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LABYRINTH OF HARLOVKA
Kola peninsula
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| A diagram of the maze shows that the dead ends at the top left may be a later emendation. If the corridors are connected as a complete double spiral, the number of stone rows falls in harmony. Thus the Harlovka stone creation could originally have been similar to the "infinite" double spiral constructions, different from the Troy type, that have been encountered also on Finnish shores. One reason for the change could have been a revised ritual practice. |
| The classic Minoan labyrinth, like the one drawn on the wall of the Sipoo church dating from the 14th or 15th century, is basically one twisting corridor which has no forks but leads to the center of the figure and ends there. The form of the construction must have been dictated by the sacred rites practised by the ancient Europeans and Finns in the "Jatuli gardens." Whatever was done inside the labyrinths was culminated at the center of the figure as in the modified Theseus and Ariadne story, but in a completely different manner. |
| Walkthrough double spiral mazes have been constructed for a different kind of use. A procession which may have included the entire community, village, or tribe, or for example only the younger folks, has walked or danced hand in hand, accompanied by music, into the maze, gone through the corridor using the longest route, entered the center, and then exited through the shorter route of the spiral. The direction of the dance may have varied but that of the procession must have remained the same. The reader may imagine colorfully clad people adorned with flower garlands a few hundreds or thousands of years ago dancing in line into a stone labyrinth constructed inside the earth. In the eyes of a beholder the line proceeded into different directions in various parts of the corridor, and it may have been difficult for the non-initiated to understand how the dancers were able to perform the rite without confusing the line--undeniably an impressive sight. |
| The first question that comes to mind is who built the mazes in the Kola peninsula and on Solovetsk island. The answer requires some scrutiny of the population history of Northern Europe. Because of the hiatus caused by the Ice Age, the present cultural continuum of Fennoscandia and Northern Russia begins at approximately 10 000 b.c.e. when the descendants of mammoth hunters and the creators of the famous Southern French cave paintings followed the withdrawal of the ice border to the North; they came from the South and a certain group directly from the North Sea, making a detour around the glacier which had withdrawn into inner Scandinavia, and went on through [RUIJA] to the Northern shore of Kola. According to the most probable scientific view these newcomers spoke Fennic (Finno-Ugrian) languages. The same is true of the westernmost group although the Swedophiliac scientists of Finland find this extremely tough to admit. |
| A Russian researcher has delved into the origin of the place-names now known in the Archancel oblast to the East of White Sea. His view seems to have been hampered by the Finnish misunderstanding about the non-Finnish origins of the Suomusjärvi culture, but otherwise his analysis is usable. The oldest place-names--large rivers and waterways--would be in "an unknown language"; the next layer of names would be lexically "Finno-Ugrian and Samic," the more recent names would have a Finnish-Permian origin (Ziryens, Udmurts), followed by a layer of Balto-Finnish words and the most recent place-names would be Slavonic. The analysis reflects well the archaeological view of its time, now however surpassed by modern developments. A general view of this research appears to be that the ancient inhabitants of the area have been more or less "Finnish" until the invasion of the Russians. The relics related to the ancient White Sea civilization are connected to nationalities with no linguistic or cultural differences between the forebears of us, the modern Finns. By studying these relics we shall learn about our own "roots." |
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