By Phoenix of Elder Mountain – Slavic amulets are as old as woman herself and they have the power for both the good and selfish means. Our artist/shaman ancestors valued symbolism from neolithic times and shared their sacred creativity on rocks and caves, the same as modern sacred artists, peasants, wizards, witches, embroiderers and weavers, and charming enchanters do. Nature is magic and combing symbols of nature on either a heavenly or hellish reality has guided humans since their physical beginnings.
Ornaments of sacred imagery whether they are tattoos, petroglyphs or stone carvings, were first developed throughout prehistory, mostly by women who were either dreamers or shamans from those eras, and were used to keep the tribes and clans very safe once the rising war cults of men began in both pagan cultures and the rising religiou cultures. Because we have all had both male and female past lives, both the karma and the tragedy was done by all of us, regardless of color or country. Our days were limited as we were no longer nomadic and the world was changing and we had to find defenses or defense against shadows forces. Symbols usually are the most powerful when they are for protection, relationship to nature and animism and health.
Slavic and ancient tribes of Slavs were no different, they have what they call Wards and Wardcraft amulets and talisman in the shaman eras before the middle ages, there were effigy, objects and symbolic imagery made from stone and wood, shells and birch bark, snake skin and embroidery which are indigenous wardcrafts. In later times, when pagans took over, they were made from gems, gold and silver, copper or metals. Slavic people have used both the ancient tattoo possessing along with symbols on clothing to various degrees as a powerful guardian image against shadow forces which are only prevalent in certain ages of plagues, abuses by the rich and powerful and war.
Slavic symbolic depiction of trees, birds, animals and scenes from life have come down to us from our shamanic grandmother ancestor’s rituals, fire ceremonies (images within the fires or water), and then later written into mythology. Artists who have carried this tradition in their soul, in ancient times and later in the middle ages, were direct charmers or magicians and who were attributed to the influences of symbology into more than just the natural world, they went into the human darkness and human diseases from misuses of power.
There are also amulets and talisman which were used and made by wizards or sorcerers and still are. But remember, once the “gods” and “goddesses” dominated pagan religions, we began to lose our own shamanic power which were goddess/god like. In Russia, they have a term called “cloud dragons” which in pagan times it was said that wizards and powerful witches or sorcerers could manipulate weather.
But dragon clouds are a much older shamanic reality of “magical water” and “magical fire” where the aspects of shaman could and can again actually connect with their spirit which turns into clouds, rain and storms. Of course this requires pure souls (no karma) to “become” the weather and a guardian of earth. This is not a myth or legend, it is truth.
The Author Vedensky says: “In the Trypillian Culture there is an interesting analogy to the Borjoshian sorceress, which in turn is the key to revealing the meaning of a large number of colorful images on ritual magic. In the settlement of Nezvysko, EK Chernysh discovered a sitting female figure, separately molded stools and miniature ornamental charms made on the same scale, and a scoop with a bird’s head, also painted. I think that all these carefully made and finely painted things are naturally formed in a complex depicting the rite of “Water-Waving” (a spiritual shaman woman sitting on a chair, scooping and scooping the water).
Cherpak gives an additional detail: “It is obvious that ritual water was poured in parts. Of exceptional interest is the painting of a miniature clay figures, reproducing one of the themes of the painting of the symbolism of the charms widely represented on the pottery of Tripoli. Truncated-conical mission-charms are a stable form of painted utensils. In their function they are associated with the rituals of prayers for water, and according to the subjects the murals suddenly turn out to be sometimes connected with mysterious binocular vessels. Therefore, they should be considered together, although here we are already moving from the field of plastic to the area of painting.”
Some of the wardship was under one of the most powerful guardians besides Marzanna, and that is Makosh who is the symbol of the Great Goddess Mother, the Primal One, the Bone Mother, the Shaman Grandmothers… long before she was ever a pagan wife of Veles. Makosh is considered the goddess of Magic and Healing, as she sits in the heavenly throne with her assistants Dolya and Nedolya, the goddess of needlewomen spins the threads of human destiny, the Triple Goddesses of Fates. The Slavic Triple Goddess.
Makosh is the mother of all living things which means she is mother earth, and the one who birthed and created all gods. She is the essence of the feminine, measures and destinies (reincarnation, the lunar moon cycles, the four seasons), the patroness and protector of women. Makosh – Mistress of All Living Nature, intersections between the four worlds, the four winds, the four corners, and the transition from this world to the Other worlds of earth.
