore how these tools might have been used and what kind of sounds they produced. This hands-on approach provides tangible insights into the auditory experiences of ancient peoples.

Significant Discoveries in Archaeoacoustics

The Acoustics of Stonehenge

One of the most fascinating studies in archaeoacoustics involves Stonehenge, the prehistoric monument in England. Researchers have used acoustic modeling to understand how sound would have behaved within this stone circle. Findings suggest that the stones could have amplified speech and musical sounds, creating an immersive auditory experience. This has led to speculation that Stonehenge may have been used for rituals or gatherings where sound played a crucial role.

The Hypogeum of Hal-Saflieni

The Hypogeum of Hal-Saflieni in Malta, an underground temple complex, is another site of interest. Acoustic studies have shown that certain chambers within the Hypogeum have unique resonance frequencies that enhance the human voice. This has led researchers to believe that the temple may have been designed with acoustic properties in mind, possibly for chanting or other vocal rituals.

Chavin de Huantar

At the ancient site of Chavin de Huantar in Peru, archaeoacoustics has revealed that the temple complex was built with sophisticated sound manipulation in mind. Researchers discovered that the architecture of the site, including its network of tunnels and chambers, could have been used to create disorienting and awe-inspiring auditory effects during religious ceremonies. The use of conch shell trumpets and other sound devices would have added to these effects, enhancing the spiritual and psychological impact on participants.

The Maya Pyramid of Kukulkan

At the Maya ceremonial center of Chichen Itza in Mexico, an incredible acoustic phenomenon can be heard at the Pyramid of Kukulkan. If you clap your hands directly in front of the pyramid's main staircase, it echoes back an almost mechanical bird-like chirping sound. Handclaps from different positions along the base of the staircase likewise trigger the echo, but with different musical tones spanning half an octave. Recordings of the hand-clap echoes match the chirp of the nearly extinct Quetzal, the sacred bird associated with both the name of the pyramid and its plumed serpent deity Kukulkan.

The Maya Ruins of Palenque

Archaeologists discovered that the temples and public squares in Palenque, Mexico could clearly project the sounds of a human speaker and musical instruments of the time across at least a hundred meters, or about the length of a football field. The investigation identified rooms that could have been used by musicians, speakers or priests to amplify the frequency, quality and volume of sound, allowing the music or the message to travel further and reach more people. The findings strongly suggest the design and structures at Palenque involved a great deal of knowledge about acoustics and the behavior of sound.

Implications and Insights

Understanding Rituals and Ceremonies

Archaeoacoustics provides valuable insights into the rituals and ceremonies of ancient cultures. By reconstructing the soundscapes of these events, researchers can better understand the sensory experiences of participants and the role of sound in these practices. This can shed light on the spiritual and cultural significance of sound in ancient societies.

Reinterpreting Archaeological Sites

The study of sound can lead to new interpretations of archaeological sites. Structures that were previously thought to serve purely functional purposes may be re-evaluated in light of their acoustic properties. For example, a room that was assumed to be a storage area might be reconsidered as a space for ritual chanting if it has unique acoustic characteristics.

Enhancing Public Engagement

Archaeoacoustics also has the potential to enhance public engagement with archaeology. By recreating the sounds of the past, museums and heritage sites can offer immersive experiences that bring history to life. This sensory approach can make historical sites more accessible and engaging for visitors, fostering a deeper connection with the past.

Conclusion

Archaeoacoustics offers a fascinating and innovative approach to the study of ancient cultures. By exploring the acoustic properties of archaeological sites and artifacts, researchers can uncover new dimensions of historical experience and gain deeper insights into the lives of ancient peoples. Despite its challenges, the field holds great promise for enhancing our understanding of the past and engaging the public with history in new and exciting ways. As technology advances and interdisciplinary collaboration continues, the future of archaeoacoustics looks both promising and intriguing, inviting us to listen to the echoes of history in ever more profound ways.