The Picture Stone from Sanda

The Picture Stone from Hunninge at Klinte
The Picture Stone from Väskinde Cemetary The Picture Stone from Levide Parish Church
The Picture Stone from Havor in Hablingbo The Picture Stone from Bopparve in Alva
The Picture Stone from Martebo Parish Church The Picture Stone from Ire in Hellvi
The Picture Stone from Austers at Hangvar A Further Picture Stone from Ire in Hellvi
The Picture Stone from Sanda The Picture Stone from Broa in Halla
The Picture Stone from Smiss at När The Picture Stone from Smiss in Stenkyrka
The Picture Stones from Larsarve at Eskelhem The Picture Stone from Laxare in Boge
Picture stones from Smiss at Garda The Picture Stones from Sjonhem Parish Church
The Picture Stone from Ardre
 

The stone, which has been dated to 400–600 A.D. consists of two parts, which were recovered on two separate occasions. The upper part was lying in the cemetary at Sanda, and was transported to the National Museum of Antiquities in Stockholm almost immediately. Large parts of the back of the stone were chopped off, so as to make transportation cheaper. The lower part was discovered under the church floor when renovating the church. Both parts have later been joined together. With its height of 330 cm, the Sanda stone is to date the largest of all recovered earlier stones.

Many picture stones have been recovered in the churches on Gotland, having mainly been used as masonary, but also as foundation stones, in the floors or walls. Why they were ‘recycled’ in this way has been widely discussed and debated. The reason may be symbolic or possibly merely functional.

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The central design, yet again, is the whirling disc, whose movement has been enhanced by triangles on the spokes. Below, there are two circular ornaments, which also suggest motion. The circumferences have been elongated to form serpents’ coiled tails and opposed heads ready to bite. A parallel to this figure can be found in the art of Ancient Egypt, where a serpent is often depicted – a cobra – coiling round the sun god’s sun disc.

In the middle of the stone there is a horizontal line. Above this there is a tree, rather like a Christmas tree that has shed its needles. Its symbolic meaning is unknown. It might represent protection against evil forces; it might be Yggdrasil, world tree. In prehistoric times trees were often worshipped. Beneath the tree, which was a later addition to the other figures, the fore half of a horse-like animal can be seen. Its hind part has been erased by centuries of church goers. These two figures do not seem to have any connection with the others.

The lower panel of the stone has been decorated with an elegantly-shaped boat – a symbol of the departure of the dead from this world? It is hard to resist comparing it either with the Ancient Egyptian art or with the ships on the Nordic Bronze Age rock carvings. The ships have neither mast nor sail, but are being propelled by a number of oarsmen, caught in motion by the artist. Midships there is a cuddy-like superstructure. Its top edge has been decorated with a design that could be interpreted as shields.

At the foot of the stone, two so-called polishing grooves can be seen. It would appear that these were formed when the stone had ceased to be a memorial. The use of the grooves is fervently debated.