The triskelion or triskele is a symbol that has been used for thousands of years by various peoples, dating back to the Late Neolithic period. In this blog, we will explore the extensive history and meaning of this symbol.
Design
The triskelion consists of a triple spiral with rotational symmetry or other threefold patterns emerging from a common center. The spiral design may be based on interlocking Archimedean spirals or represent three curved human limbs. The triple appearance can be compared to the Germanic valknut and the triquetra.
The name was introduced in 1835 by the Duke of Luynes, who studied symbolism.
The Triskelion in the Neolithic Era
The first triskelions in Europe were created by Neolithic farmers. They used this sign alongside other left- and right-turning spiral motifs. Late Neolithic farmers were particularly fond of spiral motifs and engraved them on their stone monuments, such as graves and stone circles. The triskelion from Malta (4400–3600 BCE) and the one on the megalithic tomb of Newgrange in Ireland (3200 BCE) are two well-known examples.
For Neolithic farmers, the fertility of the land and the sun, which provided this fertility, were central to their religion. They worshiped the equinoxes and aligned their stone circles and tomb monuments accordingly. The entrance of the Newgrange tomb aligns with the position of the sun on the winter solstice. After the harvest came the season of the dead, and during the winter solstice, the sun returned to the realm of the living to bring fertility to the land.
Some theories suggest that these spirals represent a gateway to the underworld or the journey of the sun between the underworld and the upper world. Others propose that these spirals symbolize eternal life. Spiral forms in the shape of a triskelion might also be associated with changing seasons or years.
The Triskelion in the Bronze Age
Between 3000–2500 BCE, Proto-Indo-European steppe herders migrated from the Pontic-Caspian Steppe toward Europe.
We do not know exactly how the steppe herders and the Neolithic farmers merged. It was likely a combination of intermarriage, cultural assimilation, and warfare. In some areas, the steppe herders replaced up to 90% of Neolithic DNA.
The steppe herders' society was based on livestock herding, which they relied on while migrating. They practiced a Dharma-basednature religion, rode horses, and experimented with copper and later bronze weapons, such as axes. They were also physically taller than the Neolithic farmers.
Their culture was hierarchical, oath-bound, and centered around individual warrior achievements. However, they did not only wage war against their new neighbors; they also adopted traditions and rituals, including fertility and agricultural goddesses. It is possible that the Old Norse Vanir gods originated from Neolithic deities. The Vanir gods—Freyr, Freyja, and Njörd—are directly connected to fertility, agriculture, and abundance. Similarly, the goddesses Cybele and Demeter may have a local Neolithic origin.
It is likely that the steppe herders also adopted Neolithic spiral motifs, including the triskelion.
Indo-European Solar Worship
In the Nordic Bronze Age, the sun was often depicted as a radiant wheel, drawn by a horse and resting in a chariot. An example of this is the Trundholm Sun Chariot (1500–1300 BCE). Fragments of a similar sun chariot have been found in a burial mound in Jægersborg Hegn, Denmark.
The sun was also represented as a sun cross or solar disk. These symbols were frequently engraved with spiral-shaped motifs, possibly stylized sun rays.
In Indo-European religion, cosmic order was central. The sun played an essential role as a marker of the seasons, the transition between day and night, and the cycle of life and death. This made the sun a symbol of order, fertility, and life, while darkness was associated with chaos and death. Light, with the sun as its primary source, was considered the embodiment of cosmic harmony and vitality.
Various Proto-Indo-European deities were associated with the sun and other celestial bodies:
- Seh₂ul (Old Norse Sól): The god or goddess of the sun, who brings life and maintains order.
- Meh₁not (Old Norse Máni): The god of the moon, connected to time cycles and the rhythm of nature.
- H₂éwsōs (West Germanic Eostre): The goddess of dawn, who brings the morning light and symbolizes the beginning of a new day.
The Number Three in Pagan Contexts
The numbers three and nine frequently appear in Indo-European paganism. In Old Norse tradition, the World Tree Yggdrasil connects three different realms, and with its branches, it links nine worlds. The Norns (fates) always appear in groups of three, and Ragnarök consists of three stages. Additionally, many Old Irish Brehon laws contain three or nine exceptions.
The number three plays a crucial role in mythological narratives among Indo-European cultures. This is why the Valknut symbol consists of three interlocking triangles, and the triskelion has three arms. It is likely that these numbers were used to symbolize cosmic order.
