Símbolos solares e suas confusões com o discurso de ódio – Por Allan Marante

Símbolos solares são questões bastante delicadas na história moderna

do Paganismo Nórdico, devido a suas deturpações. Comecemos pela suástica,
por exemplo, que foi associada com o nazismo depois da II Guerra Mundial, mas
na realizada é um símbolo pré-histórico, como pode ser observado no texto de
Daniel McCoy, em seu blog norse-mythology.org, disponível no link:
https://norse-mythology.org/symbols/swastika-ancient-origins-modern-misuse/

THE SWASTIKA – ITS ANCIENT

ORIGINS AND MODERN (MIS)USE

A swastika on the 9th-century Snodolev runestone

The swastika is one of the oldest and most widespread of humanity’s symbols. It can
be found on artifacts thousands of years old from several continents. While it was
used by the Norse and other Germanic peoples from the beginnings of those
societies, the swastika is far from just a Germanic symbol. It was one of the central
symbols of Proto-Indo-European society, the society that gave rise to the Germanic,
Celtic, Slavic, Greek, and Roman societies in Europe, as well as Hindu society in India,
which accounts for its use by both ancient and modern-day Hindus and Buddhists.
Nor was it an exclusively Indo-European symbol, however; it can also be found in
the indigenous art of the American Indians, Sami, and plenty of other peoples across
the world.
The Germanic peoples were carving the swastika onto rocks as far back as the
Bronze Age, before most other Germanic symbols, including the runes, had yet
appeared.[1][2] Its meaning for them was dynamic and hard to pin down into any
simple definition, but it had much to do with luck, prosperity, power, protection, and
sanctity, and was often associated with the sun and sky.
This article discusses the role the swastika played in ancient Germanic symbolism,
the meanings it had within that system, and how it was tragically appropriated in
the twentieth century by the Nazi movement, whose values were utterly antithetical
to those of the pre-Christian Germanic peoples.
The Swastika, the Sunwheel, and Thor’s Hammer
As it was used by the Germanic peoples, the swastika was so closely tied to two
other symbols, the sunwheel and Thor’s hammer, that the three were practically
interchangeable.

Two sunwheels on a Bronze Age burial stone in Kivik, Sweden

The sunwheel (Old Norse sólarhvél), like the swastika, was found throughout the
Indo-European world – that is, Bronze Age and Iron Age Europe and parts of Asia.
Among the Celts, for example, the two symbols are generally found in the same
archaeological context, occurring next to or in place of a depiction of a sky god in
engravings and statues.[3] This suggests two things: that the two symbols were seen
to be synonymous – and indeed, their visual forms themselves would suggest that
they’re simply variations on a common image – and that they had an especially close
association with the solar and celestial powers.
These same qualities are also found amongst the Germanic peoples. In runic
inscriptions, which often included non-runic symbols, the sunwheel and swastika
appear to have meant the same thing.[4]
As for the connection with a sky god, for the Norse the two symbols were hardly
distinguishable from a third common symbol: the Mjöllnir or Thor’s
hammer. Thor was the principal sky god of the Norse peoples during the Viking Age
(having apparently taken over this role from Tyrover the course of the centuries).
In the Norse tales, his hammer was used to defend the gods’ celestial
stronghold, Asgard, from the giants, the forces of chaos, decay, and destruction.
Ritualistically, the symbol of Thor’s hammer was used to consecrate and bless a
marriage, a person, an endeavor, a piece of land, or anything else that one wanted to
be protected by the forces of cosmic order and health against those of anti-cosmic
chaos.
The swastika was often engraved on hammers. On runestones, the swastika can
often be found beside or in connection with Thor.[5] In fact, the title “Thor’s hammer”
(Old Norse Þórshammar) commonly referred to the swastika/sunwheel. For
example, in one book of Icelandic spells, a clearly drawn image of a swastika is
referred to as a “Thor’s hammer.”[6]
In a well-known episode from King Hakon the Good’s Saga, King Hakon, a Christian,
attended a pagan feast. When it was his turn to drink from the cup of liquor being
passed around the table – an act that had particular ritual implications – he made
the sign of the cross over it before drinking from it. The other guests took offense.
One of Hakon’s friends came to his defense by claiming that he had made the sign of
“Thor’s hammer” over the vessel to consecrate it to Thor. If the visual form the king’s
friend had in mind were a hammer, his defense would have made little sense. But if
he and the other guests took “Thor’s hammer” to mean a swastika, then this defense
can be much more easily explained.[7]
The Meaning of the Swastika
The meaning of the swastika, then, seems to have been the same as that of Thor’s
hammer. Being hallowed with this symbol made the consecrated person or thing
holy, lucky, safe, and prosperous.[8] In spells, especially runic inscriptions, the
presence of the swastika/sunwheel/hammer heightened the potency of the
spell.[9] The swastika was the quintessential and mightiest Germanic “good luck
charm,” and was believed to take its bearer from one state of being – that of chaos,
the mundane, and weakness – to another – that of sacred order and strength. In its
many forms it seems to have been as central to the pre-Christian religion of the
Germanic peoples as the cross was (and is) in Christianity.
The Nazi Appropriation of the Swastika
Of course, when most people hear the word “swastika” today, none of that grand
history comes to mind. Instead, people associate this once beautiful and noble
symbol with totalitarian nationalism and virulent, militant racism. How did this
happen? Why did the National Socialist movement of early-to-mid-twentieth
century Germany adopt the swastika of all symbols as its own central icon?

