Lithuanian Folklore/Pagan History Research Brief - Further Research

I created a Pinterest board where I collected lots of visual examples of Lithuanian folklore, traditions and culture. Earlier in my research I felt that there were not many visual examples of the folklore stories and tales, and so I wanted to collect visual examples that could support that research. I hope these can become the foundations for the visual language I create for this project, and I will take inspiration from the various patterns, textures and symbols I have found.

https://www.pinterest.com/miglesav/lithuanian-folklore-traditions-culture/

From my initial research stage and collecting images on a Pinterest board, what I was most drawn to was the patterns and shapes within the various paintings, textiles, wooden carvings, statues and etc. I especially liked how the textiles/clothing designs incorporate symbols for the natural elements, and how those can tell a story. Continuing my research, I began to look at Lithuanian folk art, and the ways in which old pagan traditions and folklore stories still have a role in modern day Lithuanian society and culture.

Lithuanian Folk Art
Source: https://ltfai.org/lithuanian-folk-art/

Lithuanian folk art is one of the oldest expressions of Lithuanian culture, as is proved by a variety of archeological artifacts. Over the course of time, the tree of Lithuanian culture branched out in three main directions: language, folklore and song, as well as folk art. The latter was influenced by the environment, the climate, various locations and resources, and also customs, which determined the purpose of the object, its form, its unique coloration and variation of pattern.

Until the beginning of the 19th century, Lithuania was mostly agricultural – 85% of the population lived on homesteads (farms) or small towns. For this reason, the homesteaders followed the traditions of their forefathers and fashioned their tools and themselves.

In his introduction to the book Lietuvių tautodailės institutas išeivijoje (The Lithuanian Folk Art Institute in the Diaspora, published in Lithuanian), Antanas Tamošaitis also speaks of buildings and tools that the Lithuanians fashioned by hand in distinctive styles. Chapels (in cemeteries and larger homesteads), wooden wayside crosses, farmhouses, furniture, spinning wheels, distaffs, towel racks, shelving units, spoons and other wooden cups and utensils as well as pottery. Other Lithuanian crafts are coloured Easter eggs, straw decorations (šiaudinukai), papercut art, wickerwork, and metalwork ornamentation, crosses and church spires. “Vilniaus verbos” are a unique ornate decoration made of dried flowers and grasses tied and woven together in patterns around a central stalk.

Every household had a hand-loom made by local carpenters, on which the females of the family were expected to weave all the necessary linens and clothing for their family, including their own wedding attire and distinctive sashes.

Folk art was the expression of the homesteader’s soul and his most precious treasure, wrote Tamošaitis. He was very proud of the artistic level of our folk art, and his goal in life, as well as the mission of the Lithuanian Folk Art Institute, was and is to collect, study and preserve ancient folk art as well as to create and foster new folk art.

Lithuanian folk art is traditionally classified in the following categories, although not all of them are practiced in the diaspora.

Ceramics

Village potters had small workshops and provided the peasants with the necessary jugs, pots, plates, candleholders, vases, and figurines. Each potter developed his own characteristic style and made his own glazes. Ceramics were produced in two ways: 1) the pattern was applied to the greenware upon removal from the wheel, or 2) after firing, the pattern was painted on the pottery and then re-fired. 

Costumes

The national costumes were known for the beauty of their colours, variety of patterns, and distinctive style. Until the twentieth century, a Lithuanian girl would weave her own wedding dress and costumes for festive occasions, as well as work clothes. The weaving technique, patterns, colours, and cut of national costumes are categorized according to seven regions of Lithuania: Aukštaitija, the Vilnius region, Dzūkija, Zanavykija, Mažoji Lietuva (Lithuania Minor), and Žemaitija (Samogitia).

Crosses

Lithuania is known as the Land of Crosses, and is famous for the Hill of Crosses near Šiauliai. The countryside is dotted with many ornamental wooden crosses and miniature chapel-posts or shrines erected at crossroads, in front of homesteads, and in cemeteries. They vary widely in style and ornamentation, and are an art form in themselves. There is a specific word for the folk artist who makes crosses: “kryždirbys”. The carving of crosses (cross-crafting) was recognized as a UNESCO Immaterial World Heritage art as of 2001.

The famous Hill of Crosses, a pilgrimage site for several hundred years, is a testament to Lithuanian faith and perseverance. During Soviet rule, the crosses were destroyed with bulldozers more than once, and locals would rebuild them almost overnight. There are over 200,000 crosses on the Hill.

Easter Eggs
The colouring of Easter eggs with natural dyes was a very popular tradition among the peasants. Either a pattern was applied to the egg with wax before dyeing, or else the whole egg was dyed first and patterns were made by scratching away the dye in certain areas with pointed tool. The ornamented eggs were used as decorations for the festive Easter table and as gifts. The patterns used for eggs decorated with wax are distinct from the motifs and composition used for the scratch technique.

Jewellery

Amber has been used for adornment since Neolithic times. Lithuanians have always loved this semi-precious stone, Baltic Gold, and endow it with healing and magical power to this day.

Metalwork

Iron crosses and church spires another iconic art form, and are often used to decorate cemeteries, monuments and memorials. Many of their motifs hark back to pagan times. Blacksmiths also forged tools and other farm and household items.

Papercut Art

In Lithuania, paper cutting has been practiced as an art since the 16th century (some sources say – the 14th) and was especially popular for decorations at weddings and other special events. By the end of the 19th century, it was widely used as decoration for the home – to cover a window, trim a shelf, a lamp or a mirror frame.

Straw Art

The art of straw ornamentation is a folk art brought from Lithuania by post WW II emigres. As in the area of weaving art, Antanas and Anastazija Tamošaitis were instrumental in promoting and preserving this craft, and Antanas had prepared the material for a book on this subject in 1988-1989, “Lithuanian Straw Art”. It was never published, however, the Lithuanian Folk Art Institute is pleased to present excerpts from the manuscript here, exclusively on this website. 

