GP 350 Sanda kyrka IV

Context and Discovery
The church of Sanda is situated c. 30 km south of Visby and it was built in the 13th to 14th centuries. However, a stone frieze – decorated in the Ringerike style and reused in the façade of the long house – bears witness to the existence of an even older church on site that is dated to the end of the Viking Age or the mid-12th century, based on the dating of the art style. This older building could either have been made of stone or made of wood with elements of stone, as the stone frieze shows (Oehrl 2019a, p. 105; see also Oehrl 2016, pp. 211 f).

The stone GP 350 Sanda kyrka IV is broken into two fragments which were found separately in different years. The upper part was found in 1902 by Sune Ambrosiani in the churchyard of Sanda Church (Nordin 1903, 146), and it was brought to SHM in Stockholm in 1907. Lindqvist (1942, 110) guessed that it was found during the construction of a grave. In 1956, the wooden floor in the choir was restored and the archaeologist Greta Arwidsson led an investigation underneath the floor level, which aimed to find the foundations of an older choir (Lindqvist 1962, p. 7; Oehrl 2019a, p. 105). Unexpectedly, the archaeologists found the lower half of the picture stone with the decorated side up in front of the entrance to the sacristy. At the time of discovery, there were impressions of four posts visible on the stone. According to Arwidsson, the stone fragment might, therefore, have served as a base for scaffolding used during construction works at the church wall. There were no signs of a grave underneath the find spot of the picture stone fragment. (Oehrl 2019a, p. 105)

Three other picture stones were already discovered in 1863 (GP 341; GP 344; GP 345), c. 20 m south of the long house in an accumulation of bricks which supposedly belonged to a small building once. (Oehrl 2019a, p. 105)
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GP 341 Sanda kyrka I
GP 344 Sanda kyrka II
GP 345 Sanda kyrka III

Measurements, Material and Condition
The upper part is broken off almost straight right under the central whorl motif. The lower part is lighter in color, the stone seems harder, and it has a much smoother surface, probably because it has been walked on in the church's floor. On the lower right side, there are two vertical grooves (in addition to a shallower one on the left side), which likely stem from later, medieval activity (Oehrl 2019a, pp. 41; 105 f.). Swedish: sliprännor.
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Description of Ornament and Images
Thanks to the discovery of the lower part in 1956, GP 350 Sandy kyrka IV is a key monument of phase A (AD 400–600) since then, due to its elaborate and completely preserved decoration. Aside from smaller stones of phase A, only the most recent suggestion of the matching of GP 268 Martebo kyrka I and GP 428 Stenkyrka kyrka 46 (Strehlau et al. forthcoming) has resulted in yet another key monument with a decorative repertoire that completes our understanding of the imagery (see below; see the articles on GP 268 Martebo kyrka I and GP 428 Stenkyrka kyrka 46).

GP 350 Sanda kyrka IV is one of the tallest stones of phase A, reaching almost 3 and a half meters in height. Its large height compared to a relatively narrow width creates a monument of rather column-like appearance. The stone has the decorative characteristics of the Bro-Martebo subgroup (see below).

The main decoration of GP 350 Sanda kyrka IV starts with a unique motif at the head of the monument: It is a ribbon that is intertwined to form loops and spirals above the central whorl motif. Due to its bad preservation, it is unsure whether this decorative motif was ever symmetrical. Both its possible asymmetry and simply decorative nature are characteristics that are uncommon for monuments of phase A. Moreover, no other picture stone is decorated with such a ribbon.

Directly underneath the decorative ribbon, there is a large whorl motif with surrounding corona. This motif consists of 16 clockwise turning arms that emerge from a central circle, and every other arm is adorned with a zigzag or triangle pattern. Two smaller, paired spiral motifs, that are each surrounded by a snake-like creature, follow underneath the whorl motif. The spiral motif on the left-hand side is a counter-clockwise turning spiral-whorl, in which eight spiral heads emerge from a central spiral. The spiral motif on the right-hand side is a very similar design, with the only difference that it has a circle surrounded by eight smaller dots in its center. The heads of the two snakes or wyrms (Vierck 1967, p. 114; see also Pesch 2017b, p. 251) are opposing each other, each sticking their tongue out, while their tails finish in a spiral in the opposite direction of their heads.

