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Cave of Iapodes-An Early Slavic Shrine of Perun-Kresnik PDF
Cave of Iapodes-An Early Slavic Shrine of Perun-Kresnik PDF
OF PERUN / KRESNIK
Saša Iskrić Smrekar T
Abstract
Some intriguing petroglyphs were discovered in Cave of Iapodes northeast of Ilirska Bistrica,
Slovenia, and the possibility of the cave being a ritual place of Early Slavs was soon put forward. In
this paper we present some new finds about the petroglyphs, the cave, and its environments, to back
up the conclusion that Cave of Iapodes with the petroglyphs really was an Early Slavic shrine,
dedicated to Perun specifically to its local ‘apparition’, Kresnik.
1. The cave
Japodska jama – Cave of Iapodes/Iapodic cave; alternative name Jama pri Trnovskem studencu – “A
cave near Trnovo spring” (Hrobat Virloget 2014) – lies some 3 km NE from the town of Ilirska
Bistrica, Slovenia; roughly in the middle of the Ilirska Bistrica fossil landslide, at 760 m elevation.
Figure 1: inside the Cave of Iapodes. Photo courtesy of J.L.
According to the Electronic Cadastre of Caves (2013) Cave of Iapodes is 15 m long and 8 m deep,
spodmol, kevdrc
classified as an overhang/grotto ( ). The entrance to the cave is a collapsed opening,
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roughly oval shaped, 5 m by 3 m, and 3 m deep with precipitous walls. The cave is oriented roughly
in an NNE–SSW direction ( fig.2
).
Figure 2: a rough ground plan sketch of Cave of Iapodes. Drawing by author.
The cave has an overhang in the southern part and a lower level leading to a (now defunct) water
source (or a man–made basin for retaining precipitation water). Inside the overhang on the eastern
wall there is a rocky protrusion onto which the petroglyphs were carved.
2. The petroglyphs
The first report of the petroglyphs in Cave of Iapodes came in 2009 (Poklar 2009), and a preliminary
study was made in 2014 (Hrobat Virloget 2014).
There are two distinct groups of petroglyphs on the eastern wall of the cave, just inside the overhang.
One – an anthropomorphic figure – is on the edge of a rocky protrusion, and the other group – a
overlapping collection of circles and lines – can be found on the side of the protrusion, about one
meter to the left (north) and half a meter down from the anthropomorphic figure. Both the lower parts
of the protrusion are damaged; according to Hrobat Virloget the damage is recent and man–made
(fig.3
).
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Figure 3: a rough sketch of the protrusion with petroglyphs on the eastern wall of Cave of Iapodes.
Drawing by author.
2.1 Anthropomorphic figure
The anthropomorphic figure is carved on the edge of the protrusion, about 170 cm above the cave
fig.4a, b
floor ( ).
Figure 4a: the anthropomorphic figure. Photo courtesy of K.E.G. and J.L.
The figure is 12,3 cm high and 15,2 cm wide, and the carving is 3–5 mm deep. It has a circular
segment for a head, a line for a body, one hand that is crossed by two shorter lines, and wide straddled
legs, giving the overall impression of a stick figure man.
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Figure 4b: the anthropomorphic figure. Photo courtesy of J.L., drawing by author.
The lower part of the rock is damaged – possibly cut off by a power drill. Locals remember a set of
carvings that are now missing as “strange symbols and lines”, “like a writing that could not be read”
(ibid.), reminiscing Hrabar’s notion of “strokes and incisions”, describing a Proto–Slavic writing
system.
What the image represents remains a mystery, due to its isolation, rather crude form and lack of finds
in the cave. No datable evidence was ever found in the cave or its vicinity, and no systematic
archaeological work has been undertaken as of today. Hrobat Virloget discusses the possibility that
the image could represent a horseman, the crossed lines at the end of the hand picturing the horse’s
head, and the ‘legs’ actually being the horse. The other interpretation by the same author is the carved
image is of an archer, the crossed lines representing the bow, or of a thrower – throwing a spear or a
lightning bolt. Of course, the possibility of the image being a (relatively) recent addition, a boundary
mark or a simple ludibrium
, in absence of contemporary and/or datable artifacts, remains.
