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simonhlilly

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Sky Boat of the Durotriges

There now, let them rise up: the dark voices, the light voices,
The feathered, the fervid, the iron road of truth is a road we must go down
And the boat of morning and the waters of night.
We are three of indeterminate form:
Too fast, too patient, too vast to keep a single shape.
We are three, is all you need to know, the indicator of splendour.
They see us who know us, they know us who see us.
We glide on shadowed moments, in dreaming time,
On pools of blood and pools of passion.
Words that approach silence ornament us.
They say it is a boat, a barque, but it wavers as a reflection does,
As a path in shimmering summer air, as firelight in a drunken hall.
For we ride beyond the waves of light, on photonic tides,
A boat that is…

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The Rocks

It is the rocks that make the river sing,
The world that gives us song.
Bones creak, branches heavy with snow,
Breath captured must release.
Spring will come.

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Before and After Li Po

( improvisations on the poem “Jingting Shan Hill” by Li Po, following the lead of Robert Okaji)

Characters are rendered:

Crowd birds high fly utmost
Lonely cloud alone go idle
Mutual watch both not tire
Only be Jingting Shan

1
Birds, a scattered knot
In distant depth.
One cloud aimless
(This thought).
Lost the mirror distance,
Resonant, the still hill.

2
Silent swing the flock.
Wind flute, too, silent
At this peak of distance.
We exist only because
Of the other.
Green hill breathing.

3
Caught, the distant, sweet movement.
An upper air, a life of song and wind,
Silent here from this depth.
See too, there is one small cloud,
Sweet movement hesitant.
So, now, eye sinks earthwards,
Locks on swelling hill,
There before, and there after,
A poet’s gaze.

4
Scribble splatter
Brush of birds.
Splashed distant sky.
One thought lost,
The hand and eye
Follow each other,
Equally curious.
A mountain of bone
And earth,
Misted,
Remains.

5
The names matter.
On the tongue, in memory.
Located the sweep of sky,
The noisy flock of one mind,
The moment,
A congregation
Of blessings.

Not strictly on topic, but another aspect of Northern shamanic traditions….

simonhlilly

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Please click on this link to view a preview of my newly finished book:

stave runes all

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the dead arise….

simonhlilly

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SNAKE SPIRAL TORC

We slide spiraling
Ferociously nonchalant
Eyes on fire, laughing.

The tumble of sun on sun
The silk whisper, pale moonlight
Equations piled up,
The footprints marking time,
Precise dancers through space.

A knot upon hillsides,
A marching shadow in the valley.
Enchained to the motion,
Slave of raw power, sudden beauty.

This is our sign.
That we dance the dance
Between dusk and dawn
According to the paths before us.

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A continuation of my sporadic project to re-introduce Iron Age Celtic imagery and world-view into the world art vocabulary and other grandiose schemes…..

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He, Who

A small meditation upon the seated god -druid – seer image

simonhlilly

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HE WHO

Seated god
Says:
“your eyes
are held
Captive
To my stillness.”

He who,
nameless,
named
Now sits,
throned naked
In memory halls.

He who,
voiceless,
whispers
In echoing soul.

Tied by more
than chance,
Tied by here,
by holding stare.

He who
holds steady
the golden promise
Of sun’s journey –
torc horizon,
Aloft,
glinting heavy.

Joined:
the two apart
woven now
To strong chain.
Just like this.

Eye locked,
mind forged,
Welded,
hammered
across lifetimes.

He who,
naked,
needs no armour,
Who,
cross-legged,
needs no defence.
Mountain looking,
ocean speaking,
Still as centuries.

He who,
hair braided,
hair cloaked,
Looks out from,
in to ,
Within, within
This circle,
This heavy
wheel horizon.

He who,
Is.

—-

This is one of the most enigmatic of coin art images, as the simple ones sometimes are. A naked seated male figure. Either with long braided hair or with a…

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The first part of a cogitation upon the torc and its spiritual significance. Images taken mainly from coin art.

simonhlilly

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If you look at the white pattern above, the peltas can be seen at six, ten and two o-clock, they resemble cross-sections of mushrooms.