Underneath these spirals and snakes is a stylized tree, standing on a horizontal line. This tree is made of simply incised, upright branches, and it has a triangular base, possibly representing stylized, exposed roots. In our new 3D models, some carvings around this tree become vaguely visible. Recurring small circles on the same height give reason to interpret these carvings as several anthropomorphic figures that might have surrounded the stylized tree. However, the preservation is too bad to be certain of the identification of these carvings.

Directly below the horizontal line, there is a scene of a horseman seemingly fighting a mythical beast. Only the head of this creature and remains of a neck or mane are preserved. It opens its beak-like snout as if it were about to attack the horseman. While the mythical creature is carved in the center of the decorative surface, directly beneath the stylized tree, the single equestrian is placed to its left. This arrangement created an asymmetrical decorative scene that is rather uncommon for the otherwise very symmetrically arranged imagery on the picture stones of phase A. Lindqvist must have consciously decided not to paint the horseman since his upwards pointing spear is visible even by the naked eye (see ATA). Oehrl (2019a, pp. 106–109 pl. 82–85) has finally proven the existence of the equestrian through his RTI analysis, and he also discusses whether it might have been a later addition to the decoration on the stone. Despite the asymmetry that this scene produces, the horseman itself shows strong stylistic parallels to the opposing horsemen on GP 268 Martebo Kyrka I.

The motif that follows underneath the fight-against-the-beast-scene is a crescent-shaped oared vessel that is known from comparable monuments (e.g. GP 556 Väskinde Björkome I, GP 428 Stenkyrka kyrka 46, GP 43 Bro kyrka I). As typical for this motif, the boat has an unnaturally high raised stem and stern, and a tent-like construction in its center. Eight oarsmen are sitting in the boat, facing the right side, which indicated that the boat was moving towards the left side. The remains of a man sitting in the rear, holding a rudder also supports this moving direction of the boat. An additional rudder or control in the front suggests the existence of an additional man standing in the stern, which is, however, badly preserved. (See also the article on GP 43 Bro kyrka I on a man standing in the front of the boat, holding a control oar.) The top of the tent-like construction is adorned with eight small circles or rings (shields?).

The border decoration of GP 350 Sanda kyrka IV is common for stones of the Bro-Martebo subgroup: It is a mirrored ornament of two running spirals at the head of the monument and a meander-like ornament of angular spirals on the sides. On closer inspection, however, the meandering ornaments on the sides are hooks rather than angular spirals that are known from comparable monuments such as GP 556 Väskinde Björkome I or GP 268 Martebo kyrka I.
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GP 268 Martebo kyrka I
GP 428 Stenkyrka kyrka 46
GP 556 Väskinde Björkome I
GP 43 Bro kyrka I

Interpretation of the Imagery
Interpretations are often undertaken on the basis of Old Norse literary tradition, which always has the disadvantage that the latter originated predominantly in medieval Iceland, i.e. far away in space and time. Nevertheless, this represents the only textual basis available from Scandinavia and it is in part verifiable based on considerably older traditions. Holding the most elaborate and best-preserved decoration, GP 350 Sanda kyrka IV is typically used as basis for overall interpretations of the imagery of picture stones of type A.

Following Oehrl (2019a, pp. 55–58; 2020a), who builds on the ideas of Hauck (1983a, p. 444; 1983b, p. 546) and Ellmers (1981), the decoration depicts the journey to the afterlife. Crucial for this interpretation is not only the likely contextual connection of the early picture stones to funerary rituals but, more importantly, the separation of the main decoration through a horizontal line. This thin incision line is carved directly underneath the stylized tree and above the suggested fighting scene between the equestrian and the mythical beast. As the stylized tree is typically regarded as a representation of the mythological world tree Yggdrasil (ALTHAUS 1993, pp. 97 f.; pp. 147–149; ANDRÉN 2004, p. 404; 2012, pp. 55 f.; 2014, pp. 137–139; ELLMERS 1981; GELLING/ELLIS DAVIDSON 1969, pp. 139 ff.), the division of the imagery into a world of the living and a world of the dead would make sense.

