sexta-feira, janeiro 11, 2013

AMANHÃ - METAL ÉTNICO E PAGÃO DO EXTREMO OCIDENTE EUROPEU EM AVEIRO

posted by Caturo at sexta-feira, janeiro 11, 2013

17 Comments:

Anonymous Anónimo said...

Aliás Caturo, como se diz o nome do Deus da Força e da Guerra lusitano? Arentio, Arêntio, Arêncio?

13 de janeiro de 2013 às 14:51:00 WET  
Blogger Caturo said...

Boa pergunta... penso que no Português actual se diria Arêncio» ou «Arâncio» (também aparece escrito «Arantius»).

Sucede entretanto que não é sabido se Arantio pode ser considerado como um «Deus do Poder» ou doutra coisa qualquer. Não é impossível que Arântio seja um Deus da Guerra, talvez o mesmo que o Arus, mais a norte. Mas pode ser também uma espécie de Deus de Todas as Artes, equivalente a Lug, talvez o maior Deus do mundo céltico, adorado também na Celtibéria (e talvez na Galécia Lucense), como se diz neste particularmente valioso artigo:

http://www4.uwm.edu/celtic/ekeltoi/volumes/vol6/6_12/olivares_6_12.html


13 de janeiro de 2013 às 23:08:00 WET  
Blogger Caturo said...

In regard to the third deity of the Lusitanian pantheon, Arentius, the first point that we can establish about his religious character comes from his frequent epigraphic association with the goddess Arentia. We can obtain some information about this relationship if we compare it with evidence from outside the Iberian Peninsula. Studying the votive offerings found in the Gallic and Germanic provinces and in Britannia, it is observed that among all of the male native deities who have inscriptions dedicated to them in which they appear with female deities as divine couples, the majority correspond to gods associated with Apollo, the next most common association is with Mercury and lastly with Mars. Those where the indigenous god Mars forms a divine couple make up 4% of the total number of dedications to this god. The "Celtic Apollo" is linked to a female deity in 29% of inscriptions while Mercury forms a couple in 26% of inscriptions. Hence, if we study the data in proportion to the total number of finds which refer to each deity, we see that Apollo and Mercury appear more regularly in inscriptions associated with a female deity. The fact that in the eight known inscriptions dedicated to Arentius this god forms a divine couple in 50% of the cases suggests that he probably had a similar character to that of the non-Hispanic native deities associated with Apollo or Mercury. In addition, Apollo and the Gallo-Roman god Mercury are the only gods that appear to have been worshiped together with goddesses in the same inscriptions and are also referred to by the same theonym as the female deity, such as Mercury Visucius and Visucia or Apollo Bormanus and Bormana (Olivares 1999b: 145 ff.).

Due to the scarcity of reliable data and the fact that our evidence does not account for about a dozen inscriptions, the conclusions proposed here must be supported in other ways. In the first place, dedicatory inscriptions to Arentius can be attributed to women in two out of a total of seven altars in which the name of the devotee is known (28.5%). This agrees more closely with the data that we have for Apollo and the Gallo-Roman god Mercury (15.7% and 22.7% respectively) than with the data for the indigenous god Mars (5%). However, the appellative Arentius Tanginiciaecus certainly derives from the anthroponym Tanginus, which also shows the religious affiliations of the dedicator of another altar to the god (Proença 1907: 176-177). This would indicate a definite association between the god and a family group and probably a link with the private setting, which would then also relate the god to the two Gallo-Roman deities Apollo and Mercury.

Another indication that Arentius was a god related to the private or family setting is the archaeological context in which the altar of "Zebras", Orca, Fundão was found. This altar was discovered in a domestic context beside the impluuium of the inner courtyard of a house (Alarcão 1988: 72, nº 4/428; Rocha 1909: 289).

Once the features of Arentius have been identified as complementary to those established for Bandua and Reue, we can examine the evidence of theonyms in other areas that are also related to anthroponyms, to determine whether they present a similar profile to that of Arentius.

13 de janeiro de 2013 às 23:09:00 WET  
Blogger Caturo said...

An example similar to that of Arentius Tanginiciaecus is Caesariciaecus, an epithet that appears without its theonym in an inscription from Martiago, Salamanca, derived from the cognomen Caesarus (Del Hoyo 1994: 53-57), recorded in the Lusitanian-Galician region (Abascal 1994: 309). Another anthroponymic appellative is Tritiaecius, recorded without its theonym in Torremenga, Cáceres (AE 1965, 74). It is related to the cognomen Tritius/Tritia, of which 31 recorded finds are known, a number of which have been found in the province of Cáceres (Abascal 1994: 532). The epithet Aracus Arantoniceus can also be linked to the anthroponym Arantonius, of which there are a number of recorded examples in Lusitania, mainly in the modern day district of Castelo Branco. And finally we have Tabaliaenus, cited as an appellative of the god [...]ouio found in Grases, Villaviciosa, Asturias, deriving from the cognomen Tabalus, which has been recorded in this area.

