The Swastika, the Earliest Known Symbol, and Its Migration: With Observations on the Migration of Certain Industries in Prehistoric TimesWilson, Thomas
Religion
The Swastika, the Earliest Known Symbol, and Its Migration: With Observations on the Migration of Certain Industries in Prehistoric Times
Wilson, Thomas
Industries, Primitive; Swastikas; Symbolism
_The winged globe._--This was a widely spread and highly venerated
Egyptian symbol. From Egypt it spread, under various modifications,
throughout the Old World. It is formed by a combination of the
representations of the sun that have prevailed in different localities in
Egypt, the mythology of which ended by becoming a solar drama. Two uræus
snakes or asps, with heads erect, are twisted round a globe-shaped disk,
behind which are the outstretched wings of a hawk, and on its top the
horns of a goat. It commemorates the victory of the principle of light
and good over that of darkness and evil. It spread readily among
the Phenicians, where it is found suspended over the sacred tree
and the sacred cone, and was carried wheresoever their art was
introduced--westward to Carthage, Sicily, Sardinia, and Cyprus, eastward
to Western Asia. Very early it penetrated on the north to the Hittites,
and when it reached Mesopotamia, in the time of Sargonidæ, the winged
circle assumed the shape of the wheel or rosette, surmounted by a scroll
with upcurled extremities and with a feathered tail opening out like a
fan, or a human figure in an attitude sometimes of benediction, sometimes
warlike, was inscribed within the disk. Then it was no longer exclusively
a solar emblem, but served to express the general idea of divinity. From
Mesopotamia it passed to Persia, principally in the anthropoid type. It
was, however, never adopted by Greece, and it is nowhere met with in
Europe, except, as before stated, in the Mediterranean islands. When
Greece took over from Asia symbolic combinations in which it was
originally represented, she replaced it by the thunderbolt. But the
aureole, or halo, which encircles the heads of her divinities, and which
Christian art has borrowed from the classic, was directly derived from it.
Public-domain text, read in full here on John Shaqi.
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