The word Ma “mother”, giving life to all, “Kosh” a basket for abundance. Makosh is the patroness of the feminine principle and earth and woman’s fertility. The image of the Slavic Mother, who has an embryo in her womb, was embodied in the goddess Ma-kosh, who feeds her child with everything necessary until she is born which has to do with life in the maiden stage, motherhood in the adult stage and rebirth in the grandmother stage of life. Most often, Makosh was depicted in embroidery embroidery with his hands raised with deer or horses at her sides which is a clue left over from pre-pagan shamanism of the birth of one’s own animism soul.
Kolovrat is a modern male paganism symbol of the eight pointed ray and considered one of their main and most powerful Slavic amulets. The main preserving sign and the symbol of the god-creator Svarog. The eight-ray Kolovrat is also symbol of the ascending Yarila-the Sun and the Renaissance when the sun cult tribes rose (paganism and religion).
There is a much older tradition of this symbol which I call the “Midnight Sun” which represented the Goddess of Winter, like Marzanna including Black Madonna (religious), Lithuanian Morė), Czech, Bulgarian, Slovene, Serbian, Bosnian, Croatian Morana; Slovak and Macedonia Morena; Russian: Maslenitsa (Russia). Belarus and Ukraine: Mara. Poland folklore as Mora, Zmora Końska, Mara, Nocnica, Dusznica, Moréna, Mora or Marmora.) Kolovrat wards belong to the midnight sun (night goddesses which includes the autumn and winter goddesses, star goddesses and dreaming goddesses) and is used in Slavic Winter Seasonal celebrations like the Kolyadki of the Ukraine people.
The signs for pagans reflect the rotation of the Sun but in the older pre-pagan traditions this symbol of the midnight sun is the long winter season of the grandmother’s death and transformation, not the life giving sun of spring and summer (youth and maiden). Many of the main slavic colors are Red (the Seasons of Fire – Spring and Summer or growth), Black (the Seasons of Night – Autumn and Winter or changes) and White (the Heavenly influences upon both).
There is a negative side to this amulet as well in the pagan traditions, the karmic energy of the warriors, preparing for a mortal battle and thus this symbol must be used with very careful applications and intention on its feminine side, so not to cause conflict and chaos. In the lower vibrations of this pagan symbol, it was to raised the military energy because its the sign of Yarila the Sun, and with its misuses from our past, the men became burnt out and lost all lands to religious uprising.
The Slavic Wreaths of woman is a symbol of protection, abundance and fertility in the forms of life from our spiritual rebirths, of the earth and her fertility at the peak or fullness of woman’s mysteries. Wreaths are the most sacred headdress of women and still celebrated in modern traditions such as Kupala, Ivana Kumpala Summer Solstice celebrations.
Pagans only know the flower crown associated with the bride, but crowns of flowers, animal horns etc. goes back to pre-pagan rituals for 20,000 years. Woman loves flowers and herbs and she used them as adornment in dance rituals, healing rituals and seasonal rituals.
Lamus Dworski says of the Polish Tradition: “Wreaths and other hair ornaments made of flowers and herbs are an essential part of many of the Polish rural customs. Although most of the customs became almost extinct in the course of the 20th-century modernization of society, and are preserved mostly in local ethnography museums, there are still certain festivals bearing remnants to the pre-Christian Slavic rites still alive within the Polish culture nowadays. The bridal flower crowns are among the customs that faded away – but can be still spotted around, for example on reenactments of the traditional weddings by various ethnography organizations, in art and culture (including e.g. theatre or cinema), or on some rather rare occasions of weddings when the bride decides to wear a traditional Polish garment instead of the modern white dress.”
I am personally personally glad that the bridal crown faded, so these wonderful crowns could return again and be used for all other occasions of maidens, mothers and grandmothers throughout the spring, summer and autumn rituals, not just marriage. Of course brides look wonderful with their flower crowns as it reconnects them to nature as much as it does their life or partial life partner.
FALCON, BIRD SYMBOLS & LUNITSA
The Rus, which is part of the Carpathian Boyjko, Hustul, Lemko of Poland, Slovakia and Ukraine, have some of the oldest symbols of the bird pendants. Pagans like the Egyptians used only the swift Falcon as the symbol of conquest handed down from grandfather to son to grandson. But this symbol is so much older than heroes and wars, and in fact Ukraine today still has this symbol of the Falcon as their country’s national symbol, and thus is still in “conflict” with Russia. Even modern Russians want to change the Bear effigy as their nations symbol because its too aggressive of a symbol.
The bird symbol is much older than the falcon and more of a female symbol in its origins. It has much more to do with bird medicine (soul medicine) and healing, and includes all ancient symbolism of the slavic bird tribe women.