During the Romantic period in the nineteenth century, the peoples of Europe took a
great deal of interest in rediscovering their pagan heritage. Additionally, the English
were fascinated by questions of what exactly made them English, the French were
fascinated by questions of what exactly made them French, and so on.

Perhaps nowhere were these trends more pronounced than in Germany. Nowhere
else did they achieve the same level of cultural prominence and social organization,
nowhere else did they become as explicitly nationalistic, and nowhere else did these
tendencies last well into the twentieth century.

In the early decades of the twentieth century, Germany was awash with so-
called völkisch (often anglicized as “folkish”) groups, who combined a kind of ethnic
nationalism with the “occult” spiritualism that was flourishing at the margins of
society. The völkisch groups and the people who comprised them were a very
diverse and dynamic bunch; some were relatively private and mostly focused on
esoteric spiritual pursuits, while some were overtly political, with various and often
competing agendas in that regard.
What the völkisch groups generally had in common, however, was an insistence that
the unifying forces of German ethnicity and cultural traditions were things to be
celebrated, as well as a notion that looking to the past history of the German people
provided clues to how Germans should live in the present day.
(Note that this outlook is not necessarily racist nor totalitarian. Many modern
American Indian groups, for example, could also be classified as völkisch with regard
to their own ancestral traditions and modern interpretations thereof. Except for a
few outliers, it would be awfully difficult to seriously argue that these American
Indian groups are racist and/or totalitarian, and the same thing, broadly speaking,
could be said of the German movements in question.)
Given the prominence of the swastika in ancient Germanic society and spirituality,
these groups often adopted it as a favored symbol. It thereby came to be a well-
known motif in early twentieth century German culture, where it was associated
with ethnic nationalism.