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2.2 Circular features
The carved circles and lines are found in the immediate vicinity of the archer/horseman. There are at
least three (and possibly five) circles with spokes, and an assortment of lines that could, according to
Hrobat Virloget, be a part of an unfinished pentagram ( fig.5a, b
).
Figure 5a: carved circular features. Photo courtesy of J.L, drawing by author.
The carvings here are much more crude compared with the figure, less precise, shallower (rarely over
1 mm deep) and overlapping. The diameter of the largest circular feature is 12,5 cm. The symbols can
be easily identified with the sun–wheel, rather typical of many cultures and somewhat ubiquitous. The
‘pentagram’ – if there is one (or has been intended) – is less clear. Again, the part of the rock below
and to the right bears marks of damage, possibly man–made.
Figure 5b: the circular features and lines. Photo courtesy of J.L., drawing by author.
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3. History of the area
As far as we know, there is a near–continuous habitation in the broader area around Ilirska Bistrica
from at least the mesolithic period onwards. Neolithic finds are scarce, but from the Bronze Age
onwards through the Iron Age and roman period up to Late Antiquity several settlements, hill forts
and larger structures are attested. The Early Middle Ages see the arrival of Slavs; the first permanent
villages and towns (Zemon, Prem, Šembije, Knežak, Ilirska Bistrica) have their beginnings in the
th
early 9 century.
3.1. Archaeology
There are at least two Iron Age “hill forts” and extensive walls of the same age in the area, some Late
Roman and Early Middle Age structures and a tentative Early Slavic settlement ( fig. 6
).
Figure 6: archaeological sites in the vicinity of Cave of Iapodes: 1 Gradišče hill fort, 2 dry–stone Iron
Age walls, 3 Ahac hill fort, 4 possible Early Slavic (?) settlement. Location of Cave of Iapodes is
marked with a circle. From Geopedia 2013, markings by author.
Iron Age hill fort Gradišče (1) is one of the largest in southwestern Slovenia, with over a kilometre
long dry wall with towers enclosing several terraces. There are traces of several buildings and a large
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necropolis was found, dating to 6 – 4
century BC. In the vicinity of Gradišče two Celtic coins were
found. Roman remains inside the fort indicate it was occupied during the Roman Period and into the
Late Antiquity (ARKAS 2001a)
There are extensive walls (2) running from Gradišče hill fort to Ahac hill fort and back to the slopes
of Stražica guarding the northern and eastern approaches. The walls are 4 m wide and are enclosing an
area where different buildings dating to Antiquity period were discovered (ibid.). The walls appear not
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to be a part of a larger Roman limes or claustra (Osmuk 1986), and are similar to walls around Prezid,
attributed to ancient Liburnians (Lipovac Vrkljan and Šiljeg 2007).
Ahac hill fort (3) dates to La Tène and Hallstatt period. Roman and even Early Medieval remains
within the fort indicate a longer period of occupation. Funerary mounds are found on the northern
slope of the hill (ARKAS 2001b).
On the Sela plateau remains of buildings were reported (Hrobat Virloget 2014) that could have
constituted a shepherds’ settlement. There are indications this could be an Early Slavic settlement,
however no research there was yet done as of writing this article.
3.2 Toponyms and ritual landscape
In the vicinity of Cave of Iapodes there are peaks, valleys and plateaus that carry names associated
with Slavs and together imply a broader Slavic ritual landscape ( fig.7
).
Figure 7: early Slavic toponyms of the area and Slavic ritual landscape. 1 Cave of Iapodes, 2 Volčji
hrib hill, 3 Škedenc hill, 4 Sela plateau, 5 Devin peak, 6 Mrzli dol valley, 7 Pekel dolina, 8 Suhi vrh
peak, 9 Knežak village, 10 Šembije village and St.Vitus church, 11 Ilirska Bistrica town and St.George
church. From Geopedia 2013, markings by author.