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TORC TALK (PELTA MOTIF)

Well, it was a long time ago that I covered Celtic Art in Art History, and I was never particularly happy with the name labels often given to Celtic motifs, so I suppose confusing a pelta with a trumpet spiral is to be a little expected (particularly when one can be made up of elements of the other). Nonetheless ,that error was mine. As I was playing with the comma-like form of the magatama it morphed into the cresent-like, arced, spiral-ended, mushroom cross-section known as a ‘pelta’.

This name, ‘pelta’ comes from a type of light shield used by the Greeks and Romans, deriving from an original used in Thrace. This itself tells us more about the natural territory and…

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Triple Toad

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TRIPLE TOAD

There are relatively few known images of reptiles, except for snakes, on Celtic coins. A few lizards and this amazing toad. The toad, because of its habits and appearance, is linked to the Earth Goddess or Triple Goddess. It resembles a squatting, pregnant female, dwells near stone and water, has triple fingers and has always been associated with lunar/dark/night/magic. The fact that in medieval Christianity the toad became diabolical or evil – linked to demons and demon-witchcrafts suggests that there was an ancient continuing link to pre-Christian matriarchal pagan belief.

Many species of toad worldwide are used for their psychoactive skin secretions, often poisonous before correct preparation. Generally, these extractions confer great endurance with muscular vigour together with visionary effects. This may or may not be part of the corpus of Celtic knowledge related to the toad, but the continuing relationship in folktales are noteworthy: toads, wells, transformations, princes, kisses, wishes, seems to indicate a link to the guardian / fertility / messenger complex.

The central image is a clearly depicted, splayed form of a toad with wedge-like head, rough back and big belly. The long limbs and triple toes are clearly shown. The ring pellets held protectively under the forelegs suggest guardianship of sun / light / wealth / eggs, but they can also be seen as eyes to a hidden face. With this new perspective the angular forearms now become the eyebrows and top of head, whilst the lower legs and pattern below the legs turn into the toad’s wide mouth, with the round markings on the back becoming nostrils. If we apply the same approach to the upper pair of ring pellets we find another hidden toad head with its mouth open. So here in one design there are three toads in one.

The most famous of Classical commentaries concerning the druids is Pliny’s description of the ritual collection of mistletoe from sacred oak trees. It is quite likely that this description, if not entirely fabricated, has at least been artistically interpreted to suit a Classical readership. There are, however, sufficient clues within Celtic art to suggest that mistletoe did indeed occupy a significant place in religious iconography.

Mistletoe is an unusual plant. It is a parasite of soft-wooded trees such as poplars, willows, limes and apples, rarely attaching itself to harder wooded trees like oaks. Birds, like the mistle thrush distribute the seeds from tree to tree as they attempt to remove the sticky, viscous pulp from their beaks after feeding, by rubbing against tree bark and branches. The lodged seeds then send out roots that tap deep into the tree so that it can draw nutrition from the sap. Mistletoe grows in short, angular branches, each dividing and subdividing to form an open globe or ball. The plant rarely has thick branches but the wood is close-grained and hard. At the angle of each joint leathery elongated oval leaves emerge in symmetry around a small bud-like yellow-green flower. Female flowers go on to produce the gluey white berry. Over winter and into spring the olive-green leaves take on a distinctly golden hue…

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Mistletoe thus has distinctive visual symbolism. It partakes of heaven by never touching the ground. Its globular, golden form resembles suns caught in the branches of trees as they ascend or descend from the sky. The leaf colour is solar, but the translucent white seeds and the tendency for the leaves to curl into crescents are clearly lunar. The colour and texture of the seeds is distinctly seminal, whilst the leaves can be visualised as both phallic and labial. All in all, mistletoe suggests a fertilising union of the Upperworld with the Middleworld, the sun with the moon, the male with the female.