The relationship between the völkisch movements and the Nazis was tense and
complicated. While many völkisch groups and individuals certainly supported the
Nazis, others adamantly opposed them and were ultimately persecuted by them.
In any case, when the Nazis came to power over the course of the 1920s and 30s,
they often utilized the superficial trappings of pagan Germanic society for
propaganda purposes while utterly ignoring that tradition’s deeper content. The
swastika is perhaps the foremost example of this trend. Despite its original meaning
for the ancient Germanic peoples, and despite its near-worldwide occurrence, by
this time the popular German imagination saw it only – and, of course, with
reference to its earlier meaning, mistakenly – as a symbol of that which was
specifically German and “Aryan.”[10] (“Aryan” is an older word for “Indo-European,”
and, before the Nazis, usually had no connotations different than those that the word
“Indo-European” does today.)
Thus, when Hitler explained the symbolism of the various components of the
National Socialists’ flag in Mein Kampf, he wrote, “we see… in the swastika the
mission of the struggle for the victory of the Aryan man.”[11]
This appropriation of the swastika is as absurd as it is tragic. Pagan Germanic society
was permissive, individualistic, and even anarchic to a degree that’s difficult for us
moderns to fathom, let alone appreciate. In Viking Age Iceland, for example, there
was no king, president, or executive branch of any sort, let alone a Führer. While
there was a nominal judiciary and body of law, disputes were ultimately resolved by
the parties who were directly involved in them.
Furthermore, the polytheistic theology of the Germanic and other Indo-European
peoples left (to modern tastes extraordinarily) wide margins for any given person
to choose his or her own thoughts and behavior in accordance with his or her own
will and conscience. As Nietzsche (whose writings were similarly, and with a similar
lack of justification, appropriated by the Nazis) insightfully said of polytheism,
One was permitted to behold a plurality of norms; one god was not
considered a denial of another god, nor blasphemy against him. It was
here that the luxury of individuals was first permitted; it was here that
one first honored the rights of individuals. … The freedom that one
conceded to a god in his relation to other gods – one eventually also
granted to oneself in relation to laws, customs, and neighbors.
Monotheism on the other hand, this rigid consequence of the doctrine of
one human type – the faith in one normal god beside whom there are
only pseudo-gods – was perhaps the greatest danger that has yet
confronted humanity.[12]
Any would-be totalizing and airtight control system, whether it comes under the
banner of nationalism, socialism, capitalism, democracy, racism, egalitarianism, or
anything else, is anathema to the freedom-loving, “live and let live” spirit of
Germanic paganism and other polytheistic traditions, and deserves nothing from us
but cold contempt.
 O Black Sun (sol negro), que possui conotação nazista, também chamado
muitas vezes de Sonnenrad (roda solar), é um símbolo que está no
Obergruppenführer Hall (Salão dos Generais da SS) sempre representado na
cor preta, e com essa forma, como na foto do próprio salão:

Foto do piso do Obergruppenführer Hall (Salão dos Generais da SS). Imagem

retirada da internet. Online. Disponível no link:
https://2static4.fjcdn.com/comments/Germangermanicteutonic+culture+and+history+should+not
+be+more+affected+by+_16b27e8cc11cb749beab400512735fcf.jpg

Reprodução exata do sol negro encontrado no Obergruppenführer Hall. Imagem retirada da

internet. Online.
https://en.wikipedia.org/wiki/Black_Sun_(occult_symbol)#/media/File:BlackSun.svg
 Do símbolo original encontrado no Obergruppenführer Hall, vieram
símbolos que realmente são considerados símbolos de ódio, introduzindo
suásticas invertidas e demais marcas de ódio:
 Muitos sites americanos já debateram sobre o uso do Sol Negro, e suas
conotações, conforme algumas citações abaixo:
The sonnenrad or sunwheel is one of a number of ancient
European symbols appropriated by the Nazis in their attempt to
invent an idealized "Aryan/Norse" heritage. The sonnenrad
appears in the traditional symbology of many countries and
cultures, including Old Norse and Celtic cultures. It has countless
variations; the swastika and similar rounded variants are actually
sonnenrad forms, as are certain versions of the Celtic Cross. In
Nazi Germany, the Nazi Party, the SA and the SS all used
sonnenrad symbology at times, which has led neo-Nazis and
other modern white supremacists to adopt such images. One
sonnenrad version in particular is popular among white
supremacists: two concentric circles with crooked rays
emanating from the inner circle to the outer circle. Often white
supremacists will put another hate symbol such as a swastika in
the center of the inner circle.
Because sonnenrad imagery is used by many cultures around
the world, one should not assume that most sonnenrad-like
images necessarily denote racism or white supremacy; rather,
they should be analyzed carefully in the context in which they
appear. Publicação por ADL. Associação de proteção aos
direitos dos judeus americanos. Online. Disponível em:
https://www.adl.org/education/references/hate-
symbols/sonnenrad

