Runestone of Memory
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After being frequently asked questions about specific aspects of my art, I have decided to include an explanation of the thought process behind my bigger pieces. Below is a brief explanation covering some of the details included in "Runestone of Memory", but is by no means all of them.
Layers
This piece sees a return to Norse mythology as the inspiration due to the fact that I was unsatisfied with my previous attempt: “Yggdrasil and the Nine Worlds”. Again, I decided to focus on the famous world tree but wanted to expand upon this and include more of the characters and stories from the source material (the Poetic Edda and the Prose Edda), as well as removing some mistakes.
The overall layout of the piece can be broken down into 3 separate layers:
1. The Norse Cosmos: the centre of the piece within the circular border
2. Carvings: The circular border and adjacent area forming the inside square
3. Runestone of Protection: The thin square outer border
The sections are explained in more detail below.
1. The Norse Cosmos
The main reason for my multiple attempts at capturing the image of the world tree from Norse mythology is because of the immediately identifiable symbolism that it captures. Whilst the idea of a universe contained within a bounded ecosystem is not unique to Norse mythology, it does lend itself to a coherent structure and what the geographical layout of such a world may look like. That being said, a true representation (based on the source material) is impossible to portray completely accurately, not only because I am working with two dimensions, but because there is no agreement on a lot of the details.
So my drawing of the Norse cosmos is merely a personal interpretation guided by the source material with the realisation that a lot of the particulars are contentious.
The Nine Worlds
Asgardr
At the apex of the world tree is the home of the gods. A great stone wall protects the halls of the Æsir, arranged to mirror the valknut symbol (thought to possibly represent Óðinn) with the allfather’s throne atop the the centre. Watchtowers look over each side of the realm underneath the bifröst.
Álfheimr
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Located not far from Asgardr and Vanaheimr, Álfheimr is referenced in the Eddic poem Grímnismál as the being given to Freyr by the gods. For this reason, I have included his steed, the boar Gullinbursti, his ship Skíðblaðnir, and his sword. Álfheimr and Freyr are both associated with shining or light, as well as Gullinbursti, hence the bright appearance of this world, in contrast to Niðavellir.
Niðavellir
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Possible translation of the word Niðavellir are Nið as “down moon”, “new moon”, or “wane of the moon” and Vellir as “fields”. Although no specifics of the world (or many of the worlds) are detailed it is associated with the Sindri clan, a halls of gold, dark fields, fog, and the moon in the Völuspá. Note that I have included Niðavellir as one of the nine worlds and omitted Hel, as I have interpreted Hel as the southern-most location within Niflheimr.
Vanaheimr
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The home of the Vanir gods who are associated with nature, fertility, and possessing shamanic powers. One of the most well known Vanir gods is Freyja, referenced here by the cat (which were said to pull her chariot) and the falcon (alluding to her cloak of falcon feathers). Vanaheimr is said to be located to the west of Asgardr.
Svartálfheimr
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As referenced in Skáldskaparmál, this world (which some think may be interchangeable with Niðavellir) is referenced along with the Sons of Ivaldi who are the blacksmiths credited with the creation of many of the famous Norse items, two of which I have included here: Gungnir (Óðinn’s spear) and MjÇ«llnir (short-handled hammer of Þórr). Other details include underground dwelling, forge and whetstone within rock, and emergence of the world from the maggots from the body of Ymir.
Miðgarðr
The home of humans, described as having a sea surrounded by the land and outer ocean being contained by a wall constructed by the eyebrows of Ymir. The outer sea was patrolled by JÇ«rmungandr, the “world serpent” whilst the wall protects the human inhabitants from the jÇ«tnar in the east.
Múspellsheimr
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As described in the Gylfaginning, this world plays an important role in the creation and destruction of the Norse comsos. The realm of fire, ash, and the creative spark will see the sons of Múspell, including Surtr with flames before and after him, wielding a sword, emerge as the events of RagnarÇ«k unfold.
JÇ«tunheimr
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The lands separated from humans and gods by walled barriers are home to the jÇ«tnar. Here I have included Mímisbrunnr or Mímir’s well, one of the three wells that Yggdrasill’s roots pass into. Mímir drinks from the well while Óðinn’s sacrificed eye can be seen in waters. Underneath the well, two of Loki’s offspring, from Angrboða, are present in their youth before they were taken by the Æsir. These being the wolf Fenrir and the Miðgarðr serpent JÇ«rmungandr.
Niflheimr
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The “world of mist” is one of the primordial worlds, being the ice to Múspell’s fire. Details mostly inspired by Snorri Sturluson in Gylfaginning, the dragon NíðhÇ«ggr can be seen chewing at the primary tree root that passes down through the bubbling spring Hvergelmir. Beneath this water source I have placed Hel, the gated and walled resting place of those who may have died of sickness or old age.