Textiles

Until the 20th century there were no textile mills in Lithuania. Peasants would spin linen and wool, and weave all their own cloth to make their garments, bedspreads, bed sheets, towels, and tablecloths. Sashes were woven not only for use as belts, but also as gifts and special mementos. Each family had its own loom. The custom was that a bride would take to her new home at least two dowry chests of woven cloth for the future needs of her family. These were her riches, and a matter of great pride. Lacework, knitting and crochet are still very popular, and the traditional patterns often echo the motifs used in weaving.

Wood Carvings and Woodcuts
Simply but profusely carved towel racks, distaffs, spoon holders, and spoons, along with the spinning wheel, loom, and decoratively painted dowry chests, contributed to the cozy home atmosphere.
The seated figure of a pensive Christ became the symbol of Lithuanian folk art sculpture. Carvers also made various musical instruments out of wood, especially “kanklės”, a type of zither.

Paintings were mostly of saints, painted in oils on wood by amateur craftsmen. Woodcutters also engraved pictures on wooden blocks (woodcuts), coloured them, and made prints.

Lithuanian Sashes

Source: http://thelithuanians.com/bookthelithuanians/node35.html

Sashes are used as a waist girdle in the national costume and also to make women's headpieces. At present sashes, very often with woven-in words, are used to honour people on the occasion of their birthdays, or to welcome an honourable guest. Sashes are also used on funeral wreaths instead of ribbons. Small ribbons with national patterns are used together with a badge on a lapel, or to tie a present.

Sashes are produced by twisting, twining and weaving techniques. Sashes, found in ancient burial places, date back to the 4th and 5th A centuries B.C. Now, twined and woven sashes are the most popular. Earlier, several score of motifs were used in sashes. Symbols of the celestial bodies predominated, such as crosses, stars, and very often a six-pointed star in a rhombus. Frequent were the motifs of fir-tree, blossom, bud, rake, and tree of life. Because of the weaving techniques plant motifs are similar to geometrical patterns and sometimes it is very difficult to differentiate between them.

In the world outlook of the ancient Lithuanians the circle symbolized the sun. It was also used as a protection against evil spirits. The circle is a symbol of the sun, virtue and warmth. A sash with sun symbols, girdling a person's waist, makes a circle around him. In this way, a sash practically symbolized two things.

The patterns of twisted and twined sashes are less complicated, they usually consist of stripes, squares, herring-bone, teeth, rhombuses. Twined sashes are made of wool yarn and no tools are used for that.

Every girl was supposed to know how to make sashes. After their wedding, on their way to their new homes, brides used to tie sashes on wayside crosses and trees and then on the gate of their husband's homestead to ensure their happy conjugal life. Brides used to leave sashes at every place they were likely to frequent in the future - at the fireplace, the wellsweep, the bathhouse. Sashes were used as presents for the musicians at the wedding and neighbours. Sashes were used as part of the swaddling for babies, particularly when they were taken to church to be baptised, also to support bast baskets while sowing, and pots of food taken to the field workers. Sashes were also used to spread under the feet of the bride and bridegroom in church and also to support the coffin while lowering it into the hole. 

Lithuanian Folk Art Top 10
Source: http://www.truelithuania.com/lithuanian-folk-art-top-10-6650

1.Lithuanian cross-crafting is so elaborate and unique that it has been declared UNESCO World Heritage. Wooden crosses and chapel-posts crafted by dievdirbiai ("godmakers") line up Lithuanian roadsides. They may also be found in large numbers in šventvietės ("holysites"). Hill of Crosses with its millions of wooden crosses is by far the most famous one.

2.Amber has been the prime export of local Baltic tribes long before the word "Lithuania" became well known. Balts would sell amber to Roman merchants. Today Lithuania has many amber artisans who make amber jewelry, amber-clad paintings, and other things. Everything with amber is quite expensive; the prices may be smaller in Palanga amber market and larger in boutique stores at city downtowns. If you want merely to learn about amber and its arts, check the Palanga Amber Museum.

3.Verbos of Vilnius are symmetrical colorful compositions of dried flowers and leafs. In Vilnius area churches they are used in place of palm leafs during the Palm Sunday. Vilnius residents usually acquire their verbos at a church-side stall that weekend or at the Kaziukas fair beforehand. Suburban Vilnius has a small Verbos museum open year-round.

4.Užgavėnės hand-made masks represent animals, mythological creatures, ethnicities, and social groups. People wear them during the traditional Užgavėnės festival which aims to "chase the winter away". Generally, by wearing a heavily stylized mask the person aims to "become" somebody else.

5.Sodai ("gardens") are hanging geometric contraptions made of straw. Traditionally used during holidays and weddings sodai now became a symbol of local identity in Lithuania and neighboring countries. Straw is also popularly used to make bags.

6.Margučiai (singular: margutis) are elaborately painted Easter eggs that usually adorn Lithuanian Easter tables. Many games are associated with them, such as "whose margutis is the strongest" or "whose margutis goes the furthest when pushed".

7.Rūpintojėlis is a traditional wooden figure of a sad sitting God (Jesus), who supports his head with one of his arms. The popularity of Rūpintojėlis has been explained by some as being related to the tragic history of Lithuania.

8.Lithuanian textiles (mostly made of linen) are characterized traditional geometric ethnic patterns. They became so symbolic that separate "ethnic strips" are crafted consisting of just an ethnic pattern (many are sold as souvenirs). There is no definitive list of ethnic patterns but Lithuanians can usually feel which pattern is Lithuanian and which is not.

9.Lithuanian traditional household items are typically made of straw, clay or metal (e.g. straw bags, clay cups). While factory-made imported goods have largely displaced hand-crafter items from the mass market, the latter still prevail in city and town fairs. People buy them for their symbolism and a human touch, and they are a popular gift for visitors.

10.Baltic jewelry has made some resurgence recently, with rings, earrings, and other items created based on the finds at archaeological digs.

