GP 388 Stenkyrka Lillbjärs I

Context and Discovery
The cemetery of Lillbjärs (or Lilla Bjärs, sometimes just Bjärs, also as Bjers), in Stenkyrka parish is one of the largest and most important grave fields on Gotland (RAÄ Stenkyrka 26:1; Lindqvist 1941/42 II, p. 118; Thunmark-Nylén 1995–2006 III:2, p. 627). It includes more than 1000 visible stone settings (rösen and other circular or almost circular stone mounds), as well as a ship-shaped stone setting from the Bronze Age (5 x 2.25 m), and a monumental (17 m in diameter) grave mound called ʻÄuglehaugʼ (or ʻUgglehaugʼ), which probably dates to the Migration Period. An old path of about 550 m leads through the entire area in an east-west direction. Many of the graves were robbed; only a small number has been excavated, including about a dozen dating to the Viking Period. Remarkable features of the stone mounds are a surrounding dry-stone wall consisting of several layers of limestone slabs, as well as the frequent occurrence of grave orbs (large spherical stones) (gravklot), erected stone slabs, and picture stones in the immediate context of the (Vendel or Viking Period) graves (ibid. pp. 582–583). Lindqvist published nineteen picture stones from this grave field – GP 369–373, 377–381, 388–396, 429–431, 440 Stenkyrka Lillbjärs I–XIX.

“In November 1908, O. V. Wennersten reported in a letter to the National Antiquarian that a local, Emil Svensson in Tune, had discovered three picture stones on the ground belonging to Lillbjärs and taken custody of them. […] On this occasion, the antiquarian Emil Eckhoff visited the find place during the following summer and sent to SHM the stones [Stenkyrka Lillbjärs I–VI] as well as three fragments of another slab, which, however, did not clearly represent a picture stone. He also collected numerous grave orbs (gravklot) […]. In 1911, [Fredrik Nordin] visited the site and was given more information by Svensson about the find place and the circumstances of the discovery of the stones […]. When [Fredrik Nordin] returned in 1913 to conduct excavations, Svensson in the meantime had moved away, and unfortunately, it turned out to be impossible to locate all the find places described by him” (ibid.). Nordin excavated a number of stone settings in 1913 as well as in the following summer and discovered eight more picture stones in situ (Stenkyrka Lillbjärs VII–XIV). Between 1910 and 1912, three more picture stones were reported to Gotlands Museum by Svensson and moved to Visby where they are still kept today (Stenkyrka Lillbjärs XV–XVIII). Stenkyrka Lillbjärs XIX was found later, in 1927.

Most of the picture stones from Stenkyrka church presumably came from the Lillbjärs cemetery as well. Nevertheless, the stock of picture stones from this site can by no means have been recorded completely, and there is good reason to believe that this grave field in the future will provide even more discoveries (cf. Lindqvist 1941/42 II, p. 118).

The stones I–VI were discovered by the worker Emil Svensson in 1908. The picture stone Stenkyrka Lillbjärs I was found by Svensson in the centre of the grave field, lying between the edges of two stone mounds, with its obverse facing downwards (Lindqvist 1941/42 II, pp. 118, 121). The exact find place and context, however, cannot be determined. The picture stones I–VI (SHM 13742) were delivered to Statens Historiska Museum by antiquarian Emil Eckhoff in 1909 (Fornvännen 1909, pp. 253–354).
GP 369 Stenkyrka Lillbjärs IV
GP 370 Stenkyrka Lillbjärs VII
GP 371 Stenkyrka Lillbjärs IX
GP 372 Stenkyrka Lillbjärs XIII
GP 373 Stenkyrka Lillbjärs XIX
GP 377 Stenkyrka Lillbjärs VIa
GP 378 Stenkyrka Lillbjärs VIb
GP 379 Stenkyrka Lillbjärs VIc
GP 380 Stenkyrka Lillbjärs VId
GP 381 Stenkyrka Lillbjärs VIe
GP 389 Stenkyrka Lillbjärs II
GP 390 Stenkyrka Lillbjärs III
GP 391 Stenkyrka Lillbjärs V
GP 392 Stenkyrka Lillbjärs VIII
GP 393 Stenkyrka Lillbjärs XIV
GP 394 Stenkyrka Lillbjärs XV
GP 395 Stenkyrka Lillbjärs XVII
GP 396 Stenkyrka Lillbjärs XVIII
GP 429 Stenkyrka Lillbjärs XVI
GP 430 Stenkyrka Lillbjärs XI
GP 431 Stenkyrka Lillbjärs XII
GP 440 Stenkyrka Lillbjärs X

