The Valknut may be connected to Odin due to his association with the dead and with war. Odin is commonly depicted with two wolves, his constant companions, Freki and Geri.

One was female and the other male, and as they travelled with Odin, they populated the earth. Wolves are associated with strength, power, daring, bravery and loyalty to the pack.

They protect their young and fight fiercely. Because of his association with these two ravens, Odin is sometimes referred to as the Raven God.

The triple horn features three interlocking horns, that look somewhat similar to drinking goblets. According to one Nordic myth, Odin sought the magical vats which were said to hold the mead of poetry.

The triple horn represents the vats which hed the mead. By extension, it symbolizes wisdom and poetic inspiration. As one of the most famous deities in the Norse pantheon of gods and one of the most well-known gods among the thousands of human religions, Odin has been portrayed in numerous literary works and cultural pieces throughout the ages.

He is featured in countless paintings, poems, songs, and novels through the 18 th , 19 th , and 20 th centuries such as The Ring of the Nibelungs — by Richard Wagner and the comedy Der entfesselte Wotan by Ernst Toller, to name a few.

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.

Tags: Norse. Most of the time, Odin travelled far from his Asgard in a disguise of an old man to gain more knowledge.

With the places he had been and the experience he had been through, Odin had for himself many divine Viking symbols. Valknut was the symbol of three interlocking triangles pointing upwards.

Though this symbol appeared many times in ancient depictions, the name "Valknut" has just been coined in later centuries.

To the belief of the Norsemen, Valknut symbol was the welcoming gesture of Odin offering to the fallen warriors. Odin welcomed to come and live in Valhalla the Golden Hall of the fallen in Asgard.

Ancient depiction of Valknut symbol on a stone found in Sweden. The modern interpretation has stretched the meaning of Valknut beyond Odin's welcome.

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.

The exact age of the Vegvisir is therefore unknown. Triskele Horns of Odin. The Horns of Odin also referred to as the horn triskelion or the triple-horned triskele is a symbol comprised three interlocking drinking horns.

The exact meaning of the symbol is not known, but it may allude to Odin's stealing of the Mead of Poetry. The symbol has become especially significant in the modern Asatru faith.

The Horns of Odin symbol is also meaningful to other adherents to the Old Ways, or those who strongly identify with the god Odin.

The symbol appear on the 9th-century Snoldelev Stone found in Denmark and seen to the right. While the shape of this symbol is reminiscent of the Triqueta and other Celtic symbols, it appears on the Larbro stone in Gotland, Sweden which may be as old as the early eighth century.

On this image stone, the Horns of Odin are depicted as the crest on Odin's shield. The Triquetra or the Trinity Knot is comprised one continuous line interweaving around itself, meaning no beginning or end, or eternal spiritual life.

A similar design was found on the Funbo Runestone found in Uppland, Sweden seen to the right. Originally, the Triquetra was associated with the Celtic Mother Goddess and depicted her triune nature the maiden, the mother, and the wise, old woman.

The triple identity was an essential feature in many aspects of druidic belief and practice. Mjölnir me-OL-neer means grinder, crusher, hammer and is also associated with thunder and lightning.

When the Vikings saw lightning, and heard thunder in a howling storm, they knew that Thor had used Mjölnir to send another giant to his doom.

Thor was the son of Odin and Fyorgyn a. He was the god of thunder and the god of war and one of the most popular figures in all of Norse mythology.

Mjölnir is known for its ability to destroy mountains. But it was not just a weapon. Loki made a bet with two dwarves, Brokkr and Sindri or Eitri that they could not make something better than the items created by the Sons of Ivaldi the dwarves who created Odin's spear Gungnir and Freyr's foldable boat skioblaonir.

Then he gave the hammer to Thor, and said that Thor might smite as hard as he desired, whatsoever might be before him, and the hammer would not fail; and if he threw it at anything, it would never miss, and never fly so far as not to return to his hand; and if be desired, he might keep it in his sark, it was so small; but indeed it was a flaw in the hammer that the fore-haft handle was somewhat short.

Thor also used Mjölnir to hallow, or to bless. With Mjölnir, Thor could bring some things such as the goats who drew his chariot back to life.

Thor was invoked at weddings, at births, and at special ceremonies for these abilities to bless, make holy, and protect. Hundreds of Mjölnir amulets have been discovered in Viking graves and other Norse archaeological sites.

Some experts have postulated that these amulets became increasingly popular as Vikings came into contact with Christians, as a way to differentiate themselves as followers of the Old Ways and not the strange faith of their enemies.