Folk Art

Source: http://thelithuanians.com/bookthelithuanians/node28.html#section0028

In the simplicity of its forms and its practical application, in the reserved ornamentation and colour scheme, folk art has not departed very much form man's everyday needs. The manner in which applied art objects were executed was greatly determined by the properties of local materials - wood, flax, wool, iron, straw.

Among the surviving arts which have preserved the oldest traditions of Lithuanian folk art are Easter eggs with wax ornaments on them, the verbos or Palm Sunday flowers of the Vilnius region (they are growing in popularity in Poland too), ornamental sashes, bedspreads, tablecloths, towels, pottery, toys, towel racks, decorative distaffs, sabots, gardens" (compositions made of straw), wooden statuettes. In the last few decades paper cuttings and amateur painting have gained a lot in popularity.

Ornament

The roots of the Lithuanian ornament reach down to the formation of the Baltic tribes. There are four kinds of Lithuanian traditional ornaments - geometrical, plant, animal and celestial ornaments. Geometrical ornaments are the most popular. The, ancient plant ornaments conform more to a conventional style than to nature, their connection with nature being often indicated merely by their names. In the animal ornaments the motif of a horse and birds is the most frequent. Celestial bodies - the sun, moon and stars - also have an important place in the Lithuanian ornaments. The ornamentation of tools used every day is usually not very heavy. In the pre-Christian era and early Christian period many ornamental motifs had a symbolic meaning.

The sun motif. All over the world the sun is the symbol of warmth and kindness. It is the most popular ornamental motif in Lithuania. It is very often used on objects connected with various rites, on sashes, Easter eggs, large and small distaffs, glazed ceramic objects, etc. The sun motif was the obligatory element in the iron heads of crosses and chapels, later in wooden crosses as well. The oldest sun motifs are discernible on archeological finds such as amber weights and distaffs excavated on the Baltic shore. The sun, particularly on wooden objects, is represented by a six-pointed star in a circle.

The horse-head motif is second in popularity. It was used on metal objects, excavated now by archeologists. Since the 18th century it has become one of the most popular ways of embellishing gable poles. Sometimes ornamental motifs on sashes remind of horse-heads as well. As a rule horse-heads are rather stylized.

A PLANT IN A FLOWER POT is an ornamental motif which is third in popularity and is very often used on ancient dowry chests, beds, towel racks, window shutters, pots, distaffs and, more rarely, on home-made fabrics. This motif appeared in the 16th and 17th centuries and gained its greatest popularity in the 18th century. Most often it is a lily or a tulip in a pot, vase or wine glass. Sometimes above the plant or among its branches there is one, two, three, five, seven or even more birds. The blossom may be replaced by the sun symbol and this is very often done on distaffs.

Lithuanian ornaments were formed under the influence of the sense of proportion typical of the Lithuanian farmer, the natural colours which surrounded him, and the historical conditions. In the 18th-20th centuries ornamentation was rather heavily used on wood carvings, fabrics, handicraft, cast iron and clay articles, Easter eggs, cuttings.

Crosses

At the turn of 20th century German, French and Polish scholars recognized wooden crosses and chapels as one of the most typical features of Lithuanian culture. To this day many publications on Lithuanian folk art attach great importance to these objects. Most of the Lithuanian crosses and chapels are very artistic. They used to be erected at farmsteads, streams, roads, at the end of a field and other places. They used to be erected on various occasions - the birth of a child, a sudden death, the beginning of the construction of a farmstead and other such events.

At the beginning of the 20th century crosses and chapels in Zemaitija were spaced by several score of meters. Lithuanian crosses and chapels were more ornamented than in other countries. For a long time they were indicators of the farmers' wealth and social position. Young girls used to be judged by their flower gardens and the crosses in their farmsteads.

Most crosses were built with a single cross bar, but there were also crosses with two cross bars, especially in Zemaitija. The latter type of crosses were usually erected in times of plague or other great disasters. Ornamentation depended on the form of the cross. Crosses in western Zemaitija were the least ornamented.

Sculpture

Every Lithuanian chapel used to contain statuettes of more than 40 saints, the number of which in each chapel amounted sometimes to more than a score.

In the 1930's Koncius covered 2424 kilometers, traveling in Zemaitija, and he registered 3234 statuettes of saints, which means there was one statuette for every 700 meters. The most frequent was the sculpture of the Crucified (42,8 per cent) and of the Holy Virgin (22,7 per cent), others included: St. John (9,3 per cent), Jesus (4,4 per cent), St.George (2,8 per cent), the Pensive Christ (2,5 per cent), St. John the Baptist and Roch (2,3 per cent), St. Barbara (0,8 per cent), St. Joseph (1,1 per cent), St. Anthony (1,78 per cent), St. Isidore (0,8 per cent), St. Florian (0,7 per cent) and others.

Very typical of the surviving Lithuanian sculptural tradition are the images of the following three saints - the Pensive Christ, St Isidore and St George.

The Pensive Christ is depicted as an old man sitting with his chin on his right palm. But he is not Christ in prison. In small chapels with open sides, attached to trees, the Pensive Christ is usually the only statuette. He symbolizes sadness, as his crucifixion was a sacrifice to humanity to alleviate its pain and wipe its tears. During and after a war Lithuanians looked upon the Pensive Christ as a symbol of their misfortunes.

St George (Gr. Georgios - "land tiller") is very popular in Lithuania. Together with St Casimir he is considered to be Lithuania's second saintly guardian. He is usually depicted as a rider, slaying a dragon to defend a princess. To the peasant St George is the guardian of his animals. A chapel with his statuette was usually placed at the gate through which animals were driven to and back from pasture.

St Isidore is depicted as a farmer sowing grain while an angel is ploughing the field. When St Isidore is depicted ploughing the field, the angel is sowing. St Isidore looks after the fields, protects them against drought or too much rain, stimulates the sprouting of seeds. Therefore his statuette is usually placed in a chapel on a pole in the fields.