Volčji hrib (2), meaning “Wolf’s hill” or “Hill of wolves”. Wolf features prominently in Slavic
mythology, and a mythical creature Wolf Herdsman (Master of the Wolves) is present in oral
traditions of almost all Slavic nations (Mencej 2001). Analysis of Wolf Herdsman tales can, together
with other clues (like the fact that many prominent Christian saints, even Jesus and God himself,
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‘covered’ the Wolf Herdsman in Medieval times) it can be shown that the Wolf Herdsman
corresponds to an Early Slavic god of death and cattle Veles/Volos (ibid.).
Škedenc (3) is, according to Snoj (2009), a hypercorrect spelling of “Ščedim”, meaning “a protected
forest” (ščediti = to protect, to save). Part of Trieste with a similar name (Škedenjc) is known in
Italian as Servola, deriving from latin Silvanus = forest. Early Slavs did incorporate forests in their
rituals and beliefs, so the Škedenc peak, covered in forest to this day, points to a Slavic sacred grove.
The name of Sela plateau (4) means “settlement”, and according to Hrobat Virloget (2014) there are
remains of buildings still visible. It is conceivable that an Early Slavic settlement is here (see 4.1), and
further explorations should be undertaken to prove it.
The name of the peak Devin (5) is derived from Deva, meaning maiden or girl. Hrobat Virloget (ibid.)
pointed out the Devin skok (Maiden’s jump) topographic situation that includes Devin peak, the deep
Mrzli dol valley (Cold bottom, 6) with Pekel dolina (Hell, 7) and Suhi vrh peak (Withering peak, 8).
Devin’s jump is based on an Early Slavic myth of a Maiden (sun god’s daughter/wife) being abducted
by a chthonic deity and kept in the ‘castle’ on the peak then saving herself by jumping off the cliff.
The Devin’s jump topography follows the universal form: a peak associated with a chthonic deity
such as Veles, a river valley and an opposite peak, associated with sky deity Perun (Šmitek 2004).
Šmitek (and Pleterski 2014) identifies Deva as Mokoš, Slavic goddess of earth and fertility, and sees
the Deva’s jump topography as a representation of the Slavic godstriangle Perun Mokoš Veles.
Here the deep Mrzli dol valley and Pekel (Hell) dolina separate Devin peak, associated with of Veles,
and Suhi vrh (Withering peak), connected to Perun via the legend of an eagle landing on a (sacred)
withered tree on the top of the hill (Katičić 2008) (see fig.8, below).
Knežak village (9) derives its name from Slavic term Knez, meaning Duke or Prince.
Šembije village (10) is named after St.Vitus, whose church can be found there (Snoj 2009). There is a
possibility of the name being derived (also) from Šembilja/Šembija, a witch– (or devil–) like being
from folk mythology of Vipava valley, Kras and Brkini (to the east of Ilirska Bistrica); a possibility
seen by etymologist Marko Snoj (2015, personal communication) as plausible. Šembilje are usually
associated with old (”roman”) roads and leafing hooves impressions in the rocks (Hrobat 2004, Čok
2012). Further strengthening the Slavic connection is village’s patron saint St. Vitus, who was used by
early Christians to ‘cover’ (or modernize) the old Slavic god Svantevid (Svetovit) (Šmitek 2004).
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Town of Ilirska Bistrica (11) is first mentioned in the early 15 century. However in the centre of the
town there is a church of St.George (from 1720, with some earlier parts conserved), and st. George is
a saint often associated with mythical Slavic beings and deities (Perun, Jarilo etc.).
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Figure 8: left, Devin’s jump actual topography east of Cave of Iapodes; right: Devin’s jump
schematic topography, after Peisker (1928). Geopedia 2013, markings by author.
4. Cave environment
The environment of Cave of Iapodes plays a crucial role in determining the origin and function of the
petroglyphs, and the identity of people that have carved them. Obviously, the cave meant something
to the carvers, and reasons for the selection of this particular cave to be a ritual place must be
identified. We present some geological, geographical and even astronomical facts that might have
influenced the reasoning of the petroglyphs’ authors.
