A newly discovered Slavic shrine in Slovenia?
Some intriguing petroglyphs were discovered in the so-called Cave of Iapodes northeast of Ilirska Bistrica, Slovenia, and the possibility of the cave being a ritual place of Early Slavs was soon put forward. In this paper we present some new finds about the petroglyphs, the cave, and its environments, to back up the conclusion that Cave of Iapodes with the petroglyphs really was an Early Slavic shrine, dedicated to Perun — specifically to its local ‘apparition’, Kresnik.
1. The cave
Japodska jama (Cave of Iapodes/Iapodic cave; alternative name Jama pri Trnovskem studencu A cave near Trnovo spring ) lies some 3 km NE from the town of Ilirska Bistrica, Slovenia; roughly in the middle of the Ilirska Bistrica fossil landslide, at 760 m elevation.
According to the Electronic Cadastre of Caves the Cave of Iapodes is 15 m long and 8 m deep, classified as an overhang/grotto (spodmol, kevdrc). The entrance to the cave is a collapsed opening, roughly oval shaped, 5 m by 3 m, and 3 m deep with precipitous walls. The cave is oriented roughly in an NNE–SSW direction (see fig.2).
The cave has an overhang in the southern part and a lower level leading to a (now defunct) water source (or a man–made basin for retaining precipitation water). Inside the overhang on the eastern wall there is a rocky protrusion onto which the petroglyphs were carved.
2. The petroglyphs
The first report of the petroglyphs in Cave of Iapodes came in 2009, and a preliminary study was made in 2014. There are two distinct groups of petroglyphs on the eastern wall of the cave, just inside the overhang. One — an anthropomorphic figure — is on the edge of a rocky protrusion, and the other group — an overlapping collection of circles and lines — can be found on the side of the protrusion, about one meter to the left (north) and half a meter down from the anthropomorphic figure. Both the lower parts of the protrusion are damaged; according to Hrobat Virloget the damage is recent and man–made (fig.3).
2.1 Anthropomorphic figure
The anthropomorphic figure is carved on the edge of the protrusion, about 170 cm above the cave floor (fig.4a, b).
.The figure is 12,3 cm high and 15,2 cm wide, and the carving is 3–5 mm deep. It has a circular segment for a head, a line for a body, one hand that is crossed by two shorter lines, and wide straddled legs, giving the overall impression of a stick figure man.
The lower part of the rock is damaged — possibly cut off by a power drill. Locals remember a set of carvings that are now missing as “strange symbols and lines”, “like a writing that could not be read”, reminiscing Hrabar’s notion of “strokes and incisions”, describing a Proto–Slavic writing system.
What the image represents remains a mystery, due to its isolation, rather crude form and lack of finds in the cave. No datable evidence was ever found in the cave or its vicinity, and no systematic archaeological work has been undertaken as of today. Hrobat Virloget discusses the possibility that the image could represent a horseman, the crossed lines at the end of the hand picturing the horse’s head, and the ‘legs’ actually being the horse. The other interpretation by the same author is the carved image is of an archer, the crossed lines representing the bow, or of a thrower — throwing a spear or a lightning bolt. Of course, the possibility of the image being a (relatively) recent addition, a boundary mark or a simple ludibrium, in absence of contemporary and/or datable artifacts, remains.
2.2 Circular features
The carved circles and lines are found in the immediate vicinity of the archer/horseman. There are at least three (and possibly five) circles with spokes, and an assortment of lines that could, according to Hrobat Virloget, be a part of an unfinished pentagram (fig.5a, b).
The carvings here are much more crude compared with the figure, less precise, shallower (rarely over 1 mm deep) and overlapping. The diameter of the largest circular feature is 12,5 cm. The symbols can be easily identified with the sun–wheel, rather typical of many cultures and somewhat ubiquitous. The ‘pentagram’ — if there is one (or has been intended) — is less clear. Again, the part of the rock below and to the right bears marks of damage, possibly man–made.
