BOSNIA: THE OLD EUROPEAN SPIRIT LIVES ON
Before the Mesopotamian empire, before the pharaohs of Egypt, the civilization of Old Europe imbued with divinity the sun, moon, sky, sea, horizon, and other aspects of the natural world.
Unlike modern humans, people in the ancient world perceived the cosmos, the stars, the earth, and life itself as parts of a whole. People were aware that the illusion of separateness observed in the sky and on earth was an illusion, and that wholeness was the ultimate truth.
The idea of a sun-god, the horizon as a boundary at the end of the world, and haunting personification of death, are likely culled directly from the Old European ancestral spirit. The perception of a cyclic universe driven by mystical forces was a fundamental element of Old European culture.
The horizon of a civilization, whose visions of mysticism were embedded in stone, represents the far-off mystery of the natural world, with which it longs to connect. In the vision of ancient people this symbol represents the horizon from which the sun emerged and disappeared. The horizon thus embodied the idea of sunrise and sunset, becoming the symbolic place of birth, death and regeneration.
Mythological elements and spiritual symbols of Old European culture are found in Bosnia from prehistory onwards. However, because of their primeval character, the record of these sacred elements is generally limited, their origin shrouded in the mists of the past, and their occult meanings poorly understood.
In Old European mythology, the earliest primeval element of the universe was conceived as water, and the mythical water snake was considered a vehicle of an energy that had its source in water. In prehistoric Bosnia, as well other cultures of the borderless world of Old Europe, the presence of the Snake Goddess is felt everywhere – on earth and in the sky.
According to Lithuanian archaeologist Marija Gimbutas, the symbol of the coiled serpent is associated with the Kundalini force, sleeping like a coiled serpent, the primordial cosmic energy. Interestingly, in Bosnia the form of the coiled serpent survived even in culinary tradition where it is called "pita". The word pita, however, represents a direct link to Vedic tradition (from the Sanskrit word pitā – father), and therefore creates a direct association with a male sun god.
The spiral is employed as a major element of decoration on Old European artifacts, as well monolithic stone monumets known as stećaks. Spirals and double-spirals are another figurative interpretation of swastikas, a sun symbolism, while the pentagonal geometry of stećak monuments reflects the shape Old European sanctuaries, votive altars, as well the pyramids of the Visoko valley.
Stećaks, or stećci, is merely a convenient term to denote monolithic stones found in present days throughout Bosnia and Herzegovina and in parts of Croatia, Serbia and Montenegro.
The name stećak comes from the present participle of the verb stajati, to stand - stojeći, and is most commonly used in reference works deriving from the wrong and popular assumption that they are sole property of mediaeval churches and were designed to stand over graves as religious monuments (tombstones).
Stećaks fall into two main groups, recumbent and upright or standing stone monoliths. They can be found in the form of an ordinary flat or roughly shaped slab, chest/coffin, gabled sarcophaguslike monolith in the shape of an elongated pentagon, pillar (obelisk or nišan), stele etc.
Stećaks are mostly made of limestone, sandstone, granite and, in particular circumstances, of different types on conglomerate.
A recent meticulous scientific reconstruction in the contexts of architecture, religious art and ancient philosophical tradition has allowed to establish and expose a close relationship between millennia-old artefacts of the Old European continent, the stećak phenomenon, and the pyramids of Bosnia. Such analysis has allowed to close the sacred loop, and to rejoin the aforementioned elements with their "True Spirit", their ancestral origin.
Archeological evidence has clearly shown that stećaks are the reflection of Old European sanctuaries, prehistoric votive altars and embed the sacred symbolism typical for a society steeped into pyramid culture. These sacred monolithic stone monuments display the cosmologial concept for horizon, which is deeply rooted in millenia-old tradition of Old European culture, as well the symbol referable to the concept of a multi-layered universe, a universe consisting of heavens above and underworlds below, with the human world interposed between.
The pyramid is a symbol of pagan origins often displayed on stećak monuments, and proves that the spirit of a pyramid culture is inseparably merged in the architectural layout of these sacred monuments.
A six-years long research has suggested that stećaks and the pyramids of Bosnia establish a link to a pre-Vedic civilization, founded on astrotheological fertility symbolism and harmonic physics. Additionally, it was possible to unveil the esoteric meaning behind the sacred symbols and concepts present on many stećak monuments, which are explained by the Pythagorean doctrines of the Four Elements and the Transmigration of the Soul.
Many modern-day academics have underestimated the millenia-old undying spirit of Old European culture, the importance of the stećak phenomenon, and the pyramids of Bosnia. Differently from what we've been told, stećaks are not the product of war mongering Churches of the Middle Ages, who burned people at the stake, which included many humble preachers of the Bogomil faith, whilst waging crusades against their doctrines.
Stećaks are not and must not be considered the cultural property of politically-oriented academicians or media, which are merely the results of a socially divided world, but are the cultural and spiritual inheritance of the borderless, peaceful and egalitarian world of Old Europe.
Stećaks monuments are the "Ancestral Spirit of Bosnia", the "Light of Old European Culture", and carry a message that is of great and deep awareness of our soul, of our world and our universe.
Nenad M. Djurdjević