Most interestingly, the interpretation of a journey to the afterlife is supported by the new discovery of the matching fragments of GP 268 Martebo kyrka I and GP 428 Stenkyrka kyrka 46 (Strehlau et al. forthcoming). This is because GP 428 Stenkyrka kyrka 46 is decorated with a barbed spear that seems to be flying masterless over the crew in the oared vessel that is so typical for type A picture stones and, specifically, the ones of the Bro-Martebo subgroup (see below). This spear might be connected with a ritual known from Old Norse literature, which involved the casting of a spear over the enemy army to consecrate it to Óðinn – the god of the dead (see also the article on GP 428 Stenkyrka kyrka 46). Based on this, the spear on GP 428 Stenkyrka kyrka 46 would symbolize the presence of or the influence by the god Óðinn and would mark the crew as dead or doomed at the same time (Oehrl in print a). It is, however, important to note, that depictions of oared vessels on the picture stones of phase A are more common without the additional separating line and without additional depictions of flying spears.

Another indication for the division into a world of the living and a world of the dead could be the stylized tree that is standing directly on the horizontal incision line. Oehrl (2019a, p. 120) points out that there is a description in Grímnismál (verse 35) stating that Niðhoggr (the demon of death) is sitting underneath the roots of Yggdrasil. Hauck (1983a, p. 444), on the other hand, regards the motif as a mistletoe (the ruling sign of Hel) rather than a stylized tree and compares it to the imitated medallion IK 86 Inderøy/Vika-M, whose scenic decoration is interpreted as the goddess Hel welcoming Baldr to the underworld (idem 1980a).

The large whorl at the head of the monument is typically interpreted as a cosmological motif or, more specifically, as symbol for the sun (e.g., Andrén 2012, p. 52; 2014, pp. 117 ff.; Hauck 1983a, p. 444; Nylén/Lamm 2003, p. 20; Oehrl 2019a, p. 23). As such, Hauck (ibid.) assigns it a further meaning of renewal and rebirth. Although Lindqvist (1941, p. 91) and Holmqvist (1952a, p. 19) both had a critical opinion of the reading of whorl motifs as the sun, there is so far no interpretation that is more convincing. Interestingly, such whorl motifs are also understood as symbols of the sun in other contexts as well as in other cultures, such as on the Hispanic funerary stelae of the Imperial Era (see Strehlau 2023, pp. 141–177). Moreover, similar designs also occur in other find contexts of the same time-period and are here, typically, interpreted as sun symbols as well in addition to having an apotropaic character (see Strehlau 2023, pp. 164–175). For example, close stylistic parallels exist between the whorl motifs on the early picture stones and such on Baltic disc brooches, on shield-formed pendants from Denmark and Norway, as well as on dress accessories and pendants of the Sösdala style (ibid.; see also Hauck 1983b). Among the Baltic brooches are even some with a similar corona that decorates the outer rim of the circular motif and, thus, creates an even stronger impression of a sun with sun rays (ibid., p. 169 fig. 4.37; see also Oehrl 2019a, pp. 24; 112; 282).

The opinions on the meaning of the smaller paired spiral motifs underneath are less uniform, but they are regarded as part of the overall cosmological symbolism in general (Althaus 1993, p. 83; ARRHENIUS 1979, p. 263; Ellis Davidson 1960; HOLMQVIST 1986, p. 376; Oehrl 2019a, p. 120). As a deviation from this interpretative scheme, Hauck (1983b, pp. 546 f.) regards those circular pairs as Hel’s world, which he connects with his interpretation of the stylized tree as a mistletoe – an attribute of Hel. He also compares the spiral motifs to depictions of mazes as known from Roman mosaic floors and, therefore, regards them as another station on the path of death. Based on this, he concludes that the early picture stones would be pictorial versions of pre-Christian prayers of distress.