Measurements, Material and Condition
“Limestone slab, 7 cm thick at the bottom, 3 cm at the top. The obverse is naturally even, the narrow sides are partly hewn at right angles towards both broad sides, partly merely roughly hewn in shape. The reverse is rough and unworked. The stone’s total height is 77.5 cm, of which 60 cm are accounted for by the part above the lower edge of the decoration. The width of the head is 31 cm, that of the neck 28 cm, of the base 44 cm” (Lindqvist 1941/42 II, pp. 121–122). The monument is completely preserved, including the root; only the head’s left edge is a bit damaged. The very fine carvings are well preserved, there are no traces of severe weathering or abrasion.

Description of Ornament and Images
Lindqvist describes the carvings as follows (1941/42 II, p. 122): “The decoration was executed with thin lines probably drawn with the point of a knife and in general then deepened by means of a chisel. The chisel did not always follow the sketch lines precisely, however, which accordingly in some places can still be seen clearly. Parts of the background field below the horizontal border have been chiseled. The overall impression is that of the work of a hasty hand, though one belonging to an experienced master. The horseman filling the entire lower panel wears a helmet or a hood and carries a shield and two spears. In one hand, he holds the reins. In the background field above and behind him are triangular shapes. Below the horse’s belly, a symbolic figure is shown that apparently is composed of three triangles. The horizontal border has a peculiar interlace pattern, while the narrow framing border and the upper panel feature no carved decoration.” As the fine preparatory carvings are so well-preserved in the lower field and the stone is not weathered at all, the upper field appears to have never been decorated. Probably, the picture stone is unfinished.

There are two painted versions of the stone documented, a photo taken by H. Andersson in 1930 (ATA Run- och bildstenssamling 1310:26; cf. Lindqvist 1933, fig. 12) and a picture taken by H. Faith-Ell in 1937 (ATA 1820:18), the latter of which has been reproduced in Lindqvist’s book (1941/42 I, figs. 103, 110). A detailed drawing by O. Sörling is dated to 1909 (ATA 2440:24; cf. ibid. II, fig. 510); pictures of the unpainted stones are provided by Lindqvist (ibid. I, figs. 109, 113; see also ATA 1820:17, 1820:25–26, 1831:33. Essentially, these documentations correspond to each other. Most notable are the very detailed depictions of the equestrian’s face and hand, as well as the fact that the outline of the shield crosses the back of the horse. Those intersections are remarkable, as they possibly indicate a kind of preliminary sketch (cf. ibid. I, pp. 42–43; repeatedly Hauck, in particular, 1957b; Eshleman 2000; Oehrl 2019a, pp. 67–68 and passim [regarding Hauck’s research see 68–86, 169–172, 286–287, and passim]). Good examples for such preliminary carvings represent GP 161 Halla Broa III, GP 162 Halla Broa IV, GP 390 Stenkyrka Lillbjärs III, and GP 258 Lärbro Tängelgårda I. The dot in the center of the shield may indicate the use of a compass.
GP 161 Halla Broa III
GP 162 Halla Broa IV
GP 390 Stenkyrka Lillbjärs III
GP0258

Interpretation of the Imagery
Regarding the interpretation of horsemen on late type picture stones see especially GP 5 Alskog Tjängvide I, GP 21 Ardre kyrka VIII, GP 94 Garda Bote, GP 209 Klinte Hunninge I, GP 212 Klinte Hunninge IV (Klintebys), and GP 390 Stenkyrka Lillbjärs III. The motif of the horseman, in particular when it is welcomed by a woman with a drinking horn, is commonly regarded as depicting the deceased’s journey and arrival in the world of the dead.