The simple leaf shape and its symmetry makes the form of mistletoe easy to embed within two-dimensional patterns. What is less certain to determine, as with the common motif of “hidden faces”, is whether the artist and the contemporary viewer recognised those combinations of shapes in the same way as we do today. On the whole this is likely to be the case – the human nervous system is hardwired to recognise and respond to face-like patterns, and if the mistletoe plant was truly central to Celtic religious ceremony then the hidden symbolism within any pattern would be understood as its primary meaning.

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Early Celtic art drew on, or closely echoed, some of the motifs of the Classical, Mediterranean cultures, particularly the palmate and acanthus patterns of Greek art. As with other borrowings, and particularly pertinent to coin art iconography, the significance of such borrowings is likely to reflect the recognition of an already existing, familiar mythos of the tribes, rather than a random adoption of meaningless shapes from another culture simply for the sake of fashion or imitation of high status.

Once we start looking, as with hidden faces, it is possible to see mistletoe motifs all over the place. Not all these attributions may be correct, but when it appears as the ‘leaf crown’, I think we can be pretty certain that the mistletoe plant is being referenced in that motif at some level of meaning. The leaf crown appears right from the start of Celtic art in the Hallstadt period. It takes various forms and has been interpreted in many ways by art historians. It takes the form of a head framed by two symmetrical lobes that originate around or below the ear level and curve up, expanding in size, framing the face and meeting above the centre of the head. Only relatively recently have these been specifically likened to the form of mistletoe. Others have seen them as simplified wreaths, animal ears, headdresses or prototype vegetal “Green Man” types.

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This design is clearly primarily lunar in its content. The triangular, nested forms not only the triple status of the lunar cycles (waxing, full, waning) but also indicate the sacredness of the image by its repetition of triplicities. It is the paired arcs and the grouped pellets that can be seen as mistletoe berries with opposing leaves. The design thus may embody a direct relationship between moon and plant.

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Such (apparently) abstract designs as shown here are clearly combinations of significant symbols in Insular coin art. They are arranged to provide multiple views and interpretations with animal and human faces emerging and disappearing. The majority of symbols appear to be celestial in nature: suns, moons and stars. Mistletoe fits well into this symbolism having a combination of solar and lunar attributes, and the curvilinear V-shapes can easily be seen as the leaves of that plant, especially if the ring pellets are also read as the round berries containing the hard seed..

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Even when the main subject matter seems to reference other common motifs there is still the possibility of hidden correspondences to mistletoe. The image of the bull’s horned head visually echoes the paired leaves, and when a round pellet is placed between them, as here in this coin of the Boii (bohemia) the similarity becomes more notable.

This particular design is one of my favourites. It has great simplicity but is a powerful, if ambiguous statement. The bull’s head, or bucranium, is a frequent motif, probably of wealth and/ or fertility. It’s shape echoes not only the mistletoe but also the harp (lyre). It overtly appears in many designs and covertly appears in the symmetrical fields of other imagery as hidden faces. Here the human head has become the bovine, with what seems to be wings replacing the arms. That the figure is human is indicated by the feet, shown in profile. It is tempting to see the image as a shaman figure of some kind. The pellets are arranged in groups of three, signifying the sacred (three to the left , three to the right, and three framing the head). The seven in all suggest the stars of the Pleiedes, an ancient indictor of the beginning of Spring, which also happens to be associated with the constellation of Taurus the Bull. Mistletoe flowers around March so this too correlates to this season…. That famous Classical quote directly associates mistletoe with bull sacrifice though it cannot really be taken as more than anecdotal evidence for a true ceremonial link

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The hair styles in coin art might reflect the flamboyant battle styling of the Celtic warrior. Hair was very important, both for increasing fearsomeness and also probably as an indication of status or allegiance ( material and spiritual). Very often the hair was shown as arranged in rigid bristles, clearly imitating the dorsal ridge of an angry boar – archetype of the fearless, wild protector of the clan. In the image here the spirit of the boar is visible, perhaps as a personal spirit ally or as a helmet decoration. The two sweeping locks of hair below can be seen as bull’s horns or as mistletoe leaves. The leaf crown is suggested, maybe just as a stylistic preference for S-spirals and leaf lobes amongst the artists.

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