O termo Sonnenrad também é usado em artigos sobre mitos gregos,

alquimia e demais artes ocultas modernas, como pode ser visto neste trecho:
Sol niger (black sun) can also refer to the result of the first stage
of the magnum opus in alchemy, the nigredo (blackening). The
complete magnum opus (Great Work) ends with the production of gold.
The magnum opus can also be understood in a mystic way.
Contemporary usage of the term "Black Sun" can be found in
the works of esoteric musicians such as COIL and Boyd Rice, and
occult groups such as Black Sun Rising (a Pylon of the Temple of Set).
The term Black Sun (German Schwarze Sonne), also referred
to as the Sonnenrad (the German for "Sun Wheel"), is a symbol of
esoteric or occult significance. Its design bases on a sun wheel
incorporated in a floor of Wewelsburg Castle during the Nazi era.
Today, it may also be used in occult currents of Germanic
neopaganism, and in Irminenschaft or Armanenschaft-inspired
esotericism - but not necessarily in a racial or neo-Nazi context.
The design has loose visual parallels in Migration Age
Alemannic brooches (Zierscheiben), possibly a variation of the Roman
swastika fibula, thought to have been worn on Frankish and Alemannic
women's belts.Some Alemannic or Bavarian specimens incorporate a
swastika symbol at the center. The number of rays in the brooches
varies between five and twelve.
Goodrick-Clarke (2002) does connect the Wewelsburg design
with the Early Medieval Germanic brooches, and does assume that the
original artifacts had a solar significance, stating that "this twelve-spoke
sun wheel derives from decorative disks of the Merovingians of the
early medieval period and are supposed to represent the visible sun or
its passage through the months of the year." He further refers to
scholarly discussion of the brooches in Nazi Germany,allowing for the
possibility that the designers of the Wewelsburg mosaic were indeed
inspired by these historical precedents.
Black Sun Oasis, (located in Akron, Ohio), is a chartered local
body of Ordo Templi Orientis.
The Black Sun Rising Pylon is a local body of the Temple of Set
in New York, NY.
The symbol has been used by a variety of esotericists; for
example, as the name of the well-known Black Sun Press of Mary
Phelps Jacob, as well as the official symbol of the occult group Black
Order of the Theozoa.
Occasionally, and unscientifically, black dwarfs are referred to
as black suns. This is not entirely unrelated to the esoteric meaning,
since ariosophy alleges a burnt out sun that was the source of power of
the Aryans in some mystical past (see also Karl Maria Wiligut).
Others[who?] regard the Black Sun as a black hole; before the term
black hole was coined in 1967, black holes (then still theoretical) were
sometimes called black stars or dark stars. Still others, such as Miguel
Serrano, think of the Black Sun as a wormhole. Uses of the term in
science fiction and fantasy literature are influenced by a combination of
the esoteric and the astronomical meaning.

In Edmonton, Canada, there is a company called 'Black Sun

Rising', a book and media store, which uses the 'Black Sun' as its logo,
as well as selling T-shirts with the 'Black Sun' image and the words
"Truth, Honour, Loyalty" and the company name encircled around it.
The Anti-Defamation League's position is interesting. They
equate the Schwarze Sonne (Black sun) with the Sonnenrad
(Sunwheel).
[Extremists] have appropriated many symbols from pre-
Christian Europe for their own uses. They give such symbols a racist
significance, even though the symbols did not originally have such
meaning and are often used by nonracists today, especially
practitioners of modern pagan religions.
The sunwheel is a traditional symbol representing the sun;
variants of the sunwheel appear in many cultures today.
[The sunwheel] appears in the traditional symbology of many
countries and cultures around the world ]
Because of the wide use of sunwheel imagery in many cultures
around the world, one should not assume that a sunwheel image
necessarily denotes racism or white supremacy, but should rather
analyze the symbol in the context in which it appears.
 Os grupos de Neopaganismo Nórdico e Germânico tentam tirar o estigma
deste símbolo solar, fazendo variações artísticas do símbolo solar, como este,
do qual nosso símbolo foi derivado e modificado:

https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Black_Sun.svg/500p
x-Black_Sun.svg.png
Centenas de representações artísticas foram feitas com esse símbolo,
inclusive utilizando o nome de Viking Sun (Sol Viking), como pode ser visto em
de lojas de artesanato ao redor do mundo:

Black Sun (Sonnenrad) Viking Pendant carving brass, Viking Necklace Scandinavian Norse
Viking Jewelry, Nordic necklace, por NorthernDragonCrafts, em sua loja no site Etsy. Online.
https://www.etsy.com/listing/294942295/black-sun-sonnenrad-viking-
pendant?utm_source=Twitter&utm_medium=PageTools&utm_campaign=Share&utm_term=so.l
p.d2.v1&share_time=1508662314000
Thanksgiving Black Sun, vendido pela loja KarmartenWorkshop, no site etsy. Online. Disponível
no link: https://www.etsy.com/listing/547468857/thanksgiving-black-
sun?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=bl
ack%20sun&ref=sr_gallery_2

Sterling silver Alemannic/ Black sun amulet with knotwork bail, baseado num broche da idade
do bronze, vendido pela loja Tyrwotor, no site etsy. Online. Disponível no link:
https://www.etsy.com/listing/459300934/sterling-silver-alemannic-black-
sun?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=bl
ack%20sun&ref=sr_gallery_13
 Variação do símbolo solar com runas do Elder Fuþark ao redor, vendidas pela loja
vikingjewelry, no site Ebay. Online. Disponível em https://www.ebay.com/itm/Slavic-Black-Sun-
Thor-Viking-Valkyrie-Wheel-Pendant-Mens-Womens-Necklaces-
Runes/152541078574?var=451919457382&hash=item238428242e:g:3dkAAOSwaEhZECb0

Também encontramos o seu uso na representação moderna da roda solar

dos blótar (rituais), feitos por grupos que praticam o Paganismo Nórdico e
Germânico hoje, como pode ser visto na imagem abaixo, divulgada no Twitter:

Calendário solar com 12 meses e nomes de ritos germânicos

https://pbs.twimg.com/media/DKDZ500U8AA2b38.jpg:large
 Black Sun (Sonnenrad) in zodiac sign circle, amuleto, comercializado pela loja
NorthernDragonCrafts, no site Etsy. Online. Disponível em:
https://www.etsy.com/listing/505789500/black-sun-sonnenrad-in-zodiac-sign?ref=hp_rv

Esta variação artística também já foi usada até mesmo para adornos como
adesivos, entre outros derivados, como no exemplo a seguir:

Sol negro em adesivo vinil, feito pela loja Beloved Viking, comercializado no site Etsy.
Online. Disponível em: https://www.etsy.com/listing/117061424/black-sun-
rune?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=
black%20sun&ref=sr_gallery_5
 No vídeo das instituições de Paganismo Nórdico dos Estados Unidos, a
Ásatrú Folk Assembly, a Asatru Alliance e a The Norrœna Society, o sol negro
aparece no minuto 1:12, como apenas uma representação solar, conforme as
imagens abaixo:

Imagens retiradas do vídeo Call Ressouding

https://www.youtube.com/watch?v=VDj2rsySh90
 Emília Pásztor, autora do artigo Symbols of Atmospheric Phenomena in
Bronze Age Depictions, fala sobre símbolos solares na Idade do Bronze:
Archaeoastronomical research rarely touches on
the role of solar/astral symbols in archeological cultures
even though numerous abstract depictions from the Bronze
Age indicate a particular celestial phenomenon. The
various round symbols are essentially without exception
considered to be solar representations by archaeologists,
without raising the question of the reason for their variety or
why the Sun was not simply depicted in the simplest
manner possible on the various objects, with a circle and
rays. The comparison of the celestial phenomena and the
abstract Bronze Age symbols offers answers to numerous
questions.
In connection with the various decorative motifs
containing round symbols some researchers have long
hypothesized that the beliefs of Bronze Age Europe were
characterized by a general cult of the Sun. However, they
have not yet examined the background behind the
abundant formal diversity of these presumed solar symbols.
The symbols are classified by comprehensive typological
analyses without searching for the reasons for their variety.
No study has yet appeared that focuses on the details of
these representations, which would raise the issue of the
basis upon which they are considered symbols of the Sun
or why the idea has been dismissed that they could be a
star or the Moon. Another interesting question is what the
reason for their formal diversity is and why we can find the
same symbols in nearly every human culture despite
significant differences in time and location. PASZTOR,
Emília. HUNGARIAN ARCHAEOASTRONOMICAL
RESEARCH II. Symbols of Atmospheric Phenomena in
Bronze Age Depiction.
 The sun dogs and halos that form around the Sun may also have inspired
the motif referred to as the solar barge in research, which was characteristic of
the Urnfield culture and was probably related to their religious beliefs. I would like
to illustrate my position by superimposing a solar barge symbol over a
photograph of a complex atmospheric phenomenon. The two sun dogs on either
side of the Sun relate to the figures of the two floating birds, while the halo and
the Sun radiating shining light in the middle form the solar symbol between the
birds.

