The Controversy of the 'Schwarze Sonne'

by Victor Ordell L. Kasen

 

First published 1997.
Now re-edited and expanded -
(August 2005 - Version 9.2 and December 2006)

(Detailed information and references from this article by Victor Ordell L. Kasen have been respectfully used within the
'Black Sun' article on Wikipedia giving credit to Victor Ordell L. Kasen)

 

The ‘Schwarze Sonne', or ‘Black Sun' as it is also commonly referred, and as translated into the English language, is indeed an extremely controversial symbol. It is controversial in both its image and symbology but also in its very usage and associations.

This controversy surrounding the Black Sun symbol stems mainly from, and is due to, its linkage to the renaissance castle of Wewelsburg, located in an idealic area of Paderborn, Westphalia, in Germany .

The symbol is notorious and tumult in its connection to this historical monument; and although the castle has a very long history that predates National Socialist Germany by hundreds of years, the controversial connection is because of this very castles short linkage to that particular political regime, its mysticism and occultism - under a small yet influential number of Nazis.

In this article I will attempt to give a rational, unbiased and truthful account as to the Schwarze Sonne's actual derivation rather than the ignorant speculation and repeated under-researched hearsay that is spouted out as being its truthful and historical background – that of a purely National Socialist creation. I will also give my reasoning as to its worth to Armanenvolk today and why we should continue to utilize this symbol regardless of its negative imagery that is espoused by the uninformed and ignorant.

For example, although these are discussed in greater detail below (as there are countless examples of these pre-Nazi archaeological discoveries), the photos below and right are of 'Zierscheiben' from the 6th to 8th century CE. They were found in Fützen (Blumberg) and resemble, significantly the specimen on the right, the Wewelsburg 'Schwarze Sonne' mosaic. This particular 'Zierscheiben' pictured on the right even includes an additional Swastika, or Fyrfos as it is also known, even though these findings predate that political regime by hundreds of years.

It was once said by the German philosopher Arthur Schopenhauer that: "All truth passes through three stages. First, it is ridiculed. Second, it is violently opposed. Third, it is accepted as being self-evident."

To this end I will abide by this apparent law of human nature to separate and clarify fact from fiction and present my findings in such a manner than can be used to educate future individuals on their own investigations.

It must be noted that I stand proud and more than willing to accept future well researched information and am under no illusion that this can and will be achieved to shed even more light on the path that I have laid out, a path that I truly hope that can be built on.

The Schwarze Sonne symbol itself can be looked at as a runological emblem, or in a processual symbolic analysis, of acute esoteric and occultic significance and is of considerable worth to Armanists throughout Europe.

Not a racist pictogram in itself, although notable (yet misunderstood) for its usage in Nazi mysticism, it is today also used in strongly non-racist occult currents of Germanic Heathenism, Irminenschaft and Armanenschaft inspired esotericism.

Although these occultic heathen and mysticistical-magickal undercurrents may be völkisch in their outlook and ideaology, this is a far cry from anything overtly, and ignorantly, racist - a word today shamelessly used to intimidate anyone that appears to be proud of their Ario-Germanic heritage, or at least those expressing such a belief. Today in some cases it is used against those that merely want to look into their past and be proud of it.

In the 'Rúnatáls-tháttr-Odhins' of the 'Hávamál' it states that:

"Where you recognise evil, speak out against it, and give no truces to your enemies."

I am a strong believer in standing in the way of deception and blind ignorance to break through with valid information no matter whom it unsettles. This I see as being true freedom – and the usage of freedom of speech - which is essential to any free nation and people. Although, it must be noted that I am willing and wanting to be unsettled myself if any newly found information is worthy, being presented in a respectful and well researched manner.

The shape of the symbol of the Schwarze Sonne, as it is utilised in Germanic mysticist esotericism today, is based primarily on the design of a floor mosaic at the castle of Wewelsburg. The mosaic itself is placed in the ground floor room of the North-Tower of the castle in the so called "Obergruppenführer Hall" (completed 1939-1943). [1] .

