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Gotlandic Picture Stones - The Online Edition

GP 365 Stenkyrka kyrka IV









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mer grejer





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Parish Find Location ⓘ
Stenkyrka

Find Location ⓘ
In the churchyard wall of Stenkyrka church, north of the tower.

Find Context Classification ⓘ
Churchyard

Coordinate Find Location (lat) ⓘ
6411166

Coordinate Find Location (long) ⓘ
709898

Present Location Classification ⓘ
Gotlands Museum Magasin Visborg

Coordinate Present Location (lat) ⓘ
6390259

Coordinate Present Location (long) ⓘ
695514

Material
Limestone

Limestone Type ⓘ
crinoid limestone

Geological Group ⓘ
Högklint Formation (90%)

Height ⓘ
60

Width ⓘ
45

Thickness ⓘ
10

Lindqvist Type 

Lindqvist Shape 

Iconographic Keywords
 ⓘ       

Runic Inscription or not ⓘ
No

Context and Discovery ⓘ
The fragment was incorporated into the churchyard wall north of the tower as it was discovered by Fredrik Nordin in 1911. According to Guta saga (ch. 3; Peel 1999, pp. 10–11), a wooden church at this spot was the very first church building in the entire northern part of Gotland. It was replaced by a stone church in the first half of the 12th century, the foundations of which were discovered beneath the floor of the current church, which was built during the 13th century (on the building’s architectural history, see Roosval 1911, pp. 84–86; 1914, p. 1–52, esp. 21–24; Lagerlöf/Svahnström 1991, pp. 239–243). Sune Lindqvist (1941/42 II, pp. 115–118) lists nine picture stones from Stenkyrka church. By contrast, the list put together by Jan Peder Lamm in 2003 contains no fewer than 40 new discoveries (Lamm/Nylén 2003, nos. 238–276, 425, 426). The unusually large number of stones found not only in the church but in the entire parish is an indicator of the politically and religiously important position that Stenkyrka probably already held even before the first church was built (Roosval 1914, p. 5). Many of the new finds from the church were discovered during large-scale restoration works, which were carried out in 1954/55.

Measurements, Material and Condition ⓘ
“Limestone slab, about 7 cm thick. The obverse is uneven and displays cracks and flaked patches, the narrow sides are roughly smoothed, the reverse is rough and unworked. The stone’s total height now is 60 cm, the width between the upper corners is 45 cm. The body is 36 cm wide at the narrowest part” (Lindqvist 1941/42 II, p. 116). The small stone is almost completely preserved, only its root is broken off.

Description of Ornament and Images ⓘ
Lindqvist (1941/42 II, p. 116) describes the carvings as follows: “Decorated with shallow chiselled lines. Inside of the framing border filled with a simplified ‘twisted cord’ pattern, there can be seen in the centre parts of a watercraft with chequered sail and further up the very vague remains of a bird of prey.” In Olof Sörlingʼs drawing which is reproduced in Lindqvistʼs book, only some parts of the birdʼs tail and the top of a wing can be guessed at (ibid. fig. 492). In another drawing made by Sörling, which is kept in ATA (run- och bildstenssamling), however, only a few lines can be seen in the upper field. The photo of the secondarily painted stone provided by Lindqvist in his book, however, depicts a typical Style II image of a striking raptor in profile, right above the ship. It seems as if the giant raptor attacks the vessel as though it was a prey animal.

Migration Period bird brooches (Thiry 1939, pl. 18:428–429) and raptor-shaped fittings from the Vendel Period (Atterman 1934; Salin 1904, 269; Hauck 1980a, figs. 31–33; 1982c, fig. 55.8; Dickinson 2005, figs. 12b–g; 2011, figs. 9b–f; Oehrl 2020d) are close parallels. Actually, some of these items represent raptors striking and holding their prey, such as the gilded saddle fittings from a horseman’s grave at Vallstena in Gotland (Nerman 1969/75, nos. 1260–1263) dating to the 7th century, the gold and garnet cloisonné mounts of the purse lid from the 7th century Anglo-Saxon princely ship burial at Sutton Hoo (Suffolk, East Anglia), depicting a raptor striking a duck (Hicks 1986, 162–165; Adams 2015, 43–48), as well as a sheet gold plaque (probably a decoration on a warrior’s shield dating to the 6th or 7th century AD) from the famous Staffordshire Hoard (West Midlands) (Fern/Dickinson/Webster 2019, p. 92, cat. no. 538), depicting two raptors who are striking a fish. In addition, the unique bronze brooch from Lisbjerg in Jutland, Denmark, from the 6th/7th century AD, depicts a bird of prey gripping a man’s legs with its claws and biting into his neck (Ørsnes 1966, no. 159a; Kjærum/Olsen 1990, p. 162 no. 63). A raptor in profile, who is striking a fish, can also be seen on a gold bracteate from an unknown find spot kept in the British Museum (IK 33 British Museum-C), dating between AD 450 and 550.