4.1 Geology and geography
Cave of Iapodes lies roughly in the middle of a massive pliocene/quaternary fossil landslide known as
Ilirska Bistrica fossil landslide (Placer and Jamšek 2011). The landslide dominates the landscape, the
elevations and valleys are stretching in a general (north)east to (south)west direction (following the
direction of the slide).
The landslide prevented the formation of deeper caves that are typical for the area: the caves just
outside the landslide are both larger and deeper, averaging over 50 m of depth, most of them classified
as stair–step shaft, compared to the caves on the landslide that do not exceed 17 m of depth and are
generally classified as horizontal caves, overhangs and grottoes; of 11 caves in the area of the
landslide only one is a shaft (Electronic Cadastre of Caves 2013).
Of the caves within the landslide four of them lie in the middle of it (including Cave of Iapodes) and
others are found at the western and southern border of the landslide. The other three caves lying in the
middle of the landslide are found grouped in a valley named Škrilje, just below the Sela plateau to the
southeast of Cave of Iapodes. Two of them, Škrilja 1, and Škrilja 2, care grottoes similar to Cave of
Iapodes, 10 m long, and 2 m and 4 m deep respectively (ibid.).
Cave of Iapodes was reported by locals as a water source, reliable even in the prolonged drought
(Hrobat Virloget 2014). A man–made retaining wall inside the lower part of the cave, built of stone
and wooden beams, gives some credence to the claim, however it is unclear if the structure contains a
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true water source or is just a basin for the precipitation water. The claim of the locals that they were
because
visiting the cave of the water is unreliable, since an enclosed and rich spring called Trnovo
spring (Trnovski studenec) lies just 200 m to the west (marked with a blue square on fig.7
) of the cave
and it had plenty of water during our visit in June 2015, whereas the cave was totally dry.
4.2. Astronomy
There are some interesting alignments of Cave of Iapodes, the nearby features and the sun. The
Škedenc peak is due east from the cave and the Sun rises behind this peak at the equinoxes. Similarly,
the Stražca peak lies due west and the Sun sets there at and around those dates.
Of more interest are two other peaks, Sleme to the northwest and Volčji hrib to the southwest. They
lie almost exactly (to within 4 degrees) to the line of sunset at summer solstice (solar azimuth 302.53°,
Sleme azimuth 300°) and sunset at winter solstice (solar azimuth 239.16°, Volčji hrib azimuth 235°).
To an observer standing at the entrance to to cave the Sun would appear to set just behind those peaks
fig.9
at the solstices ( ).
Figure 9: directions of sunset at summer and winter solstice from Cave of Iapodes. Sleme and Volčji
vrh peaks are circled. From Geopedia 2013, markings by author.
We were inside the cave on July 20, 2015, one day before the summer solstice, at 6:45 PM a ray of
Sun entered the cave through the trees and shone upon the wall, no more than a metre above and a
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metre to the left (north) of the circular features carved there. As we sat there in awe, we managed to
take just one photo with a mobile phone before it disappeared; the photo is, of course, lousy ( fig.10
).
Figure 10: photo of the sunbeam and a rough sketch of its location on the cave wall with respect to
the petroglyphs (photo and drawing by the author).
The sunbeam at sunset gets as close to the petroglyphs as possible exactly on the date of the summer
solstice when the Sun is at its greatest northern elongation. We have determined that the distance
between the sunbeam and the petroglyphs at that time is approx. 75 cm.
At the winter solstice, the Sun shines more than 3 m away to the north and its rays do not enter the
overhang ( fig.10).
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Figure 11: a rough sketch of the locations of winter and summer solstice sunbeams on the cave
eastern wall (drawing by author).
Of course, the cave and its solstice sunset alignments can not be modified, yet those alignments could
play a decisive role in selecting this particular cave for a ritual place.
5. Caves as Slavic ritual places
There are at least two caves in southwestern Slovenia that were identified as a Slavic ritual places,
both found between Divača and Lokve, named Mala Triglavca (near Divača) and Trhlovca (local
spelling Terglouca, Triglavca). Of special interest is Mala Triglavca cave, since it is very similar to
Cave of Iapodes, and because there are reliable reports of Slavic rituals being held in the cave (Čok
2010).
