Der oder die Valknut, deutsch auch Wotansknoten, ist ein germanisches Symbol, bestehend B. Lärbro Tängelgarda I) und ähnlichen Motiven, die in Verbindung mit „Tod im Kampf“ und dem Göttervater (Odin) stehen können. Auch auf dem. Magische und mystische Symbole 1 - Trends Vikinger Runen, Nordische Runen Tattoo. Odin Icon designed by Ryan Brinkerhoff. Connect with them on Dribbble; the global community for designers and creative professionals.
Nordische Symbolewolfsportsonwheels.com › symbole › wikinger-symbole-bedeutung. Ein Symbol für den. Weltenbaum ist die Irminsul (→ Häufig verwendete Symbole). Walküre. Die Walküren sind Töchter Odins (→. Götternamen). Ihre Aufgabe ist. - Image of Valknut symbol Odin's symbol.
Symbol Odin Viking History VideoUnderstanding the Three Most Common Norse Symbols
When Odin sacrificed himself to discover the runes and the cosmic secrets they held, he stabbed Gungnir through his chest and hung from the world tree, Yggdrasil for nine days and nights.
As a symbol, Gungnir represents the courage, ecstasy, inspiration, skill, and wisdom of the Allfather, and it can be taken to represent focus, faithfulness, precision, and strength.
Ravens may be the animal most associated with the Vikings. This is because Ravens are the familiars of Odin, the Allfather. Odin was a god of war, and ravens feasting on the slain were a common sight on the battlefields of the Viking Age.
The connection is deeper than that, however. Ravens are very intelligent birds. You cannot look at the eyes and head movement of a raven and not feel that it is trying to perceive everything about you — even weigh your spirit.
Huginn and Muninn fly throughout the nine worlds, and whatever their far-seeing eyes find they whisper back to Odin. Ravens are also associated with the 9th century Viking hero, Ragnar Lothbrok.
Ragnar claimed descent from Odin through a human consort. This was something that did not sit well with the kings of Denmark, Norway, and Sweden as it implied parity with them , and for that and many other reasons they made war on him.
Various sagas and chronicles tell us Ragnar's success led him to Finland, France, England, and maybe even as far as the Hellespont in Turkey, and wherever he went, he carried the raven banner with him.
His sons Ivar and Ubbe carried the raven banner at the head of the Great Heathen Army that conquered the eastern kingdoms of England in the 9th century.
The banner continued to bring victories until their descendant, Sigurd the Stout, finally died under it at the Irish Battle of Clontarf about years later.
In Norse art, ravens symbolize Odin, insight, wisdom, intellect, bravery, battle glory, and continuity between life and the afterlife.
For people today, they also represent the Vikings themselves, and the years of exploits and exploration that these ancestors achieved. The wolf is a more enigmatic motif, as it can have several meanings.
The most famous to the Vikings was Fenrir or Fenris-wolf. Fenrir is one of the most frightening monsters in Norse mythology.
When the gods saw how quickly Fenrir was growing and how ravenous he was, they tried to bind him — but Fenrir broke every chain. Finally, the dwarves made an unbreakable lashing with which the gods were able to subdue the creature — but only after he had ripped the god Tyr's hand off.
Fenrir is fated to escape someday, at the dawning of Ragnarok, and will devour the sun and moon and even kill Odin in the last days.
Not all the wolves in Norse culture were evil. Odin himself was accompanied by wolves, named Geri and Freki both names meaning, Greedy who accompanied him in battle, hunting, and wandering.
This partnership between god and wolves gave rise to the alliance between humans and dogs. It is not entirely clear whether this was a synonym or a separate class of berserker.
We may never know for certain. The wolf has both positive and negative connotations in Norse culture. The wolf can represent the destructive forces of time and nature, for which even the gods are not a match.
The wolf can also represent the most valued characteristics of bravery, teamwork, and shamanistic power. The unifying characteristic in these two divergent manifestations is savagery and the primal nature.
The wolf can bring out the worst or the best in people. All this he can do at incredible speeds. While the other gods ride chariots, Odin rides Sleipnir into battle.