Hauck’s (1983b, pp. 546 f.) reading of the imagery on GP 350 Sanda kyrka IV might be inspiring, but it does not completely fit with Oehrl’s chain of argumentation in which anything above the horizontal line would represent the world of the living, whereas anything below this separation would represent the afterlife or the world of the dead. Instead, Hauck situates the underworld already above the horizontal line. In contrast to that, the interpretation of the snake-like creatures, which often curl around the paired spiral motifs, as representing the mythological Midgard serpent (Althaus 1993, pp. 81–83; Andrén 2012, pp. 55 f.; Ellmers 1986, p. 344; Hauck 1983b, p. 551; Oehrl 2019a, pp. 117–120) would match with the notion of a world of the living. This interpretation is based on the literary description of the Midgard serpent as biting its tail and comparisons to uroboroi depictions from other contexts (see also Oehrl 2013b). Although the serpents on the picture stones never bite their tail but only show a crossover of body and tail if anything at all, the Midgard serpent would fit to the overall interpretation of the imagery, as already mentioned. Other than that, they are also described as “cosmic serpents” by Althaus (1993, pp. 81–83) and by Oehrl (2019a, p. 120).

The scene of the horseman with raised spear who seems to be fighting against a mythological creature, of which only the head and neck are preserved, has been challenged earlier as a possible later addition (Lindqvist 1962, p. 12; see also Oehrl 2019a, pp. 108 f.). Following his interpretation of the journey to the afterlife, Oehrl (ibid., p. 120) regards this scene as an equestrian involved in a fight with an animal-shaped demon of the underworld. In comparison with the depictions of two horsemen fighting a snake-like creature on the stone GP 268 Martebo kyrka I, Pedersen and Oehrl (2021, pp. 344) as well as Oehrl (2023; see also Oehrl 2019c, p. 161–169) argue that such “fight against the beast”-scenes are borrowed from Christian iconography. See the article on GP 268 Martebo kykra I for more information.

Anders Andrén (2004; 2012; 2014, pp. 126 ff.) suggests a different interpretation of the overall decoration of GP 350 Sanda kyrka IV. He argues for a connection to Bronze Age iconography and regards the imagery of type A picture stones as a representation of the sun cycle. In his reading of Sanda kyrka IV, the large whorl motif would represent the sun at the zenith, whereas the smaller, paired spiral motifs would stand for sunrise and sunset. Within this concept, the single or paired snake-like creatures are associated with mythological beasts that chase sun and moon, comparable to the wolves Fenrir, Sköll, or Hati in Norse literature. The boat at the bottom of the main decoration on early type picture stones stands for the sun’s night ship on its journey through the ocean or through rivers of the underworld, according to Andrén (2012, 55). Whether this underworld is comparable to the afterlife of mankind as in Hauck’s and Oehrl’s interpretation remains unclear. Andrén’s interpretation is based on Flemming Kaul’s (1998; 2004) reconstruction of a Bronze Age sun religion and, among others, he uses descriptions from Tacitus’ Germania, from Old Norse mythology, as well as alleged evidence of a Baltic sun cult to create a connection to the Migration Period picture stones. Even though other scholars have mentioned a possible connection to Bronze Age iconography before Andrén (Ellis Davidson 1988, pp. 168–170; Göransson 1999, p. 31), this interpretation is regarded as rather uncertain (Oehrl 2019a, pp. 116 f.).
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GP 268 Martebo kyrka I
GP 428 Stenkyrka kyrka 46

Type and Dating
GP 350 Sanda kyrka IV is an early type of picture stone, i.e. Type A according to Lindqvist’s typology, dating to between AD 400 and 600. Lindqvist (1941, p. 22) classifies this monument as his Martebo type, based on the border decoration of meandering angular spirals running along the vertical sides. Hauck (1983b, p. 541), on the other hand, affiliates it with stones that are called Bro-type both in his typology as well as in Lindqvist’s. His argument is that opposing snake-like creatures are present on stones such as GP 44 Bro kyrka II, which belongs to the Bro-type. This dilemma is one of the reasons why Strehlau (2023, p. 97; List 4) does not distinguish a Bro- and a Martebo-type but combines those monuments among the Bro-Martebo subgroup with a Bro-variation and a Martebo-variation. Because of its unique decoration, however, GP 350 Sanda kyrka IV cannot be classified further than as belonging to the Bro-Martebo subgroup.
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GP 44 Bro kyrka II

References
Nordin 1903, 146; Lindqvist 1941, fig. 5; Lindqvist 1942, 110 fig. 481; Lindqvist 1962, 7–13 fig. 1; 2; Hauck 1983b; Nylén/Lamm 2003, 28 f.; Guber 2011, no. 63; Oehrl 2019a, pl. 81; Strehlau 2023.

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