Mala Triglavca is a small cave, classified as an overhang/grotto, 5 m long an 2 m deep (Electronic
Cadastre of Caves 2013). Inside the cave there is a stalactite/stalagmite formation that was the centre
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of a fertility rituals held there well into 19 century (Čok 2010).
At the top of the stalagmite formation there is hand–carved hollow and on the low–grown stalagmite
nearby there is a drilled hole into which the torch handle would most probably have been inserted
(ibid.). According to Placer (2010) the stalagmite formation is remarkably reminiscent of a vulva,
whereas the stalactite one is less suggestive but can nevertheless be symbolically compared to a penis,
and both could be seen as symbols of the two mythological figures of (female) Deva/Devača and
(male) Devač. Pleterski (2014) explains Devač as a phallic form of lighning, of Perun, and Deva as
the godess Mokoš.
In Trhlovca near Lokve rain–predicting or harvest–predicting rituals were held (Čok and Placer 2011).
Another special feature of this cave relates to the two rock groups consisting of three rocks each, one
located roughly 70 m from the entrance, and the second just above the entrance wall. It is possible to
conclude that Trhlovca (local spelling Terglouca, Triglavca) was related to the Slavic god
Triglav/Troglav (ibid.).
6. Some interim thoughts
Cave of Iapodes lies at a small plateau in otherwise gently sloping valley that is easily accessible and
offers great views of the area. It may have been an occasional (or even reliable) water source in the
middle of pastures. Due to collapsed walls it is basically a precipitous hole–in–the–ground, an
impressive entrance to the underworld.
There is no doubt the area around Cave of Iapodes bears the footprints of Early Slavs. The toponyms
and remains of a ritual landscape, with hints at stories of Deva, Perun, and Veles, legends of Wolf
Herdsman and Šembije witches, the Sacred grove of Škedenc and others are clear and visible (see
paragraph 3.2).
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If there was an Early Slavic settlement at Sela plateau, the cave is both nearby (1,5 km) and distant, as
the Škedenc hill with the sacred grove lies in between, therefore making the cave a suitable place for a
shrine.
We saw that Early Slavs used caves as shrines and ritual places (see paragraph 5). The similarity of
stalactite/stalagmite formation Deva/Devač in Mala Triglavca with the rocky protrusion in Cave of
Iapodes bearing the carved figure is striking. The Deva’s jump topography nearby strengthens the
connection with gods Perun, Mokoš and Veles.
Mokoš – Veles – Perun triangle is a staple of Early Slavic mythology. Perun as the god of thunder
(Perun derives from Proto–Slavic per–, “to strike”; so Perun is “the one that strikes”), Mokoš as his
wife/daughter, and Veles as his chthonic antagonist, god of death and cattle. There is a cyclical
mythos of Deva (Mokoš) being abducted by Veles the Beast and taken into the underworld, with
Perun following her, fighting Veles and emerging victorious (with him or his son Jarilo marrying
Mokoš) until the next fight. It is a harvest/year cycle, with Mokoš symbolising the spring, Perun the
summer/harvest time and Veles the winter.
Šmitek (2004) reckons that “Perun” is not actually a name of a deity, but of one of his functions,
namely throwing the thunder (lightningbolt). This function can be retained in the name of the deity,
like Perkunas of Balto–Slavic religion, but in other places the name (or names) reflected different
aspects of the deity. He proposes that among Southern Slavs in Slovenia Perun was called Kresnik, a
Sun god (god of light, from kres
, “summer solstice”). There are other Slavic deities connected to the
Sun and to the harvest cycle: Jarilo (son of Perun/Kresnik), Svarog/Svarožič (if they existed) and even
Svantevit (Svetovid).
The line of sunset at summer solstice (as seen from Cave of Iapodes, see paragraph 4.2) crosses the
church of St. Vitus in Šembije. We know that in Medieval times St. Vitus ‘covered’ the older
Svetovid, and that Svetovid was the god of light, of the sun. And St. Vitus day is June 15, close to the
summer solstice – the time when a sunbeam enters the overhang in Cave of Iapodes and illuminates
the carvings. All his can hardly be explained away as a chance alignment: people must have known
the cave and were aware of its (religious, ritual, mythical) significance.