Inhabitants of the Tree
Eagle
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Referenced in the Poetic Edda in Grímnismál, the eagle (not named) is described as sitting atop the great ash tree in relation to the squirrel Ratatoskr and dragon NíðhÇ«ggr. In Gylfaginning in the Prose Edda, the eagle is described as having knowledge of many things and a hawk perched between it’s eyes.
Óðinn’s Ravens
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Huginn and Muninn, the well known companions of Óðinn which circle the world every day and report back of everything they see and hear to the “raven-god”.
Óðinn’s Wolves
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Geri and Freki are said to be at the side of the allfather. Both names seem to indicate the wolves’ greediness. Like the ravens, they are placed at each side of the world which represents Óðinn.
Bear
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A detail not taken from any source material in particular, but included to reflect the mythological status of the bear to the Norse.
Goat
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This is alluding to the goats that are said to pull the chariot of Þórr (called Tanngnjóstr and Tanngrisnir) referenced in both of “the eddas”, as well as Heiðrún the female goat that eats from the tree and produces mead for those in ValhÇ«ll.
Four stags and squirrel
Yggdrasill is home to 4 stags: Dáinn, Dvalinn, Duneyrr, and DuraÞrór. In Grímnismál, they are said to gnaw at the tree leaves. There are multiple theories as to the stags’ symbolism (four elements, phases of the moon) however I have chosen to go with the more common interpretation i.e. the four seasons and as such, directly beneath each stag, each season is represented in Miðgarðr.
The squirrel, Ratatoskr, at the centre of the tree carries messages between eagle at the top of the tree and the serpent NíðhÇ«ggr at the bottom root.
Nornir
Taken from the Völuspá, the nornir are three female deities, Urðr, Verðandi, and Skuld that draw water from one of the three main wells, Urðarbrunnr, of the world tree, using the water to sustain the roots. Rightfully or wrongly they have been associated with the three fates from the Greek pantheon, and for this reason are sometimes misconstrued as weavers.
Fruit
Mistletoe
A small reference to the events that lead to the twilight of the gods where Loki tricks Höðr into shooting and killing Baldr using mistletoe.
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Apple
A nod to the goddess that shares the apples that provide eternal youth: Iðunn.
Stories from the Deep
Loki’s Capture
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Following on from the death of Baldr, Loki went on to insult the gods until they vowed to capture him. It is said that Loki fled by changing into a salmon and hiding underneath a waterfall. The gods caught up to Loki, and tried using his own fishing net against him, however Loki would evade the passing net. Eventually the gods weighed the net down with stones, forcing the fish to jump out of the water, allowing Þórr to catch Loki out of the air.
Loki’s Punishment
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After his capture, Loki was taken to a cave and bound by the entrails of his slain son(!). A poisonous snake was placed above him, dripping venom dripping periodically on his head. Loki’s wife, Sigyn, stayed by his side catching the venom in a bowl. However when she was forced to empty the bowl when it was full, drips of venom would strike Loki causing him to writhe in such pain that the earth would shake.
Wise One’s Sacrifice
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The Younger Futhark runes that are displayed throughout the tree are a reference to the myth of Óðinn’s sacrifice of one of his eye’s to Mímir’s well and hanging himself from the world tree for nine days and nights (the noose is included in the tree also) in order to gain knowledge and be able to understand runes.
The Yawning Gap
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A reference to how the the universe was formed is explained in Gylfaginning whereby the ice from the cold world Niflheimr combined with the sparks and fire from Múspellsheimr to create the Ginnungagap: the primordial void.
2. Carvings
Where the centre of the piece displays the Norse world as described by the Poetic Edda and Prose Edda, the border areas are meant to show how these have been recorded by the people living during the Middle ages. Elements of the border range from completely original design to direct inspiration being taken from artefacts found from that period like carved stones, weapons, architecture, and jewellery.
Ravens Circle
Intended to follow on from the ravens guarding Asgardr, Huginn and Muninn, continue their trajectory and circle the nine worlds.
The interlaced design of the border holding the runes is based on a shield ornament found in Valsgärde, Sweden. The runes are intended to be read from east to west, separated for the “northern” hemisphere and “southern” hemisphere of the circular border.
Viking Compass
Drawn to mirror the Heysham hogback stone carvings, these figures represent the four dvergar, Austri, Vestri, Norðri, and Suðri, who were placed under each corner of the earth to hold up Ymir’s skull. Interpretations of these characters mainly focus on them being the four winds or, as I have used them as, four cardinal directions: east, west, north, and south. The patterns which these four figure are placed over are based on bronze openwork from Gotland, Sweden.