As Mr. Karl Hüser has stated in his officially recognised account of the history of the castle from 1933 to 1945 in his book 'Wewelsburg 1933 bis 1945. Kult-und-Terrorstätte der SS. Eine Dokumentation (Schriftenreihe des Kriesmuseums Wewelsburg 1), 2nd Edition Paderborn 1987' and as translated into English in 2000 by Robin Benson:

“The North-Tower, which had survived a ruin after 1815, only assumed any importance for Himmler from the autumn of 1935 on. In the process of Himmler establishing the castle as the "centre of the world", occult and otherwise (an ideological and religious centre of the SS ), the tower was to serve the highest-ranking SS leaders as a pseudo-religious cult centre. SS arcitect Hermann Bartels presented a first draft of plans that envisioned using the North Tower on three different levels.:

-the cellers were to be converted ito a consecration room for dead SS leaders after the model of Mycenaean domed tombs.
-a "columned hall" was to be constructed on the ground floor for the SS-Obergruppenführer.
-finally, the upper floors were to be complated as a prestigious meeting hall for the entire corps of the SS Gruppenführer.”

However, a meeting in the first floor mosaic room never occured - the building work at the room was stopped in 1943. [2]

This corrupt linkage of the Schwaze Sonne solely to that of Nazistic iconography lies primarily due to Heinrich Luitpold Himmler's and Karl Maria Wiligut's misguided interest and revivalism of Germanic Heathenish spiritualism, Wiligit's very own personal runic mysticism and their shared interest and usage of Wewelsburg. On a side note, Wiliguts runosophical system is such that its author directly abuses Guido von List 's Armanen rune row that predates Wiliguts' and was far more influential then, as it is also today, and openly rejects it in favour of his own.

In a non-National Socialist or racist context, yet also a proudly 'völkisch' one, the symbol, and its numerous symbolic variants, is a highly sacred one today in contemporary times within Armanenschaft - both in its numerical, mythological and symbolical occultic and mysticistically esoteric significance.

The Schwarze Sonne's true origins are enshrouded in the mists of time. This analysis is not disputed generally by those that look a little deeper, and this symbols history has its roots far deeper than (in the grand history of mankind) the blip in history during the years from 1933 to 1945.

"From the heavens once bright stars are cast down,
Vanquished from the skies high above;
Raging the blaze grows, searing ash ascends high,
From fires wrath the life feeding flame;
Flame rising upward and scorched become the skies,
The Sun turns Black and Earth sinks to the sea, rising anew."

- Voluspa, Hávamál

It must be emphatically and categorically stressed that the usage of this symbol (regardless of bias and/or uneducated perspectives by occultists and historians alike) does not necessarily denote sympathy with National Socialism in any form whatsoever. I do say however that I do not dispute, and am not ignorant of the fact, that neo-Nazis, racists and uneducated occultists use this image for their underlying political agenda. However, it must also be noted (regardless of hysterical proclamations by both racists and non-racists) that this symbols origin is pure National Socialist, and that the symbol itself, as outlaid in the mosaic in Wewelsburg, is not actually known to have been placed in the floor before or after the acquisition of the castle by the SS [3].

There are those - anti-racists, racists and even academics - that will simply rant on that this symbol is a National Socialist one simply because of its close links to the SS and its usage today by unenlightened and uneducated neo-Nazis. Unfortunately, some of these people, no matter how good hearted they are, repeatedly state this as fact because they fear receiving the title of “racist” simply for looking a little deeper into something that is associated with the Nazis and looking at it in not only a different light but also a positive one.

I am certainly not a Nazi sympathizer, of which I stress categorically, but after independent research I am currently (unless someone can show me otherwise of which I am happy to acknowledge) knowledgeable in the fact that the Animal Rights laws that existed in Germany during the National Socialist period are far better than those today in any European nation. I am under no illusion that certain areas of the National Socialist regime, whether it primarily academic, were of a far greater standard than ours today or just acknowledging that serious and respected academics of a highly respected nature operated under that regime freely.

Although I fear I am taking a sideways step off of the subject of the Schwarze Sonne itself I think the view that I present here is essential to free thinking and relates directly to the subject matter of this article – that of the Black Sun.

I should ask that because the Julleuchter was used by the SS: does this mean that it is a Nazi symbol and that it should not be used? I ask that because the Crucifix was used by the Ku Klux Klan: does this make it a purely racist symbol? I also ask that because the so called Star of David (Hexagram) is used by Jewish supremacists: does it make it a solely racist image? – simply. My answer is no and I truly hope that you agree with me on that factor. I do not believe that the sacred symbol of the Black Sun should be cast into the shadows because of a very small blip in history. I fear that if this approach was the case, that is becoming increasingly used, it is a very ignorant approach to take – and one that's rooted reasoning shakes the very foundations of a free nation.