Wrought Iron Artifacts
Wrought iron artifacts such as chests, carts, door fittings and window gratings make a separate branch of folk art. But wrought iron crosses and wrought iron heads of chapels are most expressive of the folk artists' talent and of the spiritual world of the Lithuanian nation. The cross usually passes into sun rays which sometimes include blossoms and leaves of tulips, rues and other flowers, and sometimes a moon and stars. 

Fabrics
Halt a century ago all Lithuanian women used home-made fabrics. In Dzukija this continued right up to the 60's. Even now home-made towels, tablecloths and bedspreads are admired as pieces of folk art. Mostly they are made of linen. Their beauty is based on the combination of patterns and colours. The majority of patterns on white linen cloth are based on ancient geometrical ornaments which symbolize the sun and other natural objects. The central pattern is usually composed of several uncomplicated but contrasting elements framed by smaller compositions. Their main peculiarity lies in their constancy and rhythmic repetitions. The same patterns but of different proportions are used on separate articles of the same set. The weaving pattern is usually in harmony with the proportions of the object, e.g. a table, for which the article is used. With time, the compositions became freer.

The weaving patterns of bedspreads are based on geometrical ornaments, composed of squares, catpaws, suns and the like. In south-eastern Lithuania catpaw patterns are smaller. The same patterns are used on fabrics woven with a different number of warps. But naturally, with the increase in the number of warps the patterns become more complicated. With time plant and animal motifs appeared and now they are often combined with geometrical patterns. Colour introduces a still greater variety. Cloth woven with two warps is usually striped.

A lot of attention was paid to colours. Striped or checked bedspreads do not have many colours, usually two, three or four. Dominating colour combinations are black, green and red; green, white and red; black and red.

Palm Sunday Flowers

It is supposed that the first Palm Sunday flowers appeared in the Middle Ages to enliven festive processions. In the second quarter of the 19th century they were already wide-spread, but they were mostly used for decorative purposes and never had the same ritual function as the Palm Sunday bunches of willow, yew and other green twigs had.

Palm Sunday flowers are made of field, forest, water and garden plants. At the present time 45 kinds of plants are known to be used for this purpose. 11 kinds of plants (mostly reeds) go for the heads alone. Preparations for the production of Palm Sunday flowers begin in July. Women and children start collecting cudweeds, rye and oat ears, timothy grass, immortelles and other plants in summer. The brightness of the colours depends not only on the kind of the plant bus also on the time when it was picked. The plants are spread or hung in bunches in attics to dry and wait till they are used to make Palm Sunday flowers. Mosses, lichens, various lycopodiums are collected just before making Palm Sunday flowers.

Palm Sunday flowers have several shapes, that of a rolling pin, a wreath or a rod. They may be flat or irregularly shaped. All Palm Sunday flowers are started in the same way. A bunch of reeds and bents is tied to the top of a 30-to-50 centimeter long nut-tree rod and then dried plants and flowers (sprinkled with water so that they should not crumble) are arranged down the rod and fixed to it tightly with a thread.

Easter Eggs

Decoration of Easter eggs is a very ancient custom. At the foot of the Gediminas hill in Vilnius archaeologists have found eggs made of bone and clay, which shows that this custom was known in Lithuania as early as the 13th century. Easter eggs are mentioned by Martynas Mazvydas in his dedication to his book "Hymns of St. Ambrosius" (1549). Easter eggs were particularly popular at the turn of the 20th century. They were decorated both by the grown-ups and the children, by the rich and the poor. Some were dyed in a single colour, some were decorated in patterns. Decorations were produced by painting pat- terns on a warm egg with the tip of a stick or a pinhead dipped in hot wax. Droplet-shaped strokes were grouped in patterns, twigs of rue, little suns, starlets, and snakes. The most frequent pattern was that of a sun, like those on large and small distaffs. Smaller patterns were joined by dots and wavy lines into larger ornaments. Their combinations were so varied that it was impossible to find two identical Easter eggs. Every village had its own best egg-decorators.

The painting of decorations in wax completed, the egg was dipped in black, brown, red or green dye. Up until the beginning of the 20th century natural dyeing materials were used such as onion peel, birch leaves, hay, oak or alder bark. Very popular was the black dye produced by soaking and boiling a mixture of alder bark and rust. Dyed eggs were placed in a hot oven or hot water for the wax to melt. Patterns in several colours were produced by painting them with wax on a lighter colour and placing the egg in a darker dye. Similar patterns could also be scraped with the tip of a knife.

Many nations believed that eggs, particularly decorated eggs, had a magic power. When the animals were first driven to pastures in spring, the farmer's wife used to place an egg on the threshold to keep them in good shape. The farmer used to place an egg in the first furrow ploughed in spring to ensure a good harvest.

Straw Compositions

Straw compositions were used to decorate rooms on various occasions, Christmas trees and the place at the table where the bride and bridegroom sat. Straw compositions are a separate branch of folk art which was very popular in the first decades of the present century. The basic element of every straw composition is a segment made of 12 pieces of straw strung together. Rye straw is sprinkled with water and cut into 12 equal pieces. 8 pieces are strung on a thread the ends of which are tied. Then the string is bent into a figure of eight, folded and the tips tied. Each of the four remaining pieces of straw is strung on a thread, one end of which is tied to each corner of the segment. The other end of the thread is used to join the segment to another one. There is also another method of making straw compositions: three segments of a different size are tied one with another and suspended on a common thread to rotate in the wind. To mark the Epiphany, stars made of pieces of straw of different length were used to decorate rooms.

The most complicated and beautiful straw compositions were "wedding gardens" which were popular in Aukstaitija. These compositions were large, made of a large number of segments. Suspended from its corners are birds, stars and the "gardener". Lithuanian emigrants to the United States use straw compositions as Christmas tree decorations. There are more than 60 kinds of such decorations.