If you let go of the masculine aspects of this symbol and ask the feminine to revive the female spirit of the the Firebird or Phoenix, the Alkonost, the Siren and all the other Bird Effigies of our pre-pagan and pre-patriarchal ancestral lineages of the shamanic eras rather than the Kingdom building and war eras. Then you can get down to the fiery spirit in the image of the soul bird who destroys and releases the shadow parts of the self, which is Vulture Medicine, one of the oldest bird medicines on earth.
The symbol on the right is the Moon or Lunar symbol called Lunica, Lunitsa, Lunula of the Slavic, Viking and old Scythians. When religion came, they added the cross to the bottom section (*the tail area of a bird). The moon and bird are the oldest pre-pagan female symbol for the emotional body, the feminine and the moon. Its a dual symbol which symbolizes the “soul bird” and the moon. Today its only used from the later demotions as a symbol of the moon. Its important to recognize the visuals of the bird cults of shamanism of our ancestral past, which cannot be separated for the lunar seasonal cycles of the moon, and the seasonal migration of the birds and our symbolic nature of the seasons of change of our emotional body which effects our soul.
THE VESTA INITIATION, FLOWER OF IMMORTALITY & FERN FLOWER
The fern flower is a double fire sign consisting of two swastikas, symbolizing the purity of the clockwise energy and counter-clockwise energy set through the intention. The magical fern flower or initiation of the vesta of female shamans is the only association in mythology of a “non-hallucinogen flower or plant”. This is because its much older then paganism and the goddess cultures.
The prehistory spiritual forces connected through nature into woman, bestows the powers of intuition, dreaming, emotional truth and soul-knowing which connects with this fiery symbol. In pre-pagan cultures (shamanism cultures), the initiation process of a female shaman began in the maiden stage until they finished adulthood, under the ancient grandmother’s traditions before grandfather rose to power spiritually or the pyramid kingdoms. So much was lost over the last three thousand years but is slowly returning through the new cycles of initiation of women.
The fern flower today is called Fire and has to do with our Souls awakening and sooner or later, the animism souls, celestial souls, weather souls, all the things that are just stories of legends will return. The symbol and naturalism is the fern initiation processes to return us back to where we were in shamanic cultures.
As we move forward in that great circle now in our next evolution, the fire of this shamanic power is associated with the power of mother earth, both of life and destruction through the creation and rebirth of woman, but also the gentle possessing of healing between these two strong forces. It was believed that the shaking sisters sent various diseases and troubles to her children who misbehaved and engaged in war and the killed other humans. The spirit guardian (earth forces) of the Fern Flower together with the sister Birch Trees and the odolen-grass was able to burn sickness and cleanse the environment, cleanse our body in order to purify our soul from the forces of evil.
This is why its associated with female shamans initiations, which through oral traditions were long lost, when runes and writing began. The love of a woman as a powerful mother and spiritual warrior to defend and be guardians of the earth were long over by the time religion came. The amulet of the flower of the fern does not do the hard work, the initiated does, so it doesn’t really protect or purify and having the amulet will only be a reminder.
Some of the things that one must master is to resist temptations (overcome additions to pot, alcohol, shamanic plants, sex, porn, abusive behaviors, food additions. Survive Illnesses and difficult circumstances.
As each step is completely mastered, then fortitude, clarity of perception of the world rejoins perspective and our awareness increases. This is considered a female amulet, and the Flower of Fern is intended for women, young through elder. Pagan men changed this amulet to being a male or men’s amulet, but it is not and never has been.
Various sources: first photo: Camilla.albano instagram; https://secrethistory.su/1513-yazycheskie-kulty-v-zolotoy-vek-eneolita-drevnie-zemledelcy.html; Svarozhich – Art by Viktorjokinen at DeviantArt; Lamus Dworski; Tree Illustration by Anna and Elena Balbusso.
By Phoenix of Elder Mountain — Slavic amulets are as old as woman herself and they have the power for both the good and selfish means. Our artist/shaman ancestors valued symbolism from neolithic times and shared their sacred creativity on rocks and caves, the same as modern sacred artists, peasants, wizards, witches, embroiderers and weavers, and charming enchanters do. Nature is magic and combing symbols of nature on either a heavenly or hellish reality has guided humans since their physical beginnings.
Ornaments of sacred imagery whether they are tattoos, petroglyphs or stone carvings, were first developed throughout prehistory, mostly by women who were either dreamers or shamans from those eras, and were used to keep the tribes and clans very safe once the rising war cults of men began in both pagan cultures and the rising religiou cultures. Because we have all had both male and female past lives, both the…
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