Those that use this image of the Schwarze Sonne, as depicted graphically above, in a purely Armanic religious and symbolic aspect, do not dispute its slight linkage to Nazism. However, the fact remains that their are highly respected academics and scholars alike on both sides of the historical spectrum that dispute its primal origins within Wewelsburg, when occupied by the SS, as being purely National Socialist. Additionally, the fact remains that the image of the Schwarze Sonne, in its numerical and mythical symbology, has far too much of an extreme importance to many Armanenvolk worldwide, to just wash their hands of because of misguided Nazis, ignorant academics and independent researchers.

In regard to its esoterically numerogical and mystical symbolism, this belief is excellently presented by Mr. Steven Anthonijsz in his admirable essay 'Die Schwarzesonne (Revised)' [4]. This particular essay follows this article below.

The castle of Wewelsburg itself is not a National Socialist structure but was first built in 1603 with a wide, varied and interesting history. [see the Wikipedia article on castle Wewelsburg for more information.]

The symbol at Wewelsburg itself is marble green (pictured below left and right) on a whitish/greyish marble floor. Whereas the image used today in Germanic esotericist mysticism is black or sometimes white on a black background. Inn fact, the name Schwarze Sonne or Black Sun is not recorded in any form during the Third Reich and is more than likely a name that was given to the image in contemporary times.

Whatever one says today, without definitive proof, the symbol is not known whether or not this symbol was placed in the marble floor at Wewelsburg before or after the National Socialist Regime and the taking over of the castle by Himmler. Their is speculation as to whether the symbol was put into the hall by the Nazis or whether it was their a long time before but their is no definitive proof either way. It must be noted that the book sold by the Wewelsburg museum, as mentioned above, on the history of the castle from 1933-1945, makes no mention of who put it their. Inn fact, the plans for the North Tower by SS arcitect Hermann Bartels makes no mention of it.

Independent academic scholers today are reluctant to say with any certainty who and why it was put their. Their is speculation for both arguments but no definitive fact. [5]

Some say that it is likely that it was put in the castle by the Nazi's, but , whatever anyone says, their is NO definitive proof, only speculation. I have seen copies of the plans, I have contacted the museum, I have contacted Rüdiger Sünner and Nicholas Goodrick-Clarke amongst many others and they agree, although they do believe it was placed their by the Nazis, that their is NO proof of this. In fact, many serious scholers today are reluctant to say with any certainty as to who and why it was put their. Their is evidence (speculation) for both arguments but at the end of the day their is no fact. I have tried to add this into the article in an unbiased manner.

I think, possibly, that because English is a farther and wider reaching and translated language than German, fewer British, or English speaking scholars, outside of Germany, identify, or are willing to associate the Wewelsburg twelve spoke ‘Schwarze Sonne' as a solely and exclusively Natinal Socialist or Nazi symbol.

This I feel, in regard to the non-Armanenschaft or non-heathenish religious scholars pro-Nazi associations to the symbol, is because of its strong associations with Nazism and the fact that in Germany, anything remotely pro-Nazi, despite their achievements, or disassociating anything to do with Nazism in a productive or historical way, is either illegal or has severe punishments for saying otherwise. Indeep, if thisis not the case then it can shatter that brave historians adcademic career because he believes in ‘Real History' and indpeentent research As opposed to what a Governemnt tells you to say is history. Alternatively, far more books can be sold and money made from this sole association with Nazism.

Yes, the symbol of the Black Sun does have strong National Socialist connotations, this I cannot deny and will not attempt to. However, this is really minimalistic in regard to its own supporting evidence and that of its significantly important Armanic meanings.

Partly the reason for its overwhelmingly strong National Socialist links today (disregarding its deeper historical significance), as seen primarily in Germany, is because today one alleged truth is said by one person (either ignorant of the facts or a politically correct historian), passed on and on by another, including historians and scholers, and has become a sort of truth because no one will look deeper and investigate independently.

Interestinggly, there is, although its origins are unknown, an identical rendition of the Wewelsburg Schwarze Sonne in a wall painting at a World War II military bunker memorial of Bismark at Hamburg below a statue of Bismark ( Bismarck-Monument (Hamburg) ). [6] [this source's reliability may need verification ]

The design of the Schwarze Sonne itself is visually similar and reminiscent (left) to Migration Age Alemannic brooches (Zierscheiben), possibly a variation of the Roman swastika fibula , thought to have been worn on Frankish and Alemannic women's belts [7].