Fig. 18: Compound halo phenomenon, which may have been the
inspiration for the solar barge symbol (photograph: Jay Johnson © Physical
Sciences Lab, University of Wisconsin-Madison. Graphics: Áron Kelemen)
 Na literatura nórdica antiga, temos um poema datado do século XIII
chamado Völuspá (Profecia da Mulher Sábia), que relata a presença de um sol
que brilhará escuro, ou seja, um eclipse, ao narrar uma batalha que causaria
grande destruição aos Nove Mundos:

Fylliz fiǫrvi
feigra manna,
rýðr ragna siǫt
rauðom dreyra.
Svǫrt verða sólskin
of sumor eptir,
veðr ǫll válynd
Vitoð ér enn, eða hvat?

Tradução de Allan Marante, para o Português:

41. Ele se alimenta

da carne dos homens mortos,
a morada dos deuses será manchada
com sangue escarlate;
Sól brilhará escura
para os verões que chegarem,
o clima será incerto.
Você gostaria de saber mais - e o que?
 Mark David, em seu blog Elementamundi.Com publicou o seguinte
arquivo sobre o Sol Negro, que pode ser conferido no link
https://elementamundi.wordpress.com/2017/04/02/the-black-sun/:
Extract from the dairy of Karl Oskar Eklund: The Black Sun is a pagan
symbol that predates Christianity. The cult of the black sun has no direct linear
trace to legend or myth, but seems to have origins in the poetric Edda poem
Völuspá. In stanza 41, the völva says:
Old Norse:
Fylliz fiǫrvi
feigra manna,
rýðr ragna siǫt
rauðom dreyra.
Svǫrt verða sólskin
of sumor eptir,
veðr ǫll válynd
Vitoð ér enn, eða hvat?

English:
It sates itself on the life-blood
of fated men,
paints red the powers’ homes
with crimson gore.
Black become the sun’s beams
in the summers that follow,
weathers all treacherous.
Do you still seek to know? Or what?

The symbol of the black sun or Sonnenrad is a sunwheel for the “Black Sun” with
origins in Germanic Zierscheibe (German for “ornamental disk”) an ornamental
brooche from the Iron Age found in women’s graves and are thought to have been
worn as pendants attached to the tunica, or as part of a belt pouch.

Early examples date to ca. 800 BC. with characteristic designs notably attested
from Alamannic graves from the migration period. This symbol was adopted by
the 5th SS Panzer Division“Wiking” – the SS division composed of Nordic
countries.
Nazi esoteric origins

During the 1920s, Karl Maria Wiligut wrote down 38 verses (out of a number
purportedly exceeding 1,000), the so-called Halgarita Sprüche, that featured the
black sun. He claimed to have memorized the verses as a child, taught by his
father. Wiligut had designed his own “runic alphabet” for this purpose. Werner
von Bülow and Emil Rüdiger of the Edda-Gesellschaft (Edda Society) translated
and annotated these verses. They claimed that numbers 27 and 1818 are
connected with the Black Sun. Verse number 27 according to Willigut is a 20,000
year old “solar blessing”:
Sunur saga santur toe Syntir peri fuir sprueh Wilugoti haga tharn Halga
fuir santur toe
Werner von Bülow translates this as follows:

Legend tells, that two Suns, two wholesome in change-rule UR and SUN, alike
to the hourglass which turned upside down ever gives one of these the victory /
The meaning of the divine errant wandering way / dross star in fire’s sphere
became in fire-tongue revealed to the Earth-I-course of the race of Paradise /
godwilling leaders lead to the weal through their care in universal course, what is
visible and soon hidden, whence they led the imagination of mankind / polar in
change-play, from UR to SUN in sacrificial service of waxing and waning, in holy
fire Santur is ambiguously spent in sparks, but turns victorious to blessing.