Lithuanian Folklore/Pagan History Research Brief - Brief & Initial Research

Brief

The briefs aim is to research thoroughly into the history of Lithuanian folklore and pagan traditions, and to then collate the information into a piece of graphics that would make this history accessible to an English speaking audience. The brief will be heavily focused on the research process, and therefore has kept the outcome/deliverable as open-ended, allowing for the research process to inform what the 'piece of graphics' that will meet the aims of the brief will be. 

Research 

Folklore in Lithuanian Literature

Source: http://www.lituanus.org/1990_4/90_4_06.htm

Lithuanian folklore is abundant in quantity, diverse in genre and archaic in nature. The earliest information about Lithuanian folklore comes from chronicles dating back to the 9th century. Folksongs are considered to be the most original and oldest in origin. To judge from the abundance of folksong material, the Lithuanians apparently had special songs for every kind of activity, occasion and happening. There are songs of work, games, dance, mythology, religion, love, death, family ritual and customs. Predominantly lyrical in nature, folksongs are rich in diminutives, terms of endearment, onomatopoeia and epithets.

A remarkable type of folk poetry is the rauda, or lament, characterized by a monotonous and recitative melody expressing feelings of mourning and inconsolable grief. The rauda had a two fold function. On the one hand, it was an integral part of the funeral ceremonies which were supposed to influence favorably the deceased person's fate in the realm of the dead as well as to assure his continuous relationship with the living members of the family. On the other hand, the rauda served as a means of expressing the miserable conditions of those who were left to. live. The raudos are first mentioned in the 13th century chronicle and have survived up to the, middle of the twentieth century.

Another type of folklore which stands out among legends, ballads and folk tales in its originality and imagination is that of magic tales (stebuklingos pasakos). They present an enchanted world teeming with supernatural beings, magic things and miraculous happenings. Magic tales fed the imagination of writers and many elements of these tales were incorporated into their works. The most popular of them was, and still is, a tale about a girl becoming the wife of a serpent, known in literature and musical compositions by the name of Eglė, žalčių karalienė (Eglė, Queen of the Serpents). This tale is undoubtedly based on a pantheistic world view, characteristic of the pagan Lithuanian religion. 

Lithuanian Folklore

Source: http://www.lituanus.org/1997/97_2_06.htm

The Lithuanians have preserved one of the oldest languages in the world, a unique culture, and unique customs. The earliest information we have about Lithuanians came from the writings of Pliny the Elder, Marcus Claudius Tacitus and Claudius Ptolemy. Although in the Quedlinburg Annals Lithuania is first mentioned in 1009, the beginning of the Lithuanian state is considered to be the year 1236 when Grand Duke Mindaugas united a large portion of the Baltic lands. The Grand Duchy of Lithuania survived for about 500 years, yet this country lost its independence because it found itself on the crossroads of never-ending wars among European states.

The Lithuanian nation and its traditional culture has managed to survive, for this tiny plot of land on the Baltic and its traditions have always been defended by at least 150 Baltic and 70 Lithuanian generations. Over the centuries, the Lithuanian language has had to struggle against foreign attempts to belittle, suppress, and annihilate it. Canon Mikalojus Daukša, the first author of Lithuania Proper, published his famous postile ("Postilla Catholicka") in 1599 in Vilnius. In the preface he addresses his readers as follows: "...Nations survive not because of their soil's fertility, the diversity of their clothing or the strength of their cities and fortresses, but primarily by preserving and using their own language which increases and sustains a common foundation, harmony and brotherly love." At all times the strongest support for the Lithuanian language has come from the common people, the Lithuanian rural population. It maintained undamaged the Lithuanian tongue and the national spirit. The enlightened intelligentsia, which rose from the Lithuanian peasantry, won the nation's freedom and independence especially during the period of National Rebirth (end of the 19th, beginning of the 20th centuries).

On the first page of his journal Aušra, published in 1883, Jonas Basanavičius, the heralder of the Lithuanian rebirth, characterized folk songs as a national wealth which is bound to call the nation to struggle for a better future. This is exactly what the Lithuanians did during the years of Soviet occupation. Folklore was one of the primary sources stimulating the rebirth of the nation for the second time. 

Lithuanian Folklore as a source for Baltic Religion

Source: https://www.infinityfoundation.com/mandala/h_es/h_es_trink_i_fire_frameset.htm

Baltic religion is based on local mythology, folklore and ethnic heritage. The heritage of different ethnic and linguistic groups in Lithuania is rich, full of holiness and faith. This faith survived in many forms, regardless efforts of the Christian Church, until these times: nation's traditions, songs, language and morals.

Romuva – Old Baltic religion – is the revival of the Baltic spiritual tradition that expresses the religious world concept of Old Europe and the Indo-Europeans. This culture survived in many national cultures of the Baltic region. Historically, in the Middle Ages, Romuva was one of the last important European Pagan temples. Today, the place is located in the Kaliningrad region, formerly known as East Prussia, and originally – the ancient Baltic Prusa. Besides the central Romuva, there were many local Romuvas that thrived in the wide region of the Baltic.
The goal of the Romuva movement is reviving and continuing the ancient Lithuanian faith.

Dainos (chants) in Romuva rituals 

In Romuva's worship rituals, Dainos (chants) play a special part, and like other traditional customs and symbols they take on holiness, power and meaning. Daina – song, to the Baltic nations has always been the most important means of spiritual expression. Balts, a land of songs, have their own holy scripture – songs "dainos". Our kinsmen, the aryans, in their holy text the "Avesta", use the word "daena", just as the word daina, song, of the same origin, – its meaning – "faith, inner essence and the spiritual me". Daina, song is life giving to the essence of man and shows man's vitality. Old and young, men and women, all sang while working, merry making and grieving. Songs have been handed down from one generation to another as the greatest treasure, as the eternal fire.

Romuva rituals are often begun with a special type of song called sutartine. A Sutartine is a uniquely Baltic type of polyphonic canon, which produces unusual harmonies. It is a genre of ritualistic chants that often contains mystical texts, with archaic symbolism. Sometimes they include strange words of incantation, such as dobylio, tuta, lylio, chuta, chutyta, sadula, gadula. The manning of these words is not always known.