The image on the left is that of a decorative brooch found in Inzing, Innsbruck-Land , dated to ca. AD 400, from Hermann Wirth , ‘' ‘Die heilige Urschrift der Menschheit' ‘', Leipzig 1936 , BD. II, Bilderatlas, Tafel 42 (at the time kept in the Staatl . Museen Berlin .)

The image on the right is that of a Migration age Alemannic decorative brooch, from Hans-Joachim Diesner, ‘' ‘Die Völkerwanderung' ‘', Gütersloh 1980, used on the title cover of a 1982 Artgemeinschaft booklet.

 

Some Alemannic or Bavarian specimens (left and right) incorporate a swastika symbol at the center (left). The number of rays in the brooches varies between five and twelve (the latter of which is the same number of rays incorporated within the Wewelsburg mosaic of the Schwarze Sonne). [8] The image on the left incorporating a Swastika is Bavarian as indicated by the Haag museum.

 

 

The images below are also Zierscheiben. On the right is a 12 spoke Black Sun with swastika - A Bronze zierscheiben, 6th to 8th century AD, from Fützen (Blumberg ), Jadu article.

Professor Nicholas Goodrick-Clarke, in his 2002 book 'Black Sun: Aryan Cults, Esoteric Nazism and the Politics of Identity', connects the Wewelsburg design with early Medieval Germanic brooches, and does assume that the original artefacts had a solar significance, stating that "this twelve-spoke sun wheel derives from decorative disks of the Merovingians of the early medieval period and are supposed to represent the visible sun or its passage through the months of the year."

Clarke further refers to scholarly discussion of the brooches in Nazi Germany, allowing for the possibility that the designers of the Wewelsburg mosaic were indeed inspired by these historical precedents. [9]

The symbol, as represented by the Wewelsburg mosaic, can be deconstructed / incorporates into three swastikas [this is expanded upon by Mr. Anthonijszin in Die Schwarzesonne]; a "rising", a "zenith" & a "setting" one. Another interpretation is that the symbol incorporates twelve reversed " Sig runes " of the Armanen runes .

The design is allegedly popular among German and British Neo-Nazis as a replacement for the outlawed, in Germany , singular swastika symbol. It is popular in Britain by Naxis but also Armanenvolk in a non-Nazi, but symbolically significant, context.

"The symbol of the Black Sun unites the three most important symbols of Nazi ideology - the sun wheel, the swastika and the stylised victory rune." and that it is symbolic in its form representing "the twelve SS Knights of The Order of the Death's Head and their three retainers) . [10]

Today the symbol is very popular amongst Germanic musicians, poets, mysticists, artists, and authors.

Regretfully, the Nazified image of the Schwarze Sonne is promulgated by authors who seemingly on purpose to make more money peddle its image as a sinister one. Some of these are :

Regretfully, the image is still today used by Neo-Nazis without any knowledge of its real historical background or its symbological, numerical and mysticals significance. This can be seen today in many guises but it is also sold on flags, pins, ties, watches, patches, etc.

"As I have stated [in my essay on the ‘Schwarze Sone'], no matter how much non-‘racist' information one can give as to the symbolic relativety of the Schwarze Sonne, it's significant meaning (numerologically and symbolically) outside of Nazism, and the fact that there is no concrete information either way to tie or deny it to Nazism, the ignorant and blinded will always see it as a Nazi symbol. The Nazi's utilized Yule, but this isn't Nazi and we are taking it back and as such, even if the Schwarze Sonne was a Nazi symbol, its numerological and symbolic significance within Armanenschaft is such as to warrant me and many others to ‘claim' it and use it in a non-‘racist' but volkish Germanic-mythologisyse way and context. It do not believe it is Nazi, but if others will not even open their ears to another way of thinking or explanation of the evidence available (rather than mere speculation) of this symbol then so be it to ‘steal' it'. If this has to be the case for the ignorant that just as the Nazi's stole (and regretfully misrepresented our symbols) then the Armanenvolk ‘steal' their symbol and utilise it in a pure non-racist Germanic Heathen symbolic way. - Helmut Sans-Gürgen Linder, 1998 (Black Sun interview)

 

Alaf Sal Fena!

Victor Ordell L. Kasen,

Shropshire , England .