The figure composed of three triangles occurs on a number of late-type picture stones. It is known under two different terms – Norwegian/Swedish/Danish valknut (also valknude, valknop) and the Old Norse term Hrungnis hjarta (Hellers 2012, pp. 40–50). The first is not recorded before the beginning of the 18th century and refers to different kinds of knot- and loop-like symbols in Scandinavian folk art, in particular those which are commonly described as ʻquatrefoil knotsʼ (Vierpassknoten, fyrpass). The etymology of valknut is unclear but usually interpreted as representing an Old Norse term valknútr which can be translated as ʻknot of the slainʼ. The Old Norse term Hrungnis hjarta (ʻHrungnirʼs heartʼ) originates from Snorri Sturluson’s Skáldskaparmál (ch. 17), written down around 1220. Snorri retells the myth about the god Þórr and his fight against the giant Hrungnir, who is described as having a special kind of heart: “Hrungnir átti hjarta þat er frægt er, af hǫrdum steini ok tindótt með þrim hornum svá sem síðan er gert var ristubragð þat er Hrungnis hjarta heitir” (Faulkes 1998, p. 21) – ʻHrungnir had a heart that is renowned, made of solid stone and spiky with three points just like the symbol for carving called Hrungnirʼs heart has ever since been madeʼ (Faulkes 1987, p. 78). The actual reason for depicting the giant’s heart on picture stones and other artifacts, however, remains unclear. Furthermore, it cannot be assumed with certainty that the connection between the symbol and the Hrungnir myth established by Snorri is based on ancient tradition.

The possible meaning of the so-called Hrungnis hjarta or valknut and other kinds of ʻtriangle signsʼ or ʻtriple symbolsʼ on late-type picture stones, most of which are more or less triskele-like, has been discussed extensively by Hellers 2012, pp. 100–186 (with previous interpretations and relevant literature; see also Main 2020, pp. 31–34, 41, 44, 78–79 appendix 2). There may be a connection to the sphere of death and the supreme god Óðinn (who is also god of the fallen) since these signs mostly occur close to those motifs which are commonly regarded as depicting the afterlife journey (horseman, ship, and others; see in particular GP 390 Stenkyrka Lillbjärs III, GP 258 Lärbro Tängelgårda I, GP 120 Grötlingbo Barshaldershed 6, GP 341 Sanda kyrka I) or sacrificial scenes (GP 59 Buttle Änge V and GP 253 Lärbro St. Hammars I).

There is a certain proximity between those picture stone triple symbols and the triquetra. The triquetra is a widespread decorative element in early medieval art, which in Christian contexts is mostly regarded as symbol of the Trinity (Traetteberg 1974; Moltke 1974; see also Main 2020). Possibly, the Gotlandic ʻtriple symbolsʼ are inspired by Continental or Western triquetra symbolism.
GP 5 Alskog Tjängvide I
GP 21 Ardre kyrka VIII
GP0094
GP0209
GP 212 Klinte Hunninge (IV) (Klintebys)
GP 390 Stenkyrka Lillbjärs III
GP0258
GP0120
GP 341 Sanda kyrka I
GP0059
GP 253 Lärbro Stora Hammars I

Type and Dating
Mushroom-shaped late-type ʻdwarf stoneʼ. Lindqvist assigns it to his ʻAbschnittʼ C which he dates to around AD 700. Current research, however, tends to date those monuments roughly to between the 8th century (or rather around AD 800) and the 10th century. Lisbeth Imer (2004, p. 104) dates the stone to between AD 750 and 900. According to Martin Rundkvist’s (2012) typology, the stone’s shape represents Type dwarf4, which occurs in his periods 4 (Late Vendel Period), 5 (Early Viking Period), and 6 (Middle Viking Period). The shape of the horse, in particular the shape of its head with its characteristic frame and pronounced mandible, is reminiscent of Salin’s Style II and thus seems to indicate a dating before AD 800.

References
Fornvännen 1909, pp. 253–354; Lindqvist 1933, pp. 108, 117, fig. 12; 1941/42 I, pp. 41, 47, 75–76, 82, 94, figs. 103, 109–110, 113; II, pp. 118, 121–122, fig. 510; Helmbrecht 2011, p. 485 cat. no. 833; Hellers 2012, pp. 66–67, fig. 10, pl. 4b; Kitzler Åhfeldt 2013a, p. 64; 2015, pp. 399, 431; Oehrl 2019a, p. 82.

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