Holiness, worshipping ancestors – moral principles of faith

Holiness – is that unnamed vital power and spiritual strength, which occurs in people and nature. Baltic traditions preserved the ancient concept of holiness which differs considerably from the Christian concept. Holy are the rivers, springs, trees, stones and others – all part of the ancient prechristian legacy, connected primarily with nature and not so much with the people. The mysterious, creative strength is personified so that through visible feeling and understanding, it shapes man to draw him nearer to divinity.

The Fire Ritual 

The Fire Ritual is the most important ritual in the Baltic religion.
"To this very day fire is sacred to all Lithuanians. No other phenomenon fits religion so well as fire. Only the flame turns wisdom to the path of spirituality" wrote the prominent Lithuanian philosopher, Vydunas.

During every traditional Baltic holiday a fire (ugnis) is lit, whether such is in an altar or bonfire, or by candle. Fire is the most important symbol of Lithuanian traditions. During ancient times, the Baltic people were known as fire worshipers. The Eternal Flame burned at Sventaragis Valley at the very center of Vilnius. Every household had a hearth, which was particularly respected by each member of the family, but cared for and safeguarded by the mother. The fire had greater meaning than merely the source of light and warmth. It symbolized the unbroken lifeline of the family and its ancestry. The Eternal Flame of the community served to unify not only its immediate members, but was also the unifying link with ancestors who had long since died and were now with the Gods. It was believed that numerous generations of the dead continued to live on at the hearth of the fire.

"Throughout all of Lithuania, people held fire to be sacred. Thus it was required to honour it and behave before it with respect. Coals had to be closely accumulated. Fire could be extinguished only with cold and clean water. Fire was not to be insulted. It was not to be harmed nor polluted. People were not to spit into fire, nor was it permitted to kick it or to stomp upon it. All that was considered sinful, and any such actions were sure to invite punishment, either while the person was still alive or after their death" (J. Balys, Lietuviu Tautosakos Lobynas (Treasure Chest of Lithuanian Folklore), 1951, pg.39).

"No live coals nor smouldering ashes were to be extinguished on holiday days for that was considered a sin – it was necessary to wait until the fire burned out on its own accord."(Salakas). "When salt is sprinkled on the fire and it begins to crackle, it is said: 'Sacred Gabija, be nourished.' " The expression "to make the bed for the fire" – meant that it was to be carefully edged and ashes poured around delicately (Laukuva).

"When the fireplace was being lit at home, everyone had to remain quiet and were not to turn away, even in the event they were to hear someone calling" (1854 by A. Kirkoras). A cup of clean water was to be placed near to the fire, in order that "the beloved little fire would have the means to wash itself." Ugnis, the fire, is honored in all Lithuanian celebrations and rites. When Ugnis is fed salt, it is said: "Sacred Gabija, be satiated."

To "make a bed" for the fire – means to set her up nicely, surrounded by stones, and cover her in ashes – "Sacred Gabija, forged – may you lay, kindled – may you shine!" A cup of pure water is placed near the fire, so that "Ugnis may wash herself." "Ugnis Gabija, gathered – may you sleep, uncovered – may you shine, and always be a helper of mine." "Ugnele, Ramute, sacred Gabija, help us." (Marijampole) "Ugnute, Ramute, sacred Gabija, our calmer, be still, be rapid. For ages and forever." (Marijampole) Here are the words of prominent Lithuania phylospher Vydunas:


"Blessed is the man, who seeks the way to the eternal Romuva,
And desires, in the light of everlasting fire
To live forever. Naught will stand against him.
May we see, what is eternal and sacred.
Throughout the ages, it will bless us all!"

The sacred cult of Gabija (the fire Goddess) with its prehistoric roots has survived to our present day. She has evolved through ornithomorphic, zoomorphic (the cat) and anthropomorphic portrayals (a woman clothed in red, sometimes winged). She is tended solely by women, traditionally the head woman of the household or clan.

The name Gabija is derived from the verb apgaubti, to cover up. This refers to the process of putting Gabija to bed by carefully banking the coals and ashes for the night and uttering prayers that entreat her to "stay put" and not to wander. This was an important duty of the mistress of the home, each evening. Repeating the prayers taught to her by her mother, she would carefully and lovingly cover the coals. To be neglectful or careless in this task would mean disaster for her home and loved ones, for under no circumstances was Gabija to be treated with disrespect or neglected. If angered, she would go "for a walk" leaving destruction in her path.

Gabija is "fed" traditionally with salt and numerous food offerings. If a bit of salt or food falls into fire while woman is cooking, she will say: "Gabija, be satisfied".
Prayers ask Gabija to live with us in peace and to stay put. It is customary to leave a bowl of clean water by the hearth, in case Gabija feels inclined to wash, saying: "Bathe and rest, Fiery One".

Should it be necessary to extinguish the flames, it can only be done by using clean water. Fire has eyes; thus no impurities can be thrown into the flames. Much folklore attests to the dire consequences for those who spit or stomp on her. Stray coals must be carefully retrieved and placed again in the hearth or stove.

The hearth fire was the focus of all family rituals and rites of passage with the head woman or male elder presiding. Lithuanians begin each ritual invoking her presence without which the rites would not be possible. She accepts the sacrifices and acts as a mediator and messenger to other deities. Her healing, protective and purifying powers are well documented in many other Indo-European societies. Here is not the reserved, passive, maiden aunt archetype of Vesta or Heslia. Gabija is the vital centre if each temple, grove and home. She is the flaming symbol of all that is truly alive on that planet and a deity and power to be treated with the utmost respect.

As population grew, a class of priestesses, known as vaidilutes, attended to the sacred eternal flame that burned for the family, for the tribe and, entirely, for the nation.
A set of days at the beginning of February are dedicated to the Goddess and the renewal of fire, the awakening of homestead gods.