 

 

Click images to enlarge

. . . . . .
Also see 'Die Schwarzesonne'

Black Sun Wallpapers (Click images to enlarge)

 

Notes

 

[1] - The SS occupation and reconstruction of the Wewelsburg is fullly documented in 'Wewelsburg 1933 bis 1945. Kult-und-Terrorstätte der SS. Eine Dokumentation (Schriftenreihe des Kreismuseums Wewelsburg 1), 2nd Edition Paderborn 1987.' by Karl Hüser and translated into English in 2000 by Robin Benson

[2] - 'Wewelsburg 1933 bis 1945. Kult-und-Terrorstätte der SS. Eine Dokumentation (Schriftenreihe des Kreismuseums Wewelsburg 1), 2nd Edition Paderborn 1987.' by Karl Hüser and translated into English in 2000 by Robin Benson and Interview with Kirsten John-Stucke, Vize-Director of the memorial-place Wewelsburg (in german)

[3] - 'Wewelsburg 1933 bis 1945. Kult-und-Terrorstätte der SS. Eine Dokumentation (Schriftenreihe des Kreismuseums Wewelsburg 1), 2nd Edition Paderborn 1987.' by Karl Hüser and translated into English in 2000 by Robin Benson

[4] - ' Die Schwarzesonne (Revised)' by Steve Anthonijsz (Radböd Ártisson).

[5] - 'Wewelsburg 1933 bis 1945. Kult-und-Terrorstätte der SS. Eine Dokumentation (Schriftenreihe des Kreismuseums Wewelsburg 1), 2nd Edition Paderborn 1987.' by Karl Hüser and translated into English in 2000 by Robin Benson and ' Black Sun (book by Goodrick-Clarke) : Aryan Cults, Esoteric Nazism and the Politics of Identity' by Nicholas Goodrick-Clarke and extensive pictorial illustration is provided by Stuart Russell and Jost W. Schneider , Heinrich Himmler's Burg. Das weltanschauliche Zentrum der SS: Bildchronik der SS-Schule Haus Wewelsburg 1934-1945 (Landshut, Germany: RVG, 1989). Photographs of the Sun Wheel appear ibid, pp. 81-82 - this has been translated into English and is sold by the Wewelsburg museum

[6] - ^ ' Die Schwarzesonne (Revised) ' by Steve Anthonijsz (Radböd Ártisson). and German Wikipedia article on Bismarck-Denkmal (Hamburg) '. THERE IS MORE TO THIS.

[7] - ' Derhain website article (In German) on the Schwarze Sonne ( In English ); Jadu article ; Haag Museum ; ' Personal website ' of James Twining . ; Artfond website article on the Schwarze Sonne

[8] - Jadu article ; Haag Museum '

[9] - References in Rüdiger Sünner , Schwarze Sonne: Entfesselung und Mißbrauch der Mythen in Nationalsozialismus und rechter Esoterik (Freiburg: Herder, 1999), pp. 148, 245 (note 426) :' Die durchbrochenen Zierscheiben der Merowingerzeit ' (Mainz: Röm-German. Zentralmuseum, 1970) by Dorothee Renner . Examples of symbols very similar to the Wewelsburg sun wheel occur in Mannus 28 (1936), 270; Walther Veeck, Die Alemannen in Württemberg (Berlin and Leipzig:DeGruyter, 1931); Hans Reinerth (ed.), Die Vorgeschichte der Deutschen Stämme , 3 vols. (Berlin: Bibliographisches Institut, 1940), vol. 2, plate 219.

[10] - ^ Black Sun by Nicholas Goodrick-Clarke ( 2002 )

 

 

Die Schwarze Sonne

by
Steve Anthonijsz


Revised 10/06

 I have seen a number of commentaries put out by modern rynsters discussing the Schwarzesonne, or Black Sun design. There exists one major problem in all these interpretations: all of them have been based on the so-called Elder Fuþark despite the fact that the designers of this symbol based their conceptions on the Armanen Futharkh. The Armanen Futharkh was the only runic system available to most Germans in the early part of the twentieth century. Certain antiquarians and scholars knew of other rune rows, but little work was done with them, as there was simply no information available at the time.

Would anyone attempt to make a commentary on the Kylver stone inscription using the Northumbrian Fuþorc? Of course not, as this inscription was carved in the Gothic Fuþark. Would it be wise to attempt to find deeper meanings in Icelandic galdrastafir by using the Prof. Hermann Wirth's “Holy Row” or maybe King Wladamar's Runes despite the fact that we know that these designs were based on the Standard Nordic Fuþork? No? If this is the case, then why would we not view a symbol such as the Schwarzesonne using the Armanen Futharkh on which its interpretation was based?