13 de janeiro de 2013 às 23:09:00 WET  
Blogger Caturo said...

No appellatives of this kind are known for Bandua, Cosus or Reue despite the large number of known inscriptions with epithets referring to these gods. The only appellatives accompanied by their indigenous theonyms that are known north of the Duero River are the allusive appellatives of Lug, such as Lucubo Arquienob(o), which refers to Arquius, a cognomen ubiquitous in Hispania (ibid.: 286), and the already cited [...]ouio Tabaliaeno, which could be interpreted as another dedication to the god Lugus.

Therefore, as has been seen, Arentius presents some close similarities to Lugus. This god appears in diverse places in the Celtic world; however, although the evidence for Lugus is widespread throughout this whole area, few votive offerings are known for this god. For this reason, if we had to calculate the extent of the cult to this god from the number of dedications found, we would greatly undervalue his importance. Fortunately, we have other information that indicates that Lugus was one of the most important gods of the Celtic pantheon (De Vries 1963: 58 ff.; Gricourt 1955: 63 ff.; Loth 1914: 205 ff.; MacCana 1983: 24 ff.; MacKillop 1998: 270 ff.; ó hógáin 1991: 272-77; O'Riain 1978: 138 ff.; Sjoestedt 1949: 43 ff.;).

In the first place, we have to consider the large number of toponyms with the term lucu-, lugu-, loucu- or lougu- related to the name of the god that have been found throughout western Europe (Longnon 1968: 29-31; Olmsted 1994: 310 ff.; Tovar 1982: 594). In Hispania there are also toponyms known to derive from this theonym: Lucus Augusti (Lugo), Lucus (Lugo de Llanera, Asturias), the ciuitas Lougeiorum, Louciocelum, Lucocadia, Lugones (Siero, Asturias, which is probably derived from the ancient Luggoni), Logobre, Santa María of Lugo and Lugás. Further to the south near the sanctuary of Lugus located around Peñalba de Villastar, Teruel, there are also the locations called Luco de Bordón and Luco de Jiloca (Marco 1986: 742; Sagredo and Hernández 1996: 186 ff.).

13 de janeiro de 2013 às 23:10:00 WET  
Blogger Caturo said...

There is also evidence of a number of anthroponyms related to the theonym Lugus: Lugaunus, Lugenicus, Lugetus, Lugidamus, Lugiola, Lugissius, Lugius or Luguselva (Evans 1967: 220). According to Olmsted; Lugenicus means "born of Lugus" or "conceived of Lugus" (when it is in the form of "Lugu-gene-ico") and Luguselva, probably means "elect of Lugus." (Olmsted 1994: 310). In Hispania, there are also some anthroponyms derived from the name of this deity, including Lougeius, Lougo, Lougus, Lucus, Lugua and Luguadicius (Abascal 1994: 402 ff.).

Some family names derived from Lugus also appear throughout the whole of the Celtic world (Marco 1986: 741-742). In Hispania, the following are known: Lougeidocum (Saelices, Cuenca), Lougesterico(n) (Coruña del Conde, Burgos) and Lougesteric(um?) (Pozalmuro, Soria) (González 1986: 70, n. 133-135; Marco 1986: 741; Sagredo and Hernández 1996: 186).

Keeping in mind the evidence of the toponyms, anthroponyms, and the family names derived from the theonym Lugus, we notice that the information obtained from the votive inscriptions in which this god is mentioned does not generally agree with the intensity of this cult found in the whole of the Celtic territory. D'Arbois de Jubainville (1996: 117 and 199-200) hypothesized that the god Lugus, who appears in Irish mythological texts, corresponds to the Gallic deity interpreted by Caesar as Mercury, the "inventor of all the arts" (BC VI, 16). D'Arbois' theory was accepted by numerous investigators during the twentieth century and still remains a strong theory today (De Vries 1963: 59 ff.; Loth 1914: 226; MacCana 1983: 24-25; MacKillop 1998: 270; Marco 1986: 738; Tovar 1982: 593).

13 de janeiro de 2013 às 23:11:00 WET  
Blogger Caturo said...

