Pagan symbolism: Triquetra

The Latin term "Triquetra" refers to a triangular motif where the lines interweave. The earliest examples of this symbol date back to the European Iron Age. In this blog, we explore the origins of the triquetra and examine the meaning of this symbol.

The term "triquetra" is used in archaeology to describe any figure composed of three arcs, including designs like the 'windmill-like' triskelion. Triquetras frequently appear from the 4th century BC as decoration on ceramics from Greece, Anatolia, and Persia. They also occur on early Lycian coins. In pre-Christian art, the triquetra is less prevalent than the triskelion. The symbol may have an Eastern origin and could have been adopted by the Greeks. Although it is possible that the triquetra has a Proto-Indo-European origin, convincing evidence is lacking.

The triquetra also appears on rune stones in Northern Europe, such as the Funbo rune stones, and on early Germanic coins. In form, it resembles the valknut, a symbol consisting of three interwoven triangles found in similar contexts.

Insular Celtic art is heavily influenced by Germanic art styles from the Migration Period (300-900 AD). These styles merged in Hiberno-Saxon art with the Celtic La Tène style, which continued in Ireland even after the Roman occupation of Britain. Hiberno-Saxon art was strongly influenced by Christianity, and the triquetra likely represented the Holy Trinity (Father, Son, and Holy Spirit).

In this early medieval art style, the triquetra was common in illuminated manuscripts, such as in the Book of Kells, and on Anglo-Saxon coins from 710-760 AD. A notable example of early medieval stonework with the triquetra is the Anglo-Saxon frithstool in Hexham Abbey.

On the Viking Runestone from Funbo U 937, a triquetra is depicted. This runestone originally was part of a larger group and mentions the names of deceased family members. The triquetra here may symbolize the continuity of the family or the family bond. This draws parallels with the meaning of the Valknut, which perhaps represents the eternal bond with Odin.

On the Runestone of Snoldelev in Denmark, various symbols are displayed in combination with runic script. The script states that Gunnvaldr is a Þulʀ, a title that possibly designates a priest or skald (bard). In Old Norse, þula means "litany" and refers to a wise man, chieftain, or king. On the stone, both the swastika and a triquetra are depicted, with the triquetra being formed by various drinking horns. The way the symbol is depicted raises doubt whether it is a Valknut, triquetra, or triskelion.

Drinking horns were ceremonial objects, used during feasts, sacrificial rituals or oath-bound practices. In this light, the swastika may symbolize the immortal sun bringing fertility to the earth, while the triquetra perhaps expresses eternal loyalty to the founder of the runestone, Gunnvaldr.

The numbers three and nine frequently appear in Indo-European paganism. In the Old Norse tradition, the world tree Yggdrasil connects three different realms and with its branches connects nine worlds. The goddesses of fate are always in threes, and there are three phases of Ragnarok. Many Old Irish Brehon laws also contain three or nine exceptions. The number three plays a significant role in the mythological stories of peoples with an Indo-European background. Therefore, the Valknut symbol consists of three triangles and the triskelion of three arms. These numbers were likely used to structure the cosmic order.

The triquetra is a symbol that was used as early as the 4th century BC. It possibly has a broader Proto-Indo-European origin, although this is not certain. The sign resembles the Old Norse Valknut (from the Iron Age) and the triskelion (from the Neolithic). The meaning of this symbol varies depending on the belief system. In European paganism, it likely stood for eternal connection, immortality, or loyalty. In Christianity, it symbolized the Holy Trinity (Father, Son, Holy Spirit). Today, Neo-Pagan groups interpret the symbol in various ways, depending on their reconstructive approach.