 

This brief analysis is an attempt to redress the aforementioned issue. All interpretations of the runes in this treatise are taken from Siegfried Adolf Kummer's Runen=Magie, written in 1933 (tr. Edred Thorsson as Rune-Magic, 1993). Kummer was not only a German rynster (living in Dresden in the years just prior to World War II, and having founded his Rune School Runa in 1927) contemporary with the interpretations made at Castle Wewelsburg discussed below, but was arguably one of the greatest runenmeisteren ever to have worked with the Armanen system.

 

To Irminists the Schwarzesonne is a very important symbol. To other Heathens it seems to be one recognized as bearing some significance, but it generally considered rather vague and obscure. What is really known about the secrets of the Schwarzesonne?

 

This symbol may be traced back into the mists of human history, as a symbolic representation of a solar eclipse. This occurs when Mâno moves directly between Sunna and Mittigart, causing a brief period of darkness. This experience has, in various world mythologies, been associated with either the end of the world and/or some drastic change (such as a new dispensation) approaching. The fact that the appearance of darkness conquering light may have profound mythological implications ought not be surprising!

 

The most familiar Black Sun design first appeared on the floor of Castle Wewelsburg in Westphalia before the building was taken over by the Schutzaffel (SS) just prior to WWII. Although some of he SS occupants who worked with the runes continued to use the Armanen system, the majority came to give preference to the runic system favoured by Karl Maria Wiligut. Wiligut, incidentally, was one of the key individuals involved in choosing the Wewelsburg for the uses of the Nazi SS. Because of re-interpretation through Wiligut's ‘Teut-onic Rune Row” and later embellishments made by party leaders, the interpretation of this symbol as used by the Nazis proved to be somewhat different from its original intention.

 

The selection of Castle Wewlesburg was far from arbitrary. Nicholas Goodrick-Clarke [1] reports:

 

During the Nazi electoral campaign of January 1933 Himmler travelled

throughout Westphalia, making his first acquaintance with ‘the land of

Hermann and Widukind'. The mythical atmosphere of the Teutoburger

Forest, a drive up to the Hermannsdenkmal in fog, and the romantic

Grevenburg Castle, where the Führer's party stayed overnight, impressed

Himmler deeply and made him think of acquiring a castle in this area for SS

purposes. After two other castles had been considered in the course of the

year, Himmler viewed the Wewelsburg with members of his Personal Staff

on 3 November 1933 and made his choice that very evening. After a further

visit in April, the castle was officially taken over by the SS in August 1934.

The Wewelsburg began its new career as a museum and SS officers' college

for ideological education within the Race and Settlement Main Office, but

was then placed under the direct control of the Reichsfürhrer-SS Personal

Staff in February 1935. This transfer reflected the increasing importance of the

castle to Himmler and the germination of this plans for an SS order-castle,

comparable to the Marienburg of the medieval Teutonic Knights. ¶ The

impetus for this changing conception of the Wewelsburg came almost

certainly from [Wiligut], who had accompanied Himmler on his visits to the

castle. [Wiligut] predicted that the castle was destined to become a magical

German strongpoint in a future conflict between Europe and Asia. This idea

was based an old Westphalian legend, which had found romantic expression in

a nineteenth-century poem.

 

 

The Black Sun design emerged on the floor of the Führersaal (= “Leader Hall”) at Castle Wewelsburg, made of dark green marble against a grey background. Some writers claim that it was found already worked into the tiles, whilst others allege that Himmler had it worked in to the tile pattern. The SS interpretation of this symbol and its use in religious ceremonial is not well understood. However, it's reasonable to assume that, if the inspiration did, in fact, come from Wiligut, that Theosphy would have heavily influenced these ideas. The Theosophical conception relates to the idea of an ‘invisible sun' around which the All is assumed to revolve. Wiligut evolved this idea manifested as an extinguished star that had once shown over the mythical land of Hyperboria. The rays of this un-dead star, he believed, still energized the Aryan soul.

 

Interestingly, an identical rendering of Wewelsburg's Schwartzsonne may be found as a wall painting at a WWII military bunker at Hamburg below a statue of Bismark. Its origins are unknown.

 

We may view the Schwarzesonne in two ways: either (1) as a ring composed of twelve Sig runes , or (2) as three overlaid fyrfoßen . If one contemplates the symbolism in either fashion, however, one will discover that these two separate interpretations will lead to complementary conclusions.