The line of sunset at winter solstice crosses the church of St. George in Ilirska Bistrica. Admittedly,
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both the town and the church are of much later date (not earlier than 16 century), however we know
that pagan (Slavic) rituals were held in Mala Triglavca cave in year 1820 (Čok 2010), so it is
conceivable that this alignment is not random either. The fight between St. George and the chthonic
Dragon corresponds with the fight between Perun/Kresnik (or his son Jarilo) and Veles the Beast. And
thew were fighting in the middle of the winter: around the winter solstice Kresnik wins, the days get
longer, spring is coming.
There is a strong case that Cave of Iapodes was a Slavic shrine, dedicated to the Sun and the cycle of
the seasons and not to the fertility cult as was the case in Mala Triglavca cave.
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7. What do the petroglyphs in Cave of Iapodes represent?
Figure 12: left, carvings of circles and lines; right, the anthropomorphic figure. Photo courtesy of J.L.
(left) and K.E.G. (right).
As we have shown there are two groups of carvings in Cave of Iapodes (see 2); a group of circular
features and straight lines, and an anthropomorphic figure. Clearly the groups weren’t made by the
same artist or even at the same time. The question which were carved first remains.
7.1. Circular features – Sun wheels
A circle, divided by four lines into eight segments a wheel with eight spokes is an ancient symbol.
In the Early Slavic mythology it represents a sunwheel and is related to Kresnik / Perun (Kropej
1998), Dajbog (Hrobat Virloget 2014) and Svetovid (the symbol can be seen on the famous zbruch
idol).
Pleterski sees the sun wheel as an ideogram connecting numbers 3 and 4; pointing to Troglav (Perun
Mokoš Veles) and reminiscing the four images on the Zbruch idol: the fertile and the infertile pair
(Pleterski 2015).
The sun wheels of Cave of Iapodes are therefore images of both the Sun and of the cycle of seasons,
symbols of cyclic time, of fertility (summer) giving way to infertility (winter). They are telling the
basic myth of the Slavs.
7.2. Anthropomorphic figure – Perun or Kresnik
This carving ( fig.12, right) is enigmatic and unique. Hrobat Virloget (2014) states it can represent an
archer (holding a bow in an extended arm) comparing it to a similar stonemason’s mark from Žiče) or
a horseman (grasping the head of the horse with both arms; see paragraph 2). However, the “bow” is
too small, and the line connecting “horse’s head” and “body” is almost surely a natural feature.
If we look closer (see fig.4a
) the ‘thing’ the stickman holds in in his hands is more or less a Y shaped
one, pointing downwards; it can be conclusively identified as a lightning. The anthropomorphic figure
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is depicted in the middle of a throw, with its legs bowed and its arm extended. Only Perun throws the
lightning. Moreover, since the image is inside the cave, we can imagine Perun shown during the great
underworld fight with his greatest and eternal nemesis, Veles.
The carved sun wheels and the sunbeams glancing the figure at the summer solstice strenghthen the
idea that Perun the Thunderer is depicted as the Sun itself: as Kresnik.
8. Conclusion
In the hills above Ilirska Bistrica lies an exceptional rarity: an Early Slavic shrine in a cave, with a
carving of the god Kresnik himself: he is shown surrounded with sun wheels, throwing lightning
bolts, fighting Veles the Beast, getting married, keeping the Earth fertile – and waiting patiently for
another summer solstice, when a lone sunbeam shall touch him again, year after year, for millennia to
come.
And since the venerable Iapodes had nothing to do with Cave of Iapodes, the cave needs a better and
more deserving name:
Kresnik’s cave.
9. References
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10. Acknowledgements
Many thanks to Goran Iskrić for providing the equipment, Simon Ručigaj for the help in finding both
the cave itself and the ingenious way of entering it, and for proofreading this article; and to Kristina
Eva Gortnar, Jaka Levstek, and Stephen Wagner who made the trip to the cave an awesome
experience and whose photos were indispensable in writing of this article.
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