February 2nd is the day of Perkunas. Visinski wrote about the Samogitian customs on this day. They would wrap a small wax candle, "perkunine", (candle of Perkunas), made with a thick linen thread with wax, wrapping it about the peace of wood. This type of "wrapped candle" can be made by simple wrapping a linen thread. It symbolizes the life (the linen thread), the power of the everlasting fire. The candle of Perkunas is lit near dying person, during funerals, or for protection from thunderstorms and other perils.

February 5th is the day of Gabija. Gabija is the guardian of the home hearth. Sacrifices of power to Gabija are bread, salt, water. To bless by fire – a "Perkunine" candle is carried thrice around the table and around the hearth. Then each family member is blessed with fire in the shape of a cross (sign of Perkunas) – holding it at the forehead, the back of the head, and under each ear. Such a ritual is known as strengthening by fire.

The fire for rituals was lit either on a hearth of stone or on an altar. Good oak logs were to be selected with care for the fire. A sutartine (archaic round refrain song) was chanted while lighting the fire:


The Fire is burning, tuta tuta
Gabija is burning …
On the mound
On the high hill
Fire Gabia
Shine as lit
Moulder as covered
Zemynele, dear earth
We are your children
Saule – sun, dear mother
We are your daughters
Menuo – moon, dear father
We are your sons
Stars, dear sisters
We are your sisters
Fire, Gabia
Shine as lit
Smoulder as covered
Give us strength
Unite us
Zemynele, dear earth
Help us prosper
Laima, destiny-giver
Bless us

The words can be improvised to express both desires, as well as wishes for others. All the participants to the ritual can approach the fire one by one, express their good will and offer their Contact with Gods and with one's ancestors is sought through the fire. Sacrificial donations to the fire can be bread, grains, beer grasses and flowers. Circling the Fire clockwise, three times, strengthens the ritual. All those who have gathered can also walk in a circle around the hearth.

Cosmology of the Ancient Balts
Source: http://www.lithuanian.net/mitai/cosmos/baltai.htm

The World-Tree
Along with myths describing the origin of the world, its schematic symbolic representation appears. Many nations, especially Indo-Europeans, have the notion of the World-Tree. Some nations call it the Cosmic Tree or the Life-Tree. The vertical structure of the World-Tree, and thence the world model, as represented in the Lithuanian folk painting, was analysed in detail by Dundulienė, and Vėlius. The World-Tree usually is shown as a powerful tree with wide spread branches, with its top reaching heaven and its roots going deep into the earth. The tree-top is the dwelling place of heavenly bodies and eagles, while in its branches other birds live; under the tree are men and animals and, still lower, is the dwelling place of snakes and other reptiles. From under the roots spurt springs of life and wisdom. Thus, the World-Tree represents the world as an indivisible entity, uniting the three spheres: the heaven, the earth and the underground. The mythical imagery of the Baltic World-Tree is probably a reflection of the holly oaks and ash-trees, as it may be concluded from the falk-tales.

The World-Tree is a widely spread image in the Lithuanian folk painting, and some hint of it is also found in the Lithuanian and Latvian folklore. It is frequently engraved or painted on the objects of daily use among peasants: dowry chests, cupboards, towel holders, distaffs, laundry beaters, crochet works, etc.  Wood engravings of the World-Tree sometimes contain two segmental symbols of the Sun, surrounded by a circle of stroked squares, triangles and rhombs. The latter are symbolic imagery of tilled earth and sowed fields. The upper Sun shines in the daytime and gives warmths, while the lower one was believed to cross the underground lagoon from the west to the east in a small boat, bringing dew to grass and crops.

Symbolism

Symbolic representation of the Sun, Moon, stars and other celestial phenomena can also be identified in folk-art artifacts of wood and crochet pieces. The same archetypes have been preserved throughout millennia, which is confirmed by grave finds of amber, bronze and iron artifacts and also ornaments and crochet works used in the attire of the dead. The symbolic representation of some heavenly bodies and atmospheric phenomena is shown.

Symbolic representation of heavenly bodies and atmospheric phenomena used by the Balts. The symbols of the Moon and its phases in the ornaments of wooden, metallic and crochet artifacts imply the flow of time and are a first step to the calendar. Of particular interest is the cyclic repetition of the three phases of the Moon alongside other symbols, observed in the Baltic woven patterned sashes. These sashes were used to girdle an infant at christening or an adult on certain occasions when the individual was extending the best wishes for the other member of the community. The sash symbolizes the continuous flow of time and offers wishes for a long life. A Lithuanian version of such a sash exists, with 12 symbols. The sequence of symbols in a sash in Lithuanian is called _raštas_. The same word is used to denote the idea of "writing". Therefore, the ornament of a sash can also be understood as the remains of a pictographic writing which might have been used long ago.



Ancient Gods and Goddesses 
In the Grand Duchy of Lithuania pantheistic religion was preserved till the end of the 14th century which means that Lithuanians were the last pagans in Europe. Due to this fact, many Baltic gods are described in folklore, chronicles and books which allows us to reconstruct details of the religion of ancient Balts. The mythology of the ancient Balts and the pantheon of their gods are important coomparative sources for better understanding other pantheistic Indo-European religions.

Historical records and folklore survivals have preserved the names and functions of about 120 Baltic gods and goddesses, part of them related to heavenly bodies and phenomena. The highest Lithuanian god, the creator of the world, was called Praamžius, Satvaras or Prakurimas, and sometimes simply Dievas (the God). The word Dievas has Indo-European connections since similar words can be found in other Indo-European languages: Dyaus in Indo-Aryan, Zeus in Greek, Deus in Latin, etc. The highest god of Old Prussians was Okopirmas. Probably, as early as in the Neolithic, the personified heavenly bodies appear: Saulė (the Sun) and Mėnulis (the Moon) as well as the planets, the Sun's daughters: Aušrinė (the morning Venus), Vakarinė (the evening Venus), Indraja (Jupiter), Selija (Saturn), Ziezdrė (Mars) and Vaivora (Mercury). Interpretation of names of the last four planets has been done by Slavėnas on the basis of mythological materials. Moreover, several folk-tales and songs say that Žemė (the Earth) is the Sun's eldest daughter. It should be noted that, in contrast to many nations, the Lithuanians had mythical imagery of the Sun as a goddess and the Moon as a male god. The same applies to gender usage in modern Lithuanian: the Sun is feminine and the Moon masculine. For all the planets are given feminine names. In some folk-tales, Venus is called Marių Žvaigždė (the Sea Star) and Mercury is Aušrinės Tarnas (Morning Star's Servant).