3. History of the area
As far as we know, there is a near–continuous habitation in the broader area around Ilirska Bistrica from at least the mesolithic period onwards. Neolithic finds are scarce, but from the Bronze Age onwards through the Iron Age and roman period up to Late Antiquity several settlements, hill forts and larger structures are attested. The Early Middle Ages see the arrival of Slavs; the first permanent villages and towns (Zemon, Prem, Šembije, Knežak, Ilirska Bistrica) have their beginnings in the early 9th century.
3.1. Archaeology
There are at least two Iron Age “hill forts” and extensive walls of the same age in the area, some Late Roman and Early Middle Age structures and a tentative Early Slavic settlement (fig. 6).
Iron Age hill fort Gradišče (1) is one of the largest in southwestern Slovenia, with over a kilometre long dry wall with towers enclosing several terraces. There are traces of several buildings and a large necropolis was found, dating to 6th– 4th century BC. In the vicinity of Gradišče a couple of Celtic coins were found. Roman remains inside the fort indicate it was occupied during the Roman Period and into the Late Antiquity.
There are extensive walls (2) running from Gradišče hill fort to Ahac hill fort and back to the slopes of Stražica guarding the northern and eastern approaches. The walls are 4 m wide and are enclosing an area where different buildings dating to Antiquity period were discovered. The walls do not appear to be a part of a larger Roman limes or claustra, and are similar to walls around Prezid, attributed to ancient Liburnians.
Ahac hill fort (3) dates to La Tène and Hallstatt period. Roman and even Early Medieval remains within the fort indicate a longer period of occupation. Funerary mounds are found on the northern slope of the hill.
On the Sela plateau (4) remains of buildings were reported that could have constituted a shepherds’ settlement. There are indications this could be an Early Slavic settlement, however no research has yet been undertaken there as of writing this article.
3.2 Toponyms and ritual landscape
In the vicinity of Cave of Iapodes there are peaks, valleys and plateaus that carry names associated with Slavs and together imply a broader Slavic ritual landscape (fig.7).
Volčji hrib (2), meaning “Wolf’s hill” or “Hill of wolves”. Wolf features prominently in Slavic mythology, and a mythical creature Wolf Herdsman (Master of the Wolves) is present in oral traditions of almost all Slavic nations. Analysis of Wolf Herdsman tales, together with other clues (like the fact that many prominent Christian saints, even Jesus and God himself, ‘covered’ the Wolf Herdsman in Medieval times) shows that the Wolf Herdsman corresponds to an Early Slavic god of death and cattle Veles/Volos .
Škedenc (3) is according to Snoj a hypercorrect spelling of “Ščedim”, meaning “a protected forest” (ščediti = to protect, to save). Part of Trieste with a similar name (Škedenjc) is known in Italian as Servola, deriving from latin Silvanus =forest. Early Slavs did incorporate forests in their rituals and beliefs, so the Škedenc peak, covered in forest to this day, points to a Slavic sacred grove.
The name of Sela plateau (4) means “settlement”, and according to Hrobat Virloget there are remains of buildings still visible. It is conceivable that an Early Slavic settlement is here (see 4.1), and further explorations should be undertaken to prove it.
The name of the peak Devin (5) is derived from Deva, meaning maiden or girl. Hrobat Virloget pointed out the Devin skok (Maiden’s jump) topographic situation that includes Devin peak, the deep Mrzli dol valley (Cold bottom, 6) with Pekel dolina (Hell, 7) and Suhi vrh peak (Withering peak, 8).
Deva’s jump is based on an Early Slavic myth of a Maiden (sun god’s daughter/wife) being abducted by a chthonic deity and kept in the ‘castle’ on the peak then saving herself by jumping off the cliff. The Deva’s jump topography follows the universal form: a peak associated with a chthonic deity such as Veles, a river valley and an opposite peak, associated with sky deity Perun. Šmitek and Pleterski identify Deva as Mokoš, Slavic goddess of earth and fertility, and sees the Deva’s jump topography as a representation of the Slavic gods-triangle Perun — Mokoš — Veles.