This may or may not be true. Certainly, amulets of many kinds have been in use since pre-historic times. Interestingly, Mjölnir amulets were still worn by Norse Christians sometimes in conjunction with a cross after the Old Ways began to fade, so we can see that the symbol still had great meaning even after its relevance to religion had changed.

With its association with Thor, the protector god of war and the of nature's awe, the Mjölnir stands for power, strength, bravery, good luck, and protection from all harm.

It is also an easily-recognizable sign that one holds the Old Ways in respect. Viking Axe The most famous, and perhaps most common, Viking weapon was the axe.

Viking axes ranged in size from hand axes similar to tomahawks to long-hafted battle axes. Unlike the axes usually depicted in fantasy illustrations, Viking axes were single-bitted to make them faster and more maneuverable.

Viking axes were sometimes "bearded," which is to say that the lower portion of the axe head was hook-shaped to facilitate catching and pulling shield rims or limbs.

The axe required far less iron, time, or skill to produce than a sword; and because it was an important tool on farms and homesteads, the Norse would have had them in hand since childhood.

The Viking axe would make the Norsemen famous, and even after the Viking Age waned, the descendants of the Vikings such as the Varangians of Byzantium or the Galloglass of Ireland would be sought after as bodyguards or elite mercenaries specifically for their axe skill.

As the Vikings traveled East into lands held by the Balts and Slavs, they encountered peoples who worshipped a god called Perun a.

Perun was a sky god and a god of thunder, like Thor. Like Thor, Perun was the champion of mankind, a protector from evil and slayer of monsters.

Like Thor, he was a cheerful, invincible, red-bearded warrior who traversed the heavens in a goat-drawn chariot. The biggest difference between Perun and Thor seems to be that while Thor fought with his mighty hammer, Mjolnir, Perun fought with an axe.

Even as numerous Mjolnir amulets have been discovered in Viking Age sites in Scandinavia, many axe-shaped amulets have been discovered in the Baltic, Russia, and Ukraine.

This may indicate that as Vikings found new homes in the lands that are now Russia, Belarus, Ukraine, Lithuania, and Latvia they found common ground with the people there through the shared characteristics of gods like Thor and Perun.

As a symbol, the axe stands for bravery, strength, and audacity. It is a reminder of heritage and the accomplishments of ancestors who bent the world to their will using only what they had.

It is a symbol of the berserker, and all that entails. It conveys the heart or mind's ability to cut through that which holds one back and to forge boldly ahead.

All nine worlds or nine dimensions are entwined in its branches and its roots. Yggdrasil, therefore, serves as a conduit or pathway between these nine dimensions that the gods might travel.

If this all seems a little difficult to imagine, you are not alone. Remember, myth is a means for people to understand cosmic truth. For our ancestors, myths like these were as close as they could come to science; and even as quantum physics is difficult for many of us to "picture", it is still our way of describing the truth as we have found it to be.

Yggdrasil was a way of thinking about reality and about how different realities could be connected maybe similar in some ways to modern multiverse theory.

As Dan McCoy of Norse-mythology. As a symbol, Yggdrasil represents the cosmos, the relationship between time and destiny, harmony, the cycles of creation, and the essence of nature.

The longship was the soul of the Viking. The word "Viking" does not simply mean any medieval Scandinavian, but rather a man or woman who dared to venture forth into the unknown.

The longship was the means by which that was accomplished. We have eyewitness accounts from centuries before the Vikings that tell us the Norse always were into their ships, but technological advances they made in ship design around the eighth century revolutionized what these ships were able to do.

The Viking ships could row with oars or catch the wind with a broad, square sail. They were flexible and supple in the wild oceans.

They were keeled for speed and precision. Most importantly to Viking mobility and military superiority, they had a very shallow draught.

All this meant that Vikings could cross the cold seas from Scandinavia to places that had never heard of them, then use river ways to move deep into these lands all while outpacing any enemies who might come against them.

It took the greatest powers in Europe a long time to even figure out how to address this kind of threat. It was no wonder that the Viking ships were called dragon ships, for it was as if an otherworldly force was unleashed upon the peoples of Europe.

Accounts from the very first recorded Viking raid Lindisfarne even speak of monks seeing visions of dragons in a prophecy of this doom. There are two ships that stand out in Norse Mythology.

Nalgfar is the ship of the goddess, Hel. It is made from the fingernails of the dead. 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. Ehrenberg , the marble statue Wodan around by H.

Music inspired by or featuring the god includes the ballets Odins Schwert and Orfa by J. Robert E.

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