 

The first way that we may consider the Schwarzesonne is as a ring of 12 Sig runes spoked in a wheel to appear as solar rays. 12 is the number of the Tyr rune. For an interpretation of this stave let us turn to Kummer:

 

The t-Rune, Tyr, is the Rune of good fortune, of spiritual victory, of rebirth, of

creation, but also of destruction and eternal change; Thor, Tyr, Tiu, Zir, Teut.

It is the Rune of the Teut = Teut-ons = Deut-sch [Germans]. It indicates a

concealment, disguise; also within it operate the Three: Arising-Being-Passing

away to new Arising- therefore turning, twisting, striving ever upward. Tyr,

the Third, the threefold power. The spiral current, the cosmic rhythm; the

arrow- and lance-head in the shape of the Tyr-Rune.

 

Kummer informs us regarding the Sig rune:

 

“The s-rune, Sig, Sal, Sol, the Rune of the Sun's power, of victory [Sieg], Sal

and Sig = Well-being and victory; of the Light, of the Hale, of the soul, of the

kindling, lightning; Sig = the sunlight the Sieve, the Seventh (head of the

ruling council), the clan of blood-Kin. The Sig-rune is the rune of the fighter

and the victor; it provides victory and makes the enemy cowardly, weak and

powerless. Numerical values is 11.”

 

The runic key for the S-rune is “guiding”.

 

If we multiply the numerical value of Sig (11) by the number of Sig runes used to compose the Black Sun design (12), we arrive at a product of 132. We may examine each of the digits composing 132, but we must also reduce this value to 6. Let us see how these numbers and their runic correspondences affect our view:

 

1 is the number of the Fa rune. Back to Kummer:

 

          “The f-rune, fa, Fa-tor = Father; generation in Spirit and in Matter, kindling a

 fire, fire- engendered magical force which shapes everything; the eternal

 return of the Fa-tor—pure Love which constantly works in a creative manner.”

 

3 is the number of Thorn:

 

          “The th-rune, Thor; thurs, thorn. Thorn is Will and Deed. Donar = Don-Aar,

the singing sun, the thunder, Thor's hammer. The Thorn of Fate, the Thorn of

Life, but also the Thorn of Death which leads to rebirth; no Life without Death,

no Death without Life. Sleeping Beauty, who is awakened by the Thorn of Life.

The Gate (The Golden Gate and the Gate of Misfortune in folk tales.)”

 

2 is the number of the Ur rune:

 

          “The u-rune, the ur [primal, original], Rune of primal fire, original creation,

primal birth, primal Spirit, original knowledge, primal light, original position,

primal cause, original eternity, primal time, origin, original writing,

judgment [or-deal], primal ba-sis, original mother, the Norn Urda, Uranus,

primal arising, primal being, primal passing-away. The origin of all

manifestations is the Ur- the Ur of the All, the Ur of the Earth. Urn.”

 

And if we reduce all of these by reducing 132 to 6, we arrive at the Ka:

 

     “The k-rune, Ka, is the rune of Cause and Effect, of poetic justice. Its sound,

        k, indicates to spiritual and physical ability, to cures, art [Kunst], those who can,

        king, queen, Kun, Kano, the canoe as a feminine symbol; Arkona, the Knowing One,

        the Norn. Kala, the secret of traditional Knowledge. Ka, the Rune of pure,

        conscious, Racial generation and multiplication.”

 

     The implication of this symbolism is that the Germanic soul rises victorious. Our völk are healed-- spiritually speaking--after centuries of foreign and internal propaganda that led to our own destructive self-persecution. While a certain amount of anger and extreme reaction is inevitable, in the end our people prove to be resilient. Our reawakened triuwa is not the same as that of our ancestors (Os) but is equal in its dynamism and purpose.

 

Another way that we might reflect on this emblem is to see it as three fyrfoßen (swastikas) overlaying one another. 3 is a “holy number” that is greatly represented in Heathen mythic lore. It represents completion of, or giving life to a process. Completeness in the mythic lore is characterized in a number of profound examples: e.g.; the 3 progenitors of the 3 divine clans: Wuotan, Willo and Wîh fathering the Ensi, Wanen and Alpâ respectively; the three visible roots of Irminsûl reaching into Urdabrunno, Huergelmer and Mîmesbrunno. Even ancient poetic forms were often based on triplicates. And, of course, the fundamental Armanic principle of the threefold cyclical process, ‘Arising-Being-Passing away to new Arising,' representing the key to the evolution of both the individual and of the ethnic unit.