Here the deep Mrzli dol valley and Pekel (Hell) dolina separate Devin peak, associated with of Veles, and Suhi vrh (Withering peak), connected to Perun via the legend of an eagle landing on a (sacred) withered tree on the top of the hill (see fig.8, below).
Knežak village (9) derives its name from Slavic term Knez, meaning Duke or Prince. Šembije village (10) is named after St.Vitus, whose church can be found there. There is a possibility of the name being derived (also) from Šembilja/Šembija, a witch– (or devil–) like being from folk mythology of Vipava valley, Kras and Brkini (to the east of Ilirska Bistrica); a possibility seen by etymologist Marko Snoj as plausible. Šembilje are usually associated with old (”roman”) roads and leafing hooves impressions in the rocks. Further strengthening the Slavic connection is village’s patron saint St. Vitus, who was used by early Christians to ‘cover’ (or modernize) the old Slavic god Svantevid (Svetovit).
Town of Ilirska Bistrica (11) is first mentioned in the early 15th century. In the centre of the town there is a church of St.George (from 1720, with some earlier parts conserved), and st. George is a saint often associated with mythical Slavic beings and deities (Perun, Jarilo etc.).
4. Cave environment
The environment of Cave of Iapodes plays a crucial role in determining the origin and function of the petroglyphs, and the identity of people that have carved them. Obviously, the cave meant something to the carvers, and reasons for the selection of this particular cave to be a ritual place must be identified. We present some geological, geographical and even astronomical facts that might have influenced the reasoning of the petroglyphs’ authors.
4.1 Geology and geography
Cave of Iapodes lies roughly in the middle of a massive pliocene/quaternary fossil landslide known as Ilirska Bistrica fossil landslide. The landslide dominates the landscape, the elevations and valleys are stretching in a general (north)east to (south)west direction (following the direction of the slide).
The landslide prevented the formation of deeper caves that are typical for the area: the caves just outside the landslide are both larger and deeper, averaging over 50 m of depth, most of them classified as stair–step shaft, compared to the caves on the landslide that do not exceed 17 m of depth and are generally classified as horizontal caves, overhangs and grottoes; of 11 caves in the area of the landslide only one is a shaft .
Of the caves within the landslide four of them lie in the middle of it (including Cave of Iapodes) and others are found at the western and southern border of the landslide. The other three caves lying in the middle of the landslide are found grouped in a valley named Škrilje, just below the Sela plateau to the southeast of Cave of Iapodes. Two of them, Škrilja 1, and Škrilja 2, care grottoes similar to Cave of Iapodes, 10 m long, and 2 m and 4 m deep respectively.
Cave of Iapodes was reported by locals as a water source, reliable even in a prolonged drought. A man–made retaining wall inside the lower part of the cave, built of stone and wooden beams, gives some credence to the claim, however it is unclear if the structure contains a true water source or is just a basin for the precipitation water. The claim of the locals that they were visiting the cave because of the water is unreliable, since an enclosed and rich spring called Trnovo spring (Trnovski studenec) lies just 200 m to the west (marked with a blue square on fig.7) of the cave and it had plenty of water during our visit in June 2015, whereas the cave was totally dry.
4.2. Astronomy
There are some interesting alignments of Cave of Iapodes, the nearby features and the sun. The Škedenc peak is due east from the cave and the Sun rises behind this peak at the equinoxes. Similarly, the Stražca peak lies due west and the Sun sets there at and around those dates.Of more interest are two other peaks, Sleme to the northwest and Volčji hrib to the southwest. They lie almost exactly (to within 4 degrees) to the line of sunset at summer solstice (solar azimuth 302.53°, Sleme azimuth 300°) and sunset at winter solstice (solar azimuth 239.16°, Volčji hrib azimuth 235°). To an observer standing at the entrance to to cave the Sun would appear to set just behind those peaks at the solstices (fig.9).
Coincidentally, we were right inside the cave on July 20, 2015, just one day before the summer solstice, at 6:45 PM a sunbeam entered the cave through the trees and shone upon the wall, no more than a metre above and a metre to the left (north) of the circular features carved there. As we sat there in awe, we managed to take just one photo with a mobile phone before it disappeared; the photo is, of course, lousy (fig.10).