One piece of epigraphic evidence that reinforces the theories discussed above is the inscription from Osma, Soria, in which the dedication to the Lugoues was made by a guild of shoemakers (CIL II 2818; Jimeno 1980: 38-40; Marco 1986: 741). Recently, Gricourt and Hollard have presented numismatic evidence that seems to confirm the relationship between Lugus and this profession (1991: 223 ff.). These coins have on the obverse side a radiated bust of Posthumous and on the reverse, a beardless male figure with wavy hair and large hands. The god holds a trident upright in his left hand and in the right one a bird. On his left shoulder there is another bird from which two belts hang. According to Gricourt and Hollard, the deity is Lugus, and the legend of the coins reads SVTVS AVG, which means Sutus Aug(ustus) or "divine shoemaker". Thus, some fragments of the Mabinogi, written in Wales around the twelfth or thirteenth centuries can be interpreted in a similar vein. As in the case of the Irish medieval manuscripts some authors have argued that the tales in the Mabinogi were based on legends that had circulated orally a few centuries before. In these texts a character named Llew Llaw Gyffes appears who is similar to Lug. His name also signifies "the shining one" and, like Lugus, Llew is disguised as a shoemaker in one of the tales (Gricourt and Hollard 1991: 228).

Some years after D'Arbois established his description of Lugus as a multifunctional deity identified with Mercury, Reinach went one step further in defining the characteristics of the Gallo-Roman god Mercury. He identified him with a series of sculptural representations in which one of the most prominent characteristics was his triple face (Reinach 1913: III, 160 ff.). Reinach concluded his proposed theory by generalizing about all the forms of this type of sculptural evidence (1913: 165). Reinach's statement is supported by Caesar, who considered the Gallic god Mercury to be the most worshipped god because there were in Galliae more images of Mercury made of stone and bronze than of any other deity (1913: 165-169). Years later, Lambrechts agreed with Reinach's theory (Lambrechts 1942: 35-36, n. 20, 31 and 32).

13 de janeiro de 2013 às 23:11:00 WET  
Blogger Caturo said...

Therefore, we argue that Lugus was associated more closely with Mercury than with any other Roman deity. Based on the conclusions drawn by D'Arbois and Reinach, Lugus was a multifunctional god with numerous forms that transcend all specific functions, and he can appear as a single or triple deity, as shown in the Gallo-Roman representations of Mercury with whom he is most closely associated. This triple characteristic of the god is reflected clearly in the epigraphic evidence where his name appears in plural, such as in the altars dedicated to various Lugoues in Avenches, Switzerland (CIL XIII 5078) and to Lugouibus, written in the plural dative form in Osma, Soria (CIL II 2818).

We can also detect the plurality of the god in the altars found in the province of Lugo, Galicia, Spain, in which the god is cited as Lucoubu Arquieni, Lugubo Arquienobo and [...]u Arquienis (Ares 1972: 185-187). Still more important are the three foculi which Martínez Salazar identified in the upper part of two of the altars, which allow us to hypothesize that the plural dedications found in Lugo are comparable to those dedicated to the denomination Matrebo Nemausikabo found in Nîmes (Ares 1972: 188).

Taking these plural dedications into consideration, Loth tried to extend his research to construct a theological definition of Lugus. According to him, the Lugoues probably represented a type of deity like the Matres that were related to Lugus, who, as the son of Talltiu the Earth Mother, was probably as much a chthonic god as a heavenly one (Loth 1914: 224-225). In this sense, according to Loth, the dedication to the goddesses Maiabus found in Metz should be interpreted in the same way, as they are probably related to Maia, the mother of Mercury, with whom he appears to be associated in numerous Gallic inscriptions (Hupe 1997: 93 ff.; Loth 1914: 227). Lambrechts (1942: 170) has also observed that a close relationship existed between the evidence for the three-headed Gallo-Roman god and the Matres, and he questioned whether these goddesses might perhaps even be a transposition of the great Celtic ternary god.

13 de janeiro de 2013 às 23:11:00 WET  
Blogger Caturo said...

In fact, the theories that have identified the plural denominations of Lugus with the cult of the Matres have gained considerable support with the recent discovery of a votive altar dedicated to Lugunis deabus in Atapuerca, Burgos (Solana et al. 1995: 191-194). According to the evidence of a large number of inscriptions that have been found, Atapuerca is right in the heart of the Hispanic territory where the cults of Lugus and the Matres were at their most intense (Gómez-Pantoja 1999: 422 ff.).