Those depictions of striking Style I/II raptors (some of which, however, could also be regarded as corvids) are very similar to the image on the picture stone from Stenkyrka church. However, it must be stressed that it is difficult to verify the image given by Lindqvist (Oehrl 2019a, p. 66), even when using digital imaging tools. Remarkably, Lindqvist (1941/42 I, p. 89) does not mention Stenkyrka kyrka IV in his overview of bird depictions and states that GP 368 Stenkyrka kyrka IX represents the only space-filling bird motif in the material.
GP 368 Stenkyrka kyrka IX

Interpretation of the Imagery ⓘ
Hauck (1983a, pp. 534–535) interprets both the striking Style II raptor on Stenkyrka kyrka IV and the emblematic raptor (?) on GP 368 Stenkyrka kyrka IX as depictions of the chief god Wodan/Óðinn, acting in shape of an eagle. This interpretation is based on his research on the iconology of the Migration Period gold bracteates (Hauck 1972, pp. 52–53, 56–58, 64–65, fig. 8, pl. I, 1a–b, pl. III, 3a–b, pl. IV, 4; 1982c, p. 322, fig. 3a; 1986b, pp. 294–296, figs. 5–6), the older futhark inscription on the Eggja rune stone, and Old Norse literature.

The Eggja rune stone (NiæR 55) was found in 1917 during ploughing near the farm Eggja (Eggjum) in Sogndal kommune, Sogn og Fjordane county (today Vestland county). The slab covered a 7th-century burial, the inscription facing downwards. The runic inscription is badly preserved and its meaning controversially discussed. It appears to be written in metrical form, and thus is regarded as an exceptional early piece of skaldic poetry. Most runologists agree that the inscription reflects a kind of ritual which was performed when the grave slab was carved, probably including a curse against potential grave robbers. In addition, according to runologist Wolfgang Krause (KJ 101), the inscription contains the following sequence: ʻAs who came the army-god hither onto the land of warriors? A fish swimming out of the terrible stream, a bird screaming into the enemy band.ʼ The term ʻarmy-godʼ hæráss is recorded in Old Norse poetry as a name (heiti) of the god Óðinn. Thus, according to Krause’s interpretation of the Eggja inscription, this deity comes to the land of the living, in shape of a fish or an eagle, probably in order to take the deceased to the afterlife. However, it must be stressed that the transliteration and actual meaning of the inscription is still disputed and unclear in many respects (see in particular Høst 1986).

There are numerous birds to be observed on the gold bracteates, which are frequently interpreted as ravens, although many of them have large, hooked beaks indicating raptors. In most cases, the birds closely accompany the central human figure, which should be regarded as an indigenous deity, probably the chief god, Wodan/Óðinn. The birds’ heads are intimately turned toward the god’s face, as if they would communicate with each other (Hauck 1977a; Heizmann 2007b, pp. 19–32; Pesch 2018, pp. 435–436). Frequently, the god’s headgear turns into a bird of prey. Occasionally, it seems as if the entire human figure merges with that of a bird (Hauck 1972) while some bracteates only depict the raptor, without any human features. Occasionally, it attacks a strange reptile-like monster (IK 413 Bohuslän-D) or a fish-like creature (IK 33 British Museum-C). In Hauck’s opinion, those raptors represent Óðinn fighting animal-shaped demons (Hauck 1986a, p. 493, fig. 3; cf. IK 616). In this way, Hauck also interprets the group of raptor-, serpent-, and fish-shaped Vendel Period shield mounts (1980a, pp. 274–286; Hauck 1982c, pp. 321–328; alternative interpretations are discussed by Dickinson 2005, pp. 152–160; 2011, pp. 644–650). The eagle who kills a serpent is a wide-spread symbol representing divine victory over evil (Wittkower 1939, pp. 294–325). Zeus/Jupiter also is frequently depicted in shape of an eagle, fighting a snake, and this motif is also adopted by Christian tradition, as symbol of Christ who defeats the devil (Oehrl 2015a, p. 481; 2020d, p. 460).

According to the medieval written sources, Odin is indeed able to turn into an eagle, and some of the god’s numerous names refer to his affinity with the raptor – he is called Arnhǫfði (ʻthe eagle-headedʼ) or just Ǫrn (ʻeagleʼ) (Falk 1924, p. 41; Ellmers 1970, pp. 264–271, 275–277; Hauck 1972; 1980a, pp. 245–246, 267, 281, 283–285; 1982c, pp. 321–323; 1986b, pp. 278–280; 1988, pp. 34–36; Dickinson 2011, pp. 648–647). In order to escape from the giant Suttungr after he had stolen the mead of poetry, Óðinn took shape of an eagle (Skáldskaparmál 1 – Faulkes 1998, pp. 3–5; Hávamál stanzas 13, 14, 104–110 – Neckel/Kuhn 1983, pp. 19, 33–34; Berudrápa stanza 56 – Sigurður Nordal 1933, p. 276). Against this background, the runic inscription on a bracteate from Revsgård in Denmark (Jutland, IK 145) is of particular interest. A short sequence ara (Old Norse ari), probably meaning ʻeagleʼ, is clear and legible (Nedoma 2018, p. 1590). Unfortunately, the runic sequence on the opposite side of the god’s head remains less clear. However, it possibly contains the word haitika, a present tense first-person singular form of a verb that means ʻto be calledʼ. As a result, the inscription could be understood as: Ara haitika ʻEagle I am calledʼ or just ʻI am Eagleʼ – a self-proclamation of the runic writer or rather of the supreme god Odin himself (Düwel 2015 [1984], pp. 163–164; Oehrl 2020d, p. 455).