 

There are three fyrfoßen to embody the three cycles of rising, being, and passing away/rising again.

 

The fyrfoß, of course, is a variant form of the Gibor rune. Of Gibor Kummer states:

“The g-Rune, Gibor, Ge, Gea, Geo = Earth, God, gift, giver, Gibor—the Rune

 representing the Fyrfos, the swastika, the fire of Love, constant re-creation

and eternal rebirth. Giborallar, the altar of the All-Father, the Giver; the

Giver-Rune, in which is contained the Mal- cross [the "times-sign"], the

crossing, the marriage of two Selves, of two powers. Gibur is the Eternal in

human hearts. Gibur Arahari! = Man, be one with God!—or—Give us primal

power, Soul of the Sun, Arahari! Numerical value 18.”

 

If we were to multiply 18 (the value of Gibor) by 3, whose symbolism has been discussed above, (for each fyrfoß) we come to 54.

 

5 is Rit:

 

“The r-Rune, Rit; counsel [rede], wheel [flarf], red, rita, rota— holy,

invulnerable, innate Righteousness. Cosmic rhythm, whispering, raging,

rolling, rubbing, rustling, etc. The Savior [Rei-ier], the Righteous, the Rider

[Knight], the Hero [Recke], Ararita, the Law, the symbol of the All-Rite. The

Rune of Righteousness and Integrity.”

 

4 is the Os rune.

 

“The o-Rune, Os; East, Easter, Ostara, the goddess of Spring. Os is the rune

of spiritual speech, of power, of language; through spiritual regeneration, every

negative force can be overcome. Os = womb, Osrun which conceives—that

which is conceived by Spirit and Love becomes a reality.”

 

Os is the only rune in the Futharkh with an alternate form. The alternate form of Os is Othil which, while representing the same general principles, carries a stronger emphasis on Heritage and Inheritance.

 

54 > 9, which corresponds to the Is rune. Kummer describes Is:

 

“The s-Rune… indicates the magical Nine of completion. It is the Rune of the

upright, enterprising, conscious leader and magician. Its symbol is the World

Axis, the Irmin-column = Irminsul.”

 

9 itself is the holiest of numbers. While it transforms anything that it touches, it remains constant in and of itself. This number, like 3, is also well represented in the mythic lore: the 9 worlds; Wuotan hanging from Irminsûl for 9 nights and returning with 9 prodigious songs; the 9 mothers of Heimo

 

Thus, following this route of interpretation, the Schwarzesonne represents the reuniting of the human soul with the divine, the religious/ceremonial acceptance of our ancestral heritage, putting us in sync with the ways of our götter. Our reawakened triuwa is built on a foundation of Mutual Exchange and Welcome with our ancestral gods. The Black Sun acts much as a talisman intended to work for the victory of the Germanic psyche. Granted, this purpose was greatly distorted by the unenlightened Nazi ethic when the SS took over Castle Wewelsburg in January of 1939. The Nazis associated the glyph with strange theories of Atlantis and its supposed language called “Vril.”

 

Today we can reclaim this symbol for what it was intended—perhaps in an even more enlightened interpretation, as our minds are not being affected by the various religious, social, and political extremes of pre-war Germany. This symbol represents the spirit of the Reawakening, the continuation of the work that began in the Germanic Revival during which the symbol was developed.

 

The notion of such a profound change is directly related to the idea of self-actualisation. In his spiritual quest, the seeker strives for self-evolution through challenge, and often he will meet transformative situations that will cause these dramatic effects. In these times the challenge may be met by a combination of hope and fear—the same emotions we can imagine our altmâgâ [2] feeling seeing a solar eclipse. But like the eclipse, the Schwarzesonne is not an individual experience, but one shared among the entire völk.

 

The Black Sun's shape, as well as the use of the twelve Sig runes, graphically demonstrates the glory of the Reawakening upon the Germanic soul, shining its grandeur among our folk. This meaning is echoed by alternative interpretation of the three overlaid Gibor runes.

 

Hail the götter!

Hail the völk!

Hail the Reawakening!

 

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[1] Goodrick-Clarke The Occult Roots of Nazism: Secret Aryan Cults and Their Influence on Nazi Ideology New York University Press ©1992

[2] OHG “ancestors”

 

 

Ignorance is no excuse!

sun design

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