The Stora Hammar Stone
Robert Ferguson wrote his interpretation of the Stora Hammar Stone
and here are some parts of his statements. If one was just reading his texts one could never recognise them in real, nor did author mentioned obvious phallic shape of the rock once.
and here are some parts of his statements. If one was just reading his texts one could never recognise them in real, nor did author mentioned obvious phallic shape of the rock once.
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Interpretation of 11th century Stora Hammar Stone.
Robert Ferguson states;Panel 1,
the top panel shows two warriors around another figure shown in violet, who appears to be unarmed. There is also a design to fill the blanks space. The figures are smaller in size than the others, which might not represent the true scale. If it does it would appear to show two children fighting against a effigy of some sort, for practice fighting. Such mock fighting is attested in Norse literature and if the stone shows a progression in time from top to bottom, then this appears to be logical. However, it is by no means certain and it isn’t clear who the figure in the center would be. Let us take this as our working interpretation of the first panel.
the top panel shows two warriors around another figure shown in violet, who appears to be unarmed. There is also a design to fill the blanks space. The figures are smaller in size than the others, which might not represent the true scale. If it does it would appear to show two children fighting against a effigy of some sort, for practice fighting. Such mock fighting is attested in Norse literature and if the stone shows a progression in time from top to bottom, then this appears to be logical. However, it is by no means certain and it isn’t clear who the figure in the center would be. Let us take this as our working interpretation of the first panel.
Obviously it is a woman and two men with swords attacking her.
Robert Ferguson Panel 2,
second from the top, clearly shows a horse to the left, two swords set against the wall, and two figures, presumably the swords’ owners are walking to the right, each carrying something. On the right-hand side are what appear to be three figures gathered around a pool. The two figures arriving appear to be carrying something like pieces of wood, and as their weapons are set aside, it is clearly something other than swords. If these have been properly identified, and given the initial panel, are perhaps the same two figures when grown. If they are carrying wood to a pool, the three men might well be diviners of some sort, and thus the purpose of their visit is for some form of prophetic knowledge. But I am unaware of anyone ever floating wood in a pool or natural spring as a means of divination, and the panel remains open to quite a bit of conjecture.
second from the top, clearly shows a horse to the left, two swords set against the wall, and two figures, presumably the swords’ owners are walking to the right, each carrying something. On the right-hand side are what appear to be three figures gathered around a pool. The two figures arriving appear to be carrying something like pieces of wood, and as their weapons are set aside, it is clearly something other than swords. If these have been properly identified, and given the initial panel, are perhaps the same two figures when grown. If they are carrying wood to a pool, the three men might well be diviners of some sort, and thus the purpose of their visit is for some form of prophetic knowledge. But I am unaware of anyone ever floating wood in a pool or natural spring as a means of divination, and the panel remains open to quite a bit of conjecture.
What is he talking about? A pool?
Strangely seated or semi-laying down figure looks feminine and figure behind her holding something is not human.
Panel 3
Original carvings
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Panel 3 presentation of stone slab 
Robert Ferguson Panel 3,
the third from the top, is the most noticed and regarded as showing some form of human sacrifice as a hanging to the god Odin. This is underscored by the valknut shown nearby. However, there is nothing that has ever illustrated or proven that the valknut had anything to do with Odin, in fact the only sort of possible interpretation it could have is from its typical use around men of prominence mounted on horses, which might well be a symbol of divine power but nothing to do with Odin, as far as anyone has shown. In addition to this there is the figure on a frame, which has been suggested to be a sacrificed dwarf of child.
Interpretor keep klinging to Odin that is not even in the picture and keeps denying the valknut - the death symbol that is clearly ingraved on a phallus shaped stone. This is picture of original stone with parts of his body sticking out in intention to rape a little girl.
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in progress...
Hogne and Hild
A king by name Hogne had a daughter by name Hild. Her a king, by name Hedin, son of Hjarrande, made a prisoner of war, while King Hogne had fared to the trysting of the kings. But when he learned that there had been harrying in his kingdom, and that his daughter had been taken away, he rode with his army in search of Hedin, and learned that he had sailed northward along the coast. When King Hogne came to Norway, he found out that Hedin had sailed westward into the sea. Then Hogne sailed after him to the Orkneys. And when he came to the island called Ha, then Hedin was there before him with his host. Then Hild went to meet her father, and offered him as a reconciliation from Hedin a necklace; but if he was not willing to accept this, she said that Hedin was prepared for a battle, and Hogne might expect no clemency from him. Hogne answered his daughter harshly. When she returned to Hedin, she told him that Hogne would not be reconciled, and bade him busk himself for the battle. And so both parties did; they landed on the island and marshaled their hosts. Then Hedin called to Hogne, his father-in-law, offering him a reconciliation and much gold as a ransom. Hogne answered: Too late do you offer to make peace with me, for now I have drawn the sword Dainsleif, which was smithied by the dwarfs, and must be the death of a man whenever it is drawn; its blows never miss the mark, and the wounds made by it never heal. Said Hedin: You boast the sword, but not the victory. That I call a good sword that is always faithful to its master. Then they began the battle which is called the Hjadninga-vig (the slaying of the Hedinians); they fought the whole day, and in the evening the kings fared back to their ships. But in the night Hild went to the battlefield, and waked up with sorcery all the dead that had fallen. The next day the kings went to the battlefield and fought, and so did also they who had fallen the day before. Thus the battle continued from day to day; and all they who fell, and all the swords that lay on the field of battle, and all the shields, became stone. But as soon as day dawned all the dead arose again and fought, and all the weapons became new again, and in songs it is said that the Hjadnings will so continue until Ragnarok.
Saxo Grammaticus relates that Hithinus was the prince of a Norwegian tribe and a small man. Hithinus fell in love with Hilda, the daughter of Höginus, a strongly built Jutish chieftain. Hithinus and Hilda had in fact been so impressed with each other's reputation that they had fallen in love before meeting.so who is Saxo Grammaticus?
Saxo Grammaticus (c. 1150 – c. 1220) also known as Saxo cognomine Longus was a Danish historian and author, thought to have been a secular clerk or secretary to Absalon, Archbishop of Lund, foremost advisor toValdemar I of Denmark. He is the author of the first full history of Denmark.
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| side monuments are phallic shaped while two in the center represent Godesses ,snakes and trinity |
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