As a result, Hauck regards the Style II raptors depicted on the Type B picture stones from Stenkyrka church as mythological representations, as epiphanies of the supreme god Wodan/Óðinn, possibly acting as a psychopomp, a guide for the dead. Perhaps, on the stone no. IV, the god aims at the ship of the dead, taking possession of the vessel, and accompanying its crew to the world of the dead? However, the basis of this interpretation is rather sparse, the argumentation hypothetical.

Images of raptors and corvids (it is hard to differentiate between the species as they seem to merge into one another, iconographically and semantically, see Pesch 2015a, 382–388) in Late Iron Age and Viking Period art can easily be linked to the Skaldic ʻbeasts of battleʼ topos (Oehrl 2020d, 455–457). In numerous accounts of battles in Old Norse (as well as Anglo-Saxon) poetry, the wolf, the raven, and the eagle are mentioned – they feast on the slain, eating the corpses on the battlefield and drinking the blood of fallen warriors in the aftermath of battle (Beck 1970, pp. 55–67; Honegger 1998; 2017; Jesch 2002; Albert 2014, pp. 129–195). A very common kenning for fighting and killing enemies in battle is, for instance, ʻto feed the eagleʼ (ǫrno seðia). Raptors (or corvids) in the context of combat and killing, which are undoubtedly associated with the literary ʻbeasts of battleʼ motif, are depicted on the Type C/D monuments GP 253 Lärbro St. Hammars I, and GP 258 Lärbro Tängelgårda I.

Theoretically, the bird images from Stenkyrka could also be interpreted as valkyries in the shape of crows or ravens. The affinity between the valkyries and carrion-eating birds is recorded in Old Norse literature (Egeler 2011, pp. 68–70). Apart from a number of other common features, corvid affinity links the Old Norse valkyries with female demons of death in the Celtic world and in the Mediterranean, particularly the Keres, Harpies, and Erinyes, who are associated with carrion-eating birds. The Erinyes appear as bird-human hybrid creatures that in Old English glossaries are designated wælcyrige, a term equivalent to the Old Norse valkyrja (Egeler 2009; 2011). Some of the raptors which Hauck regarded as representations of Óðinn, he later interpreted as ornithomorphic demons of death (e.g., Hauck 1988, 34). On valkyries in shape of aquatic birds see GP 341 Sanda kyrka I, GP 91 Fröjel Bottarve, GP 120 Grötlingbo Barshaldershed 6.
GP 368 Stenkyrka kyrka IX
GP 253 Lärbro Stora Hammars I
GP0258
GP 341 Sanda kyrka I
GP0091
GP0120

Type and Dating ⓘ
Middle-type picture stone, which means a Type B ʻdwarf stoneʼ, dating between AD 500 and 700. The monument belongs to the group of Type B stones featuring a convex head with corners protruding horizontally. According to Martin Rundkvist’s (2012, p. 159) typology, the stone’s shape represents Type dwarf2, belonging to his period 2, which he dates to the Early Vendel Period. The simple ship depiction corresponds to a type labelled by Lindqvist as Rikvidetypus (ibid. I, p. 66). According to Vareniusʼ (1992, p. 63, fig. 26, appendix 2) typology, the ship, which features of a simple rectangular sail, belongs to group II (Skepp med enkel rigg), dating to the 7th to 9th century.

References ⓘ
Lindqvist 1941/42 I, 66; II, p. 116, figs. 492, 498; Hauck 1983a, pp. 534–535, 594, pl. XVII.36; Varenius 1992, p. 63, fig. 26; Guber 2011, p. 143 cat. no. 67; Oehrl 2019a, pp. 11–12, 66, pl. 31a–b; in print b.

 ⓘ
Fyndplats
Påträffades 1911 i kyrkogårdsmuren precis norr om tornet.

Nuvarande lokalisering
Gotland Museum, magasinet på Visborgslätt.

Beskrivning
Nästan helt bevarad dvärgsten (period B), bevarad längd 60 cm, största bredd 45 cm. Kantdekor och ett skepp med segel, över skeppet en rovfågel.

Datering
Dateringen oklar, men tillhör perioden 500-600-talen.

Tolkning
Möjligen kan rovfågeln symbolisera en valkyria.

AA

Title
GP 365 Stenkyrka kyrka IV

Gotlands Museum ID ⓘ
C1670

Jan Peder Lamm ID
232

Lindqvist Title ⓘ
Stenkyrka, Kirche IV


Last modifed Jun 25, 2024

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Identifier: GP0365-3D
ID: 4896
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Part 1 depth:https://gotlandicpicturestones.se/files/original/5ff542f0baa21981baadce4c1e9774be0e8c7c1b.nxz
Part 1 RGB:https://gotlandicpicturestones.se/files/original/87bc06c218a0f01d77322a8ec03e0f38234b8777.nxz