The sunbeam at sunset gets as close to the petroglyphs as possible exactly on the date of the summer solstice when the Sun is at its greatest northern elongation. We have determined that the distance between the sunbeam and the petroglyphs at that time is approx. 75 cm.
At the winter solstice, the Sun shines more than 3 m away to the north and its rays do not enter the overhang (fig.11).
Of course the cave and its solstice sunset alignments can not be modified, yet those alignments could play a decisive role in selecting this particular cave for a ritual place.
5. Caves as Slavic ritual places
There are at least two caves in southwestern Slovenia that were identified as a Slavic ritual places, both found between Divača and Lokve, named Mala Triglavca (near Divača) and Trhlovca (local spelling Terglouca, Triglavca). Of special interest is Mala Triglavca cave, since it is very similar to Cave of Iapodes, and because there are reliable reports of Slavic rituals being held in the cave.
Mala Triglavca is a small cave, classified as an overhang/grotto, 5 m long an 2 m deep. Inside the cave there is a stalactite/stalagmite formation that was the centre of a fertility rituals held there well into 19th century. At the top of the stalagmite formation there is hand–carved hollow and on the low–grown stalagmite nearby there is a drilled hole into which the torch handle would most probably have been inserted. According to Placer the stalagmite formation is remarkably reminiscent of a vulva, whereas the stalactite one is less suggestive but can nevertheless be symbolically compared to a penis, and both could be seen as symbols of the two mythological figures of (female) Deva/Devača and (male) Devač. Pleterski explains Devač as a phallic form of lighning, of Perun, and Deva as the godess Mokoš.
In Trhlovca near Lokve rain–predicting or harvest–predicting rituals were held. Another special feature of this cave relates to the two rock groups consisting of three rocks each, one located roughly 70 m from the entrance, and the second just above the entrance wall. It is possible to conclude that Trhlovca was related to the Slavic god Triglav/Troglav.
6. Some interim thoughts
Cave of Iapodes lies at a small plateau in otherwise gently sloping valley that is easily accessible and offers great views of the area. It may have been an occasional (or even reliable) water source in the middle of pastures. Due to collapsed walls it is basically a precipitous hole–in–the–ground, an impressive entrance to the underworld.There is no doubt the area around Cave of Iapodes bears the footprints of Early Slavs. The toponyms and remains of a ritual landscape, with hints at stories of Deva, Perun, and Veles, legends of Wolf Herdsman and Šembije witches, the Sacred grove of Škedenc and others are clear and visible (see paragraph 3.2).
If there was an Early Slavic settlement at Sela plateau, the cave is both nearby (1,5 km) and distant, as the Škedenc hill with the sacred grove lies in between, therefore making the cave a suitable place for a shrine.
We saw that Early Slavs used caves as shrines and ritual places (see paragraph 5). The similarity of stalactite/stalagmite formation Deva/Devač in Mala Triglavca with the rocky protrusion in Cave of Iapodes bearing the carved figure is striking. The Deva’s jump topography nearby strengthens the connection with gods Perun, Mokoš and Veles.
The Mokoš — Veles — Perun triangle is a staple of Early Slavic mythology. Perun as the god of thunder (Perun derives from Proto–Slavic per–, “to strike”; so Perun is “the one that strikes”), Mokoš as his wife/daughter, and Veles as his chthonic antagonist, god of death and cattle. There is a cyclical mythos of Deva (Mokoš) being abducted by Veles the Beast and taken into the underworld, with Perun following her, fighting Veles and emerging victorious (with him or his son Jarilo marrying Mokoš) until the next fight. It is a harvest/year cycle, with Mokoš symbolising the spring, Perun the summer/harvest time and Veles the winter.
Šmitek reckons that “Perun” is not actually a name of a deity, but of one of his functions, namely throwing the thunder (lightningbolt). This function can be retained in the name of the deity, like Perkunas of Balto–Slavic religion, but in other places the name (or names) reflected different aspects of the deity. He proposes that among Southern Slavs in Slovenia Perun was called Kresnik, a Sun god (god of light, from kres, “summer solstice”). There are other Slavic deities connected to the Sun and to the harvest cycle: Jarilo (son of Perun/Kresnik), Svarog/Svarožič (if they existed) and even Svantevit (Svetovid).
