Gwion Gwion myths

The header should lead your imaginative half of the brain to see myths behind images, attributes and lines. I do not know anything about the myths, but I can see there must have been some.

Back to first | Gwion Gwion myths |Conclusions |

to Ritual Age | links | sitemap | home |

When we look at images we must sort out what is local development and what may be influence. One swallow does not make a summer and we have to be careful with single evidence. The nearest solution is always that environment and need have developed similar tools and methods as solution in a certain matter independently of each other in different places. But, not to forget that people were moving much more than we immediately imagine.

On the other hand above is shown that Africans and Australians had developed their culture long before Australia became isolated. The history of mankind should be a million or two years old and we have evidence only for a short period. No evidence is not the same as that no culture existed.

Mourning girls

We can compare the elegance of the Minoan culture with Gwion Gwion and we can compare the almost standardised figures with Egypt. By the Egyptian code these girls are mourning. The skill of the Australian painters is extraordinary and need a developed culture as background.

Is it a vegetative god from Arnhem Land?

To start with I borrow these figures from Arnhem Land. We can compare the head with the tree of life in the Sumerian scene. But we can also compare them with season or half year symbolism in the Old World. At least the lower left figure has a little human figure on his knee. Is the bigger figure a "Big man" or a god and idol?

Images with vegetative attributes and heads

We find the marsupial in many images and usually near the head. The figure at right seems to be a twin-being with ears as heads. We have to remember that mankind is from the beginning "grass eater" and vegetables were always the basic food.

In this picture we see clearly the twin being we know from the rest of the Old World



Both pictures seem to be on the same theme. At left an original Pilbara image and the other a picture from our time.

I interpret the old image to be out of same family as similar images in different places in the Old World. Our ancestors found surely by logic that both genders are out of the same egg. So I call this type of images "The Embryo of Life", a twin being.

Other images with similar composition may of course be picturing the sexual intercourse. But these are very abstract as if the painter did not know clearly what an embryo looks like.

Even in this case we see small people, a marsupial and bows over the head. The bows may be Watergate, which is a very early time and ritual symbol.

In the picture we see three dimensions. The upper an biggest is the bows over their head and that can be compared with the Watergate of the Old World. Maybe they call it the Rainbow now, but the monsoon and the rain is still an important event in life at that latitude. The second dimension is the tall girls that must be seen as giants and gods in this case... even when girls have been models. The marsupial and the humanoids are the third dimension.

We have to compare the picture with the Gwion Gwion perspective also. The difference in size between the girls and the humanoids is too big to picture perspective. The conclusion is that pictures of this kind are picturing idols bigger than humankind is. Then I mean also virtually bigger when everyone carries the ideas.

On this picture we see a flyer too. At right we see a girl in Gwion Gwion perspective. The artists used perspective by size long before other cultures. However the very small figures are surely meant to be dwarfs compared to the big figure.


My conclusion at this stage is that the figures must have been developed with people of Gwion Gwion as model. Who knows what gods are like? The Bible tells that humankind was made in the mirror of god. It is a circle and it is naturally so. The law about cause and effect gives that our imagination must have a source. In this case a visible source.

From the Sumerian culture we know about the concept Big Man meaning a clever man as well as a tall person. From the Bible we know about Goliat and that it was custom that the big men from each side met at first and maybe solved the whole problem. If not the leaders or clever Big Men solved the problem at the table. In Nordic myth we have the Giants and the Greek love the Titans. The Big Man has its idol in the virtual reality of gods. The real big men of that kind we see in the night sky. Have a look at Orion a dark night!

When we compare the small figures the other figures are of course in the Otherworld of idols. Maybe we can also sort out some more attributes, which are pure ritual symbols. However the most important is to define the nature of the art.

When I "flew" in Arnhem Land I heard this hauling man. I suppose some have helped him up by now. None want to hear that cry for long.

We cannot talk about Australia without mentioning Dreamtime. For Westerners and New Age people it sounds like magic. Maybe some can solve our problem by living in Dreamtime is the secret wish. I see it in the way that in their language they have no present time and a wider span of time as a whole in their imagination. Their time span is from the Future Child to distant ancestors in Dreamtime.

(However seemingly not as far as to Pilbara and Gwion Gwion, which they do not recognise clearly as belonging to their Dreamtime.)

But it is not as mysterious as some may think. In Yugoslavian they have no present time and are then living in the past. As for instance they are always talking about the year 1273 or what it was. Our Celtic ancestors had also Dreamtime as part of their living. It is just words and how we define and understand them ... and the will to understand. My Dreamtime is now in the next picture.

This sensual Gwion Gwion girl is my favourite ... yes, I am in love with her


Image references

Rock art from the Pilbara region, North-West Australia. Wright B.J. 1968

National Museum of Namibia 1998

Grahame Walsh Bradshaw Foundation 1999

Inanna, Queen of Heaven and Earth, D. Wolkstein & S. Kramer 1983