Sleipnir has a weird family. Some experts hypothesize that Sleipnir's octopedal sliding was inspired by the "tolt" - the fifth gait of Icelandic horses and their Scandinavian ancestors that make them very smooth to ride.
While this may or may not be true, the idea of eight-legged spirit horses is a very, very old one. Sleipnir's image, or rumors of him, appear in shamanistic traditions throughout Korea, Mongolia, Russia, and of course Northwestern Europe.
As in Norse mythology, these eight-legged horses are a means for transporting souls across worlds i.
These archeological finds are at least a thousand years older than Viking influence, showing that the roots of this symbol indeed go deep.
Sleipnir symbolizes speed, surety, perception, good luck in travel, eternal life, and transcendence. He combines the attributes of the horse one of the most important and enduring animals to humankind and the spirit.
He is especially meaningful to athletes, equestrians, travelers, those who have lost loved ones, and those yearning for spiritual enlightenment.
The Vikings had lots of stories of dragons and giant serpents and left many depictions of these creatures in their art. The longship — the heart and soul of the Viking — were even called "dragon ships" for their sleek design and carved dragon-headed prows.
These heads sometimes would be removed to announce the Vikings came in peace as not to frighten the spirits of the land, the Icelandic law codes say.
The common images of dragons we have from fantasy movies, with thick bodies and heavy legs come more from medieval heraldry inspired by Welsh Celtic legends.
The earliest Norse dragons were more serpentine, with long coiling bodies. They only sometimes had wings, and only some breathed fire.
Some Norse dragons were not just giant monsters - they were cosmic forces unto themselves. Jörmungandr also called "The Midgard Serpent" or "The World-Coiling Serpent" is so immeasurable that he wraps around the entire world, holding the oceans in.
Jörmungandr is the arch-enemy of Thor, and they are fated to kill each other at Ragnarok. Luckily, not all dragons were as big as the world - but they were big enough.
Heroes like Beowulf met their greatest test against such creatures. Ragnar Lothbrok won his name, his favorite wife Thora , and accelerated his destiny by slaying a giant, venomous serpent.
Dragons are as rich in symbolism as they were said to be rich in treasure. As the true, apex predator, dragons represent both great strength and great danger.
With their association with hordes of gold or as the captors of beautiful women, dragons can represent opportunity through risk.
Most of all, dragons embody the destructive phase of the creation-destruction cycle. This means that they represent chaos and cataclysm, but also change and renewal.
There are numerous other animal motifs in Norse art and culture. Many of these are the fylgja familiars or attendant spirits of different gods.
Thor had his goats , and Heimdall had his rams. Freya had a ferocious boar to accompany her in war, named Hildisvini "Battle Swine".
Her brother, Freyr or Frey - the god of sex, male fertility, bounty, wealth, and peace who, along with Freya, aptly lends his name to Friday - had a boar named Gullinborsti "Golden-Bristled" as his fylgia.
Seeing Gullinborsti's symbol or other boar motifs would make a Viking think of peace, happiness, and plenty. Boars are also significant in Celtic mythology, such as the fertility god Moccus, or the Torc Triatha of the goddess Brigid.
The Vikings believed cats were the spirit animals flygjur or familiars of the Vanir goddess, Freya. Freya was the goddess of love, sex, and romantic desire — but she was not just some northern version of Venus.
Freya was a fearsome goddess of war, as well, and she would ride into battle on her wild boar, Hildisvini "Battle Swine".
It symbolizes three basic elements of the worlds air, fire, and earth ; three phases of life infancy, growth, and death ; three stages of the cosmos creation, conservation, and destruction ; three things of humanity connection mind, body, and spirit ; etc.
In Ragnarok, Fenrir was set to slay Odin. But the pair of wolves in Norse mythology was a symbol of Odin. Odin raised a pair of wolves named as Freki and Geri as his constant companions.
Anywhere Odin went, the pair would accompany him. Odin even gave them all of his food. The meaning of wolves is somehow complicated as this animal suffers the most controversies in myth.