The line of sunset at summer solstice (as seen from Cave of Iapodes, see paragraph 4.2) crosses the church of St. Vitus in Šembije. We know that in medieval times St. Vitus ‘covered’ the older Svetovid, and that Svetovid was the god of light, of the sun. And St. Vitus day is June 15, close to the summer solstice — the time when a sunbeam enters the overhang in Cave of Iapodes and illuminates the carvings. All his can hardly be explained away as a chance alignment: people must have known the cave and were aware of its (religious, ritual, mythical) significance.
The line of sunset at winter solstice crosses the church of St. George in Ilirska Bistrica. Admittedly, both the town and the church are of much later date (not earlier than 16th century), however we know that pagan (Slavic) rituals were held in Mala Triglavca cave in 1820, so it is conceivable that this alignment is not random either. The fight between St. George and the chthonic Dragon corresponds with the fight between Perun/Kresnik (or his son Jarilo) and Veles the Beast. And thew were fighting in the middle of the winter: around the winter solstice Kresnik wins, the days get longer, spring is coming.
There is a strong case that Cave of Iapodes was a Slavic shrine, dedicated to the Sun and the cycle of the seasons — and not to the fertility cult as was the case in Mala Triglavca cave.
7. What do the petroglyphs in Cave of Iapodes represent?
As we have shown there are two groups of carvings in Cave of Iapodes (see 2); a group of circular features and straight lines, and an anthropomorphic figure. Clearly the groups weren’t made by the same artist or even at the same time. The question which were carved first remains.
7.1. Circular features — Sun wheels
A circle, divided by four lines into eight segments — a wheel with eight spokes — is an ancient symbol. In the Early Slavic mythology it represents a sun-wheel and is related to Kresnik / Perun, Dajbog, and Svetovid (the symbol can be seen on the famous Zbruch idol).
Pleterski sees the sun wheel as an ideogram connecting numbers 3 and 4; pointing to Troglav (Perun — Mokoš — Veles) and reminiscing the four images on the Zbruch idol: the fertile and the infertile pair.
The sun wheels of Cave of Iapodes are therefore images of both the Sun and of the cycle of seasons, symbols of cyclic time, of fertility (summer) giving way to infertility (winter). They are telling the basic myth of the Slavs.
7.2. Anthropomorphic figure — Perun or Kresnik
This carving (fig.12, right) is both enigmatic and unique. Hrobat Virloget states it can represent an archer (holding a bow in an extended arm) comparing it to a similar stonemason’s mark from Žiče) or a horseman (grasping the head of the horse with both arms; see paragraph 2). However, the “bow” is too small, and the line connecting “horse’s head” and “body” is almost surely a natural feature.
If we look closer (see fig.4a) the ‘thing’ the stickman holds in in his hands is more or less a Y shaped one, pointing downwards; it can be conclusively identified as a lightning. The anthropomorphic figure is depicted in the middle of a throw, with its legs bowed and its arm extended. Only Perun throws the lightning. Moreover, since the image is found inside the cave, we can imagine Perun shown during the great underworld fight with his greatest — and eternal — nemesis, Veles.
The carved sun wheels and the sunbeams glancing the figure at the summer solstice strenghthen the idea that Perun the Thunderer is depicted as the Sun itself: as Kresnik.
8. Conclusion
In the hills above Ilirska Bistrica lies an exceptional rarity: an Early Slavic shrine in a cave, with a carving of the god Kresnik himself: he is shown surrounded with sun wheels, throwing lightning bolts, fighting Veles the Beast, getting married, keeping the Earth fertile — and waiting patiently for another summer solstice, when a lone sunbeam shall touch him again, year after year, for millennia to come.
And since the venerable Iapodes had nothing to do with Cave of Iapodes, the cave needs a better and more deserving name:
Kresnik’s cave.
(This article was first published on Academia.)