Celtic and Germanic Triskelions
The art of the Celtic Hallstatt period (800–500 BCE) was characterized by geometric patterns and abstract motifs. The spiral-shaped triskelion continued to be used, appearing on objects such as fibulae (brooches). Sometimes, the triskelion featured four shapes instead of three. The Germanic art styles of the Bronze and Iron Ages also incorporated similar motifs.
The Celtic La Tène art style (500–100 BCE) is known for its organic patterns, likely inspired by plants and animals. Various forms of triskelions were used, appearing on coins, bracelets, and torques (neck rings).
Stylized Triskeles
Triskelions were widely used in the Mycenaean culture of the Bronze Age. It is likely that the motif spread from there to other Greek cultures and the Etruscan civilization.
Greek art developed the stylized triskele, consisting of three stylized human legs. This is a later variation of the symbol, frequently found on Greek pottery. An Attic hydria vase from the late 6th century BCE depicts the triskele on Achilles' shield, suggesting that Greek warriors may have carried the symbol on their shields. The triskele also appears on coins from Lycia and on staters from Pamphylia (Aspendos, 370–333 BCE) and Pisidia. The exact meaning of the Greek triskeles has not been explicitly preserved.
The Duke of Luynes noted that the symbol was often combined with other iconography, such as the eagle, the rooster, the head of Medusa, Perseus, and various triadic motifs (such as three crescent moons, wheat ears, or maize kernels).
The triskele was later adopted by the rulers of Syracuse as an emblem. This usage appears to be related to the Greek name for Sicily, Trinakría (Τρινακρία), meaning "island with three capes." The Sicilian variant of the triskele is often depicted with the head of Medusa at its center. Since 1848, this ancient symbol has been reintroduced into modern Sicilian flags. The oldest known depiction of a triskele in Sicily appears on a vase from the late 7th century BCE. Some researchers have speculated that the symbol may have a Minoan-Mycenaean origin, although no definitive evidence has been found to support this theory.
Roman Era and Late Antiquity
Unlike in Greek and Etruscan cultures, where artists were held in high regard, Roman artists were primarily seen as craftsmen. Sculpture was considered the highest art form, but figure painting was also appreciated. Although many sculptures have been preserved from the 1st century BCE onward, little painting or earlier sculpture has survived.
In Roman art, triskelions were likely adopted from the Greeks and Etruscans. The symbol was often incorporated into leaf-shaped decorations and used in mosaic floors and other ornamental art. Terra sigillata pottery offered stylish and affordable designs to a broad audience, while Roman coins served as a powerful propaganda tool and have been found in large quantities.
The triskelion continued to be used in Roman art, both in stylized form and integrated into the organic motifs common in Roman designs. Additionally, the Romans also used the triquetra on their disc-shaped trumpet brooches and in their mosaic floors.
Germanic Triskelions from the Migration Period
During the Late Roman and Germanic art of the Migration Period, the triskelion remained a frequently used symbol. Germanic tribes, such as the Alemanni, often depicted the triskelion in combination with the swastika or the sun cross, particularly on disc brooches and especially on pendants.
Triskelion and Christianity
After the introduction of Christianity in the second half of the 3rd century CE, the triskelion came to be regarded as a symbol of the Christian Holy Trinity. As such, it was used from the 5th century onward in illuminated manuscripts and on standing cross motifs, which remained especially popular on the British Isles until the 10th century CE.
Meaning of the Triskelion
The triskelion motif was likely interpreted differently by various peoples across different time periods. In later periods, it was sometimes simply used as decorative knotwork to fill empty spaces, unknowingly continuing an ancient artistic tradition.
The spiral design of the original triskelion likely symbolized the sun or sunrays. In this context, the triskelion was used to represent different solar positions, such as seasons, months, or parts of the day. It is speculated that this tradition was still known in the Late Bronze Age.
In the Celtic La Tène art style and Roman art, organic patterns were highly popular. It is unlikely that the triskelion held the same meaning at this time, though its expressive depiction on Celtic coins suggests otherwise. Germanic tribes during the Migration Period also used the triskelion, often featuring it on their large amulet-shaped pendants and frequently combining it with the swastika and the sun wheel. It is possible that among the Germanic peoples, it remained associated with sun worship.
Christianity linked the triskelion to the Holy Trinity, integrating the symbol into Christian art on the British Isles.
Triskelion in Jewelry
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Belt fittings
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Shields
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Drinking horns
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