To put it simply, wolf captures the spirit of a warrior: a daring mind, a brave heart full of energy, the unbreakable loyalty to his pack and family, and a burning desire to set himself free from any chain.
The trio Valknut symbol, wolves, and ravens often appeared together to symbolize Odin's presence. Ravens embody the mental power of Odin.
They are the messengers of Odin and the storytellers for Odin. Odin was often gone for great spans of time. While Odin was gone, his brothers governed his realm.
His brothers began to divvy up Odin's inheritance, "but his wife Frigg they shared between them. However, afterwards, [Odin] returned and took possession of his wife again".
According to the chapter, Odin "made war on the Vanir ". The Vanir defended their land and the battle turned to a stalemate, both sides having devastated each other's lands.
As part of a peace agreement, the two sides exchanged hostages. In Völsunga saga , the great king Rerir and his wife unnamed are unable to conceive a child; "that lack displeased them both, and they fervently implored the gods that they might have a child.
It is said that Frigg heard their prayers and told Odin what they asked", and the two gods subsequently sent a Valkyrie to present Rerir an apple that falls onto his lap while he sits on a burial mound and Rerir 's wife subsequently becomes pregnant with the namesake of the Völsung family line.
Gestumblindi said:. Heithrek said:. Local folklore and folk practice recognised Odin as late as the 19th century in Scandinavia.
In a work published in the midth century, Benjamin Thorpe records that on Gotland , "many traditions and stories of Odin the Old still live in the mouths of the people".
Local legend dictates that after it was opened, "there burst forth a wondrous fire, like a flash of lightning", and that a coffin full of flint and a lamp were excavated.
Thorpe additionally relates that legend has it that a priest who dwelt around Troienborg had once sowed some rye, and that when the rye sprang up, so came Odin riding from the hills each evening.
Odin was so massive that he towered over the farm-yard buildings, spear in hand. Halting before the entry way, he kept all from entering or leaving all night, which occurred every night until the rye was cut.
Thorpe notes that numerous other traditions existed in Sweden at the time of his writing. Thorpe records that in Sweden, "when a noise, like that of carriages and horses, is heard by night, the people say: 'Odin is passing by'".
References to or depictions of Odin appear on numerous objects. Migration Period 5th and 6th century CE gold bracteates types A, B, and C feature a depiction of a human figure above a horse, holding a spear and flanked by one or more often two birds.
The presence of the birds has led to the iconographic identification of the human figure as the god Odin, flanked by Huginn and Muninn.
Like Snorri 's Prose Edda description of the ravens, a bird is sometimes depicted at the ear of the human, or at the ear of the horse.
Bracteates have been found in Denmark, Sweden, Norway and, in smaller numbers, England and areas south of Denmark.
Vendel Period helmet plates from the 6th or 7th century found in a grave in Sweden depict a helmeted figure holding a spear and a shield while riding a horse, flanked by two birds.
The plate has been interpreted as Odin accompanied by two birds; his ravens. Two of the 8th century picture stones from the island of Gotland, Sweden depict eight-legged horses, which are thought by most scholars to depict Sleipnir : the Tjängvide image stone and the Ardre VIII image stone.
Both stones feature a rider sitting atop an eight-legged horse, which some scholars view as Odin. Above the rider on the Tjängvide image stone is a horizontal figure holding a spear, which may be a valkyrie, and a female figure greets the rider with a cup.
The scene has been interpreted as a rider arriving at the world of the dead. The back of each bird features a mask-motif, and the feet of the birds are shaped like the heads of animals.
The feathers of the birds are also composed of animal-heads. Together, the animal-heads on the feathers form a mask on the back of the bird.
The birds have powerful beaks and fan-shaped tails, indicating that they are ravens. The brooches were intended to be worn on each shoulder, after Germanic Iron Age fashion.
Petersen notes that "raven-shaped ornaments worn as a pair, after the fashion of the day, one on each shoulder, makes one's thoughts turn towards Odin's ravens and the cult of Odin in the Germanic Iron Age.
The Oseberg tapestry fragments , discovered within the Viking Age Oseberg ship burial in Norway, features a scene containing two black birds hovering over a horse, possibly originally leading a wagon as a part of a procession of horse-led wagons on the tapestry.