Sister Sun and Brother Moon
The sun, Sól, and moon, Máni, are referenced in multiple sections of the Eddas. Although personified as sister and brother (a change from a lot of mythologies where the Sun is traditionally male and the moon female), I used the designs of a Viking kingdom pendant and brooch to represent the sun and moon respectively. The amulet designs were embellished slightly to better represent the sun/moon concept, such as adding the phases to the moon and rays of the sun.
Alongside these amulet designs are the drawings of the ideas of horses pulling each of the celestial bodies in chariots while they are chased by their canine pursuers: Sköll after the sun, and Hati Hróðvitnisson, the moon. The design of the panels showing the wolves and horses are loosely based on parts of the Cammin Casket found in Pomerania (formerly Germany) but of Norwegian origin.
RAGNARǪK
The events referenced in the centre of piece, the runes, and border panels, all depict the prelude to the battle at the end times: Ragnarǫk.
The eight panels around the border are used to display the events described in the Völuspá, stanzas 41-51 (from the translation of the Poetic Edda by Jackson Crawford). To summarise:
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41: roosters sing (crow) and a harp is played
43: Garmr barks, breaks his chains, and runs
44: see below
45: Heimdallr blows Gjallarhorn. Óðinn meets with the head of Mím.
46: Yggdrasil shakes standing.
47: repeats stanza 43
48 : Hrymr drives from the east with great shield before him. JÇ«rmungandr rages causing waves. An eagle shrieks.
49: Naglfar (nail ship) traverses the waves lead by Loki. Monster’s sons go together.
50: The Æsir meet in council. The dvergar groan before their stone doors.
51: Surtr advances from the south wielding flaming sword. Rocks fall and heaven is split.
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Stanzas 43 and 44:
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Immediately outside the circular border are the Younger Futhark runes of the Old Norse translation of probably the most well known stanzas from the Völuspá. Stanza 43 is summarised above while stanza 44 gives details of what the end times will entail on earth.
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The border design on which these panels are placed are based on a carving from Thorpe Church in Hallingdal, Norway.
Battles between Gods
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The bottom section of the piece show a number (not all) of the legendary battles which take place during Ragnarǫk. The style of these were inspired by carvings from various sources.
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The bird designs are taken from a Viking Kingdom silver penny found in York, England. The beast designs are taken from a cross slab, Kirk Michael, Isle of Man.
Freyr and Surtr
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The first of the battle panels shows a carving of the Surtr with flaming sword vanquishing Freyr. The design of Freyr is taken from the rock carving depicting the Sigurd legend from Ramsund, Sweden. The design of Surtr is of my own.
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Þórr and JÇ«rmungandr
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The lower panel shows the battle between the thunder god and the world serpent in which both are slain. The design of Þórr is loosely based on images of warriors found on a famous picture stone found in Gotland, Sweden. The JÇ«rmungandr depiction is of original design and mirrors that which I drew in the outer sea of Miðgarðr.
Óðinn's demise
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The bottom panel shows Óðinn on his horse Sleipnir, being swallowed by the wolf Fenrir, whose jaws reach from ground to sky.
Part of Óðinn's design is taken from a picture stone found in Gotland, Sweden while Sleipnir is based on various sources. Fenrir is of original design.
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Vengeance
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Víðarr is described as one of Óðinn's sons, who, after Óðinn is engulfed by Fenrir, takes revenge and, after thrusting a sword into the beast, tears the wolfs jaws apart by placing his foot, in shoe made of his collection of off-cuts of excess leather into the lower jaw and lifting the upper jaw with his hand.
3. Runestone of Protection
The outer border of the piece is intended to be similar to that of the Kvinneby Amulet. This is a stone carved with a rune "spell", seemingly requesting the protection of Þórr. The amulet also contains the carving of a fish, another reason why I included the fish displayed described in the "Loki's Capture" section above.
Rune Spell
The final (and most famous) line of the Kvinneby Amulet inscription was used as the inspiration for the Younger Futhark runes around the border:
"the (or "there are") gods below him and above him"
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The border design itself is taken from the ornament of a sword scabbard found in Valsgärde, Sweden.
New World
The final reference of the piece is contained in the four corners of the exterior border. This time not representing the four cardinal directions, but eluding to what occurs at the end of Ragnarǫk.
Gylfaginning describes how, after the destruction, death, and battles, Víðarr and Váli (sons of Óðinn), Möði and Magni (the sons of Þórr) along with Baldr and Höðr emerge in a new world and play a game (possibly Hnefatafl) with pieces once owned by the Æsir gods. These four characters represent these pieces, and the how the game begins again.
Their design is based on the famous ivory chessmen found on the Isle of Lewis, Scotland.