Santur is interpreted as a burnt-out sun that was still visible at the time
of Homer. Rüdiger speculated that this was the center of the solar system
hundreds of millennia ago, and he imagines a fight between the new and the old
Suns that was decided 330,000 years ago. Santur is seen as the source of power
of the Hyperboreans.
In esoteric currents of Neo-Nazism, Neofolk, National Socialist black
metal and Neopaganism, Wiligut’s writings enjoyed renewed interest in the
1990s.

Ancient Origins

In the epic of the tower of Babel. Nimrod was the son of Cush and grandson of
Ham, founder of the city Babilu on the plain of Shinar, which means “Gate of
God.” “Babel” is what the Hebrews called it, and thus when Moses, a Hebrew,
wrote Genesis, he called it “Babel.” Babel is the Hebrew name which means
“confusion.” At Babilu is found the following inscription:
At the top of the world stands the midnight mountain. His light is eternal. The
human eye can not see him – And yet he is there. Over the midnight mountain
the Black sun. The human eye can not see them – And yet it is there: inside, your
light shines. The brave and the righteous are solitary; But with you is the divinity.

… in another cipher,

White sun, beaming above the world earth – You give light of the day. Black sun,
shining inside us – You give the power of knowledge. -Reflecting the kingdom of
Atland, Which was high at the pillar of heaven Before the sea rage devoured it.
Thinking of the wise giants, Who came and taught beyond Thule.
 O uso do símbolo solar vermelho que o Kindred Nótt Úlfar tinha em seu
altar era uma referência histórica, cultural e artística, as centenas de símbolos
solares que foram encontrados durante o estudo da história germânica e
escandinava, desde os períodos pré-históricos. Nosso símbolo era apenas a
representação do sol, com 12 pontas, representando os 12 meses do ano, e da
cor vermelha, ao contrário da cor negra que o símbolo costuma ter, para evitar
qualquer conotação errônea.

Imagem do altar do kindred Nótt Úlfar, onde o símbolo solar está no centro dos nove mundos
nórdicos, representando apenas o sol, sem nenhum objetivo ideológico.

Tal símbolo era usado para representar a luz sagrada que envolve os
mundos, e por isso foi feito na cor vermelha, e com inspiração em demais grupos
neopagãos nórdicos e germânicos, sem nenhuma conotação de ódio.
Contudo, os últimos anos tem sido marcados por ondas de grupos
extremistas, que utilizam símbolos da história e crença germânica-escandinava,
tanto antiga, quanto moderna, para defender suas ideologias de supremacia. Por
isso, considerando que as pessoas poderiam acreditar que tal símbolo fosse uma
apologia a qualquer tipo de discurso de ódio, o mesmo foi removido de nossas
publicações e práticas, definitivamente.
 Acredita-se que as mais comuns inspirações para o uso deste símbolo
foram os seguintes:

Exemplos do Zierscheibe, termo em alemão para “disco ornamental”, datado

de 800 BC, encontrados nas regiões das tribos germânicas dos períodos
migratórios

Pingentes de rodas que datam da segunda metade do 2º milênio aC,

encontrados em Zurique, e estão disponíveis no Museu Nacional Suíço.
 Cruz solar, que representa os ciclos da terra. Disponível em
https://en.wikipedia.org/wiki/Sun_cross#/media/File:Crossed_circle.svg
 Bibliografia

Artigo na Wikipédia sobre a Sun Cross. Online. Disponível em:

https://en.wikipedia.org/wiki/Sun_cross

PASZTOR, Emília. HUNGARIAN ARCHAEOASTRONOMICAL RESEARCH II.

Symbols of Atmospheric Phenomena in Bronze Age Depiction. Online.
2015. Disponível em:
https://www.academia.edu/12139753/Symbols_of_Atmospheric_Phenomena_in
_Bronze_Age_Depictions_-
_HUNGARIAN_ARCHAEOASTRONOMICAL_RESEARCH_II
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Pesquisa no site de vendas Ebay, sobre produtos relacionados ao nome Viking
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