If Caesar's assessment of Mercury as the most worshipped Gallic god whose main characteristic was his "talent for all the arts" leads us to the identification of Mercury with Lugus, then the physical characteristics, the similarity of attributes, as well as the similarity between the mythological events involving him and the god Apollo, imply a second identification of Lugus with Apollo. This hypothesis, well developed with solid arguments by Sergent (1995), allows us to fit together various pieces of evidence of Hispanic epigraphy and Gallo-Roman iconography that otherwise would be difficult to find any sense for.

From this point of view, it is possible to fit together some of our theories regarding the gods Arentius and Arentia. We have established that these Lusitanian gods, given the frequency with which they appear as a couple in the inscriptions, resemble the Gallo-Roman divine couples of Apollo Grannus/Sirona and Apollo Boruo/Damona, as well as the pairing of Mercury and Rosmerta. If the theory regarding the identification of Lugus with Mercury and hence with the Gallo-Roman god Apollo is correct, then our conclusions follow logically in that Arentius is a deity comparable to Apollo and Mercury, as well as being equivalent to Lugus.

13 de janeiro de 2013 às 23:12:00 WET  
Blogger Caturo said...

It is possible that the same profile can be applied to Endouellicus. The first thing that is seen from his inscriptions is the relationship of the god with the private or family environment. Of the 51 inscriptions to the god that have a named dedicator, 17 were by women, some 33% of the dedications. This is a very high proportion, much higher than for the rest of the Hispanic deities (excluding Arentius and therefore Vaelicus) and is similar to the data that we have for the dedications to the indigenous gods Apollo and Mercury in the rest of western Europe. The oracular and healing character of Endouellicus, and his association with the individual and the family are, in our opinion, the most outstanding features of the inscriptions, and they profile a divine typology comparable to that which we have for Lugus or Arentius, which is not contradicted by the location of the sanctuary of this god on a small hill.

13 de janeiro de 2013 às 23:13:00 WET  
Anonymous Anónimo said...

Não percebo bem o inglês, mas pelo que entendi Arêncio seria mais próximo de Apolo, Mercúrio ou Lugus, certo? Mas tenho lido que também pode ser um Deus da Guerra e que representa a Força. De onde então tiraram esta teoria? Afinal Arêncio nada teria a ver com Guerra e Força, exepto pelo nome similar ao de Ares ou Arus?

13 de janeiro de 2013 às 23:48:00 WET  
Blogger Caturo said...

Donde tiraram essa teoria de Arentius como Deus da Guerra não sei. Que seria guerreiro parece-me lógico, uma vez que as principais Divindades de Povos guerreiros têm frequentemente um aspecto marcial. Lug também é bélico, não surpreende. E parece-me que a teoria da equivalência entre Lug e Arantius é credível.

14 de janeiro de 2013 às 00:03:00 WET  
Anonymous Anónimo said...

Pois, obrigado pelos esclarecimentos.

14 de janeiro de 2013 às 02:02:00 WET  
Anonymous Luso-bostileiro said...

Caturo, mudando um pouco de assunto, mas ainda no campo da música, gostaria de perguntar, se me permitires, qual a tua opinião a respeito do fado. O que pensam os nacionalistas sobre essa manifestação cultural portuguesa?

14 de janeiro de 2013 às 13:55:00 WET  
Anonymous Anónimo said...

Aliás, apenas para esclarecer mais uma dúvida antiga: Quangeio era o Deus Lusitano da Fertilidade e dos Mundo dos Mortos?

14 de janeiro de 2013 às 17:17:00 WET  
Blogger Caturo said...

Não se sabe o que seria Quangeius, eu também só li a teoria referente ao Mundo dos Mortos.

14 de janeiro de 2013 às 18:29:00 WET  
Blogger Caturo said...

«Caturo, mudando um pouco de assunto, mas ainda no campo da música, gostaria de perguntar, se me permitires, qual a tua opinião a respeito do fado. O que pensam os nacionalistas sobre essa manifestação cultural portuguesa?»

Bem, cada nacionalista falará por si, eu em particular não tenho nada contra. É um género musical português como outro qualquer, que nos meios nacionalistas suscita alguma polémica mercê das diferentes teorias a respeito da sua origem étnica, sustentando alguns que de produto mulato se trata e outros que o fado pode até ter remota origem céltica. Como símbolo musical da Nação, creio que fica melhor a música dita tradicional, um pouco como fazem os Frei Fado d'el Rei ou, noutro registo, Júlio Pereira - e a própria figura máxima do fado, Amália Rodrigues, também cantava folclore.

14 de janeiro de 2013 às 18:29:00 WET  

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