Saulė (the Sun) was imagined as a beautiful goddess of the sky who lived in a palace somewhere far east. Every morning she drives into the sky in a brilliant chariot of gold, copper or fire pulled by two white horses. In the evening the chariot goes down into the Baltic sea and Saulė changes the chariot into a golden boat which takes her across the sea. The boat is steered by the goddess Perkūnėlė who bathes the tired and dusty Saulė and sees her off, the next morning, refreshed and shining for a new journey through the sky.

Mėnulis (the Moon) was a young god, dressed in silver attire, Saulė's husband. He had fecund, vitality-giving functions and was the guardian of night and time. Rich mythological imagery was connected with the four phases of the Moon, being considered of vital importance to animals, plants and the weather. One interesting tale tries to explain the solar eclipses: the Sun and the Moon are kissing each other; they cover themselves with a wrap, trying not to be seen by their daughter, the Earth.

One of the most important sky gods was the god of thunder and all storms Perkūnas (the Thunder), fecundator and cleaner of the earth from the power of evil. He was imagined as a stern, bearded and powerfully-built man who traversed the sky in a fiery chariot, drawn by swift horses or as riding a fiery horse. His head was surrounded by a wreath of flames. In one hand he held lightning bolts and, in another, a heavy stone axe. Nine festivals devoted to Perkūnas were celebrated throughout the year starting in the early spring. Figurines of Perkūnas have been found in the Kernavė settlement, in the so-called Perkūnas house in Kaunas, etc.

An interesting folk-song involves the Sun, the Moon, their daughter Aušrinė (the Morning Star) and the god Perkūnas. We present it as written by Balys. Today the Sun and the Moon, the heavenly couple, are divorced and they never rise and set together. The cause of their enmity is explained in the following myth. The Moon married the Sun in the primeval spring. Because the Sun rose early, the Moon separated and walked alone. He met the Morning Star and fell in love with her. Then Thundergod Perkūnas became angry and punished the Moon by striking him with his sword. The Moon's face, therefore, often appears as cut in two pieces. The Perkūnas's word probably is a comet.

Myths speak of Vakarinė (the Evening star) who made the bed for Saulė, and about Aušrinė (the Morning star) who burnt the fire for Saulė and made her ready for another day's journey. Aušrinė was a maiden of remarkable beauty with golden hair and an image of the Sun on her crown. She wore a starry mantle with a moon-shaped brooch on her shoulder and was often considered to be even more beautiful than the Sun herself. 

Astronomy

Since the Zodiac is now viewed as the product of the Indo-European culture, it is quite probable that the Balts were familiar with it from a very early date. Lithuanians were well acquainted with the 12 Zodiacal constellations throughout which the Sun makes its annual journey. The Rivius chronicle says that in the 13th century in the Šventaragis valley, at the confluence of the Neris and Vilnia rivers, there stood a Perkūnas temple which had 12 steps, each with an altar. Every month in succsession, holly fire was burnt on one of the 12 altars. The latest archaeological excavations in the basements of the Vilnius Cathedral completely confirm this information. However, the ancient Lithuanian names of the Zodiacal constellations probably did not survive to our days. Their names, recorded in the 17th century by M. Sarbiewski, resemble translation from Latin. It is interesting to note that in Lithuanian the planets are called žvėrynės (from žvėris, the beast). This probably means that planets always move along the Zodiac, the beast circle.

Lithuanian name and translation	Latin name
Grįžulo Ratai (Big Cart)	Ursa Major
Perkūno Ratai (Thunder's Cart)	Ursa Major
Kaušas (Dipper)	Ursa Major
Grįžulo Rateliai (Small Cart)	Ursa Minor
Juostandis (Belt)	Cassiopeia
Kūlėjai ir Spragilas (Threshers and Flail)	Perseus?
Kelias į Bažnyčią (Path to Church)	Andromeda
Bažnyčia or Stalas (Church or Table)	Pegasus
Grėbėjos (Rakers)	Taurus and Auriga?
Sietynas or Sietas (Lustre or Bolter)	Pleiades
Dievo Darželis (God's Garden)	Hyades
Šienpjoviai (Haymakers)	Orion
Trys Sesutės (Three Sisters)	Orion Belt
Artojas (Ploughman) ir Jaučiai (Oxen)	Leo and Gemini?
Žagrė (Plough)	Cancer?
Bičių Spiečius (Swarm of Bees)	Praesepe
Valgio Nešėja (Food-bearer, faminine)	Virgo
Sėjikas (Sower)	Bootes and Coma Berenices?
Darželis (Flower Garden)	Corona Borealis
Dangaus Svarstykles (Heavenly Scales)	Lyra-Cygnus-Aquila
Paukščių Takas (Way of Birds)	Milky Way
Gervių, Žąsų Takas (Way of Cranes, Geese)	Milky Way
Vėlių Kelias (Road of Souls)	Milky Way

Other celestial objects and phenomena have specific Lithuanian names. Comets are called dangaus rykštės (the sky rods), Aurora Borealis are gaisai or pamėnai (the glow), circles around the Moon are drignės, meteors are krintančios žvaigždės (the falling stars). Every man was believed to have his own star in the sky. When the man dies, his star falls down. According to another version, a meteor is a mythological creature aitvaras that flies in the air bringing wealth to his owner. The rainbow (vaivorykštė or Vaivos juosta, drignis) is a frequent personage of mythological tales. The sky in Lithuanian is "dangus": this word originates from the verb "dengti" (to cover).