In her examination of the tapestry, scholar Anne Stine Ingstad interprets these birds as Huginn and Muninn flying over a covered cart containing an image of Odin, drawing comparison to the images of Nerthus attested by Tacitus in 1 CE.
Excavations in Ribe , Denmark have recovered a Viking Age lead metal-caster's mould and 11 identical casting-moulds.
These objects depict a moustached man wearing a helmet that features two head-ornaments. Archaeologist Stig Jensen proposes these head-ornaments should be interpreted as Huginn and Muninn, and the wearer as Odin.
He notes that "similar depictions occur everywhere the Vikings went—from eastern England to Russia and naturally also in the rest of Scandinavia.
A portion of Thorwald's Cross a partly surviving runestone erected at Kirk Andreas on the Isle of Man depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, and a large bird on his shoulder.
The 11th century Ledberg stone in Sweden, similarly to Thorwald's Cross, features a figure with his foot at the mouth of a four-legged beast, and this may also be a depiction of Odin being devoured by Fenrir at Ragnarök.
In November , the Roskilde Museum announced the discovery and subsequent display of a niello -inlaid silver figurine found in Lejre , which they dubbed Odin from Lejre.
The silver object depicts a person sitting on a throne. The throne features the heads of animals and is flanked by two birds.
Various interpretations have been offered for a symbol that appears on various archaeological finds known modernly as the valknut.
Due to the context of its placement on some objects, some scholars have interpreted this symbol as referring to Odin. For example, Hilda Ellis Davidson theorises a connection between the valknut , the god Odin and "mental binds":.
For instance, beside the figure of Odin on his horse shown on several memorial stones there is a kind of knot depicted, called the valknut , related to the triskele.
This is thought to symbolize the power of the god to bind and unbind, mentioned in the poems and elsewhere.
Odin had the power to lay bonds upon the mind, so that men became helpless in battle, and he could also loosen the tensions of fear and strain by his gifts of battle-madness, intoxication, and inspiration.
Davidson says that similar symbols are found beside figures of wolves and ravens on "certain cremation urns" from Anglo-Saxon cemeteries in East Anglia.
According to Davidson, Odin's connection to cremation is known, and it does not seem unreasonable to connect with Odin in Anglo-Saxon England.
Davidson proposes further connections between Odin's role as bringer of ecstasy by way of the etymology of the god's name.
Beginning with Henry Petersen's doctoral dissertation in , which proposed that Thor was the indigenous god of Scandinavian farmers and Odin a later god proper to chieftains and poets, many scholars of Norse mythology in the past viewed Odin as having been imported from elsewhere.
Salin proposed that both Odin and the runes were introduced from Southeastern Europe in the Iron Age. Other scholars placed his introduction at different times; Axel Olrik , during the Migration Age as a result of Gaulish influence.
In the 16th century and by the entire Vasa dynasty , Odin as Oden was officially considered the first King of Sweden by that country's government and historians.
This was based on an embellished list of rulers invented by Johannes Magnus and adopted as fact in the reign of King Carl IX , who, though numbered accordingly, actually was only Carl III.
Another approach to Odin has been in terms of his function and attributes. Many early scholars interpreted him as a wind-god or especially as a death-god.
The god Odin has been a source of inspiration for artists working in fine art, literature, and music.
In recent years, he has also been featured in many video games with Norse motifs such as God of War, Age of Mythology, and others.
To younger people, the character is usually best-known for his part in the Marvel comic-books about Thor as well as the MCU films where he was portrayed by Sir Anthony Hopkins.
While many lovers of Norse mythology malign this portrayal because of how inaccurate it is to the original myths, this inaccuracy can also be viewed as a positive.
Odin plays several roles and has many names in Norse mythology. Odin remains one of the most well-known and famous gods from all ancient religions.
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Odin in the Guise of a Wanderer by Georg von Rosen. Public Domain. See This Here Amazon. Unicorn Studio 9. Last update was on: December 8, am. Odin is the son of Borr and the giantess Bestla.
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