Pendants of the Slavs in the Viking Age

The Slavic jewellery: cultural bridges and archaeological horizons

Slavic amulets and pendants from the Viking Age are much more than mere decorative elements; they are material evidence of a highly complex era in which trade routes and cultural influences extended across the entire Baltic Sea region, the Black Sea and deep into the Orient. The jewellery art of this period, documented by many finds between the Elbe and Oder rivers, shows a remarkable fusion of local traditions with Nordic, Byzantine and Oriental stylistic elements.

In particular, the silver hoards of the late Slavic period, such as the treasure trove found in Schwaan or the magnificent deposits from the Volga region, testify to the enormous wealth of hack silver and magnificent jewellery that found its way into Slavic settlement areas through long-distance trade. Replicas of these finds allow us to rediscover the significance of these Slavic pendants and protective amulets as symbols of identity and spiritual companions.

Regional divergences: Western and Eastern Slavic forms

A look at the archaeological finds reveals significant differences between the Western and Eastern Slavic tribal groups. While the East Slavic Rus principalities showed a strong affinity for massive silver work and magnificent pearl necklaces, the West Slavic region – the area of today's Poland, Czechia and eastern Germany – is characterised by a more filigree design language.

In contrast, the Slavs in the east often favoured so-called axe amulets. These small axe-shaped objects, often cast in bronze and decorated with circular eyes, are usually interpreted by researchers as attributes of the thunder god Perun. They are often found in men's graves and point to a warlike symbolism that was closely linked to the social hierarchy of early Rus society. This regional variance illustrates that Slavic jewellery was not a monolithic phenomenon, but rather a reflection of local power structures and beliefs.

Lunula, Kolovrat and Kaptorgas: myth and protective magic

The symbolism of Slavic amulets is deeply rooted in early historical beliefs. The lunula amulet (lunniza), for example, a crescent-shaped pendant, is found in numerous variations throughout the Slavic settlement area. While it originally dates back to Roman influences as a symbol of the goddess Luna, it developed into one of the most distinctive pieces of jewellery among the Slavs in the 10th century. Archaeological analyses of grave goods indicate that these pendants were often worn on necklaces in combination with glass beads, corals and temple rings. Research often interprets it as a symbol of protection for women and fertility, serving to protect unborn life.

In contrast to this is the Kolovrat, which literally means spinning wheel. A sun wheel motif with usually eight rays, it is understood as a sign of the eternal cycle of nature and stands for the sun, fire, life cycles and symbolically for the god Svarog. Nowadays, it is also popular as a pendant worn around the neck.

So-called kaptorgas, small rectangular or trapezoidal containers, were decorated with animal or plant motifs and were proven to contain protective substances, medicinal herbs or, in the Christian context, later relics. Finds from the Gniezno area show that Slavic kaptorgas were often elaborately decorated with niello inlays, indicating the high social status of their owners. These objects illustrate how the Slavic world interpreted natural phenomena spiritually and manifested them in their everyday need for protection.

Sacred animal world: horse and bird amulets

An often overlooked aspect of Slavic miniature art is animal-shaped pendants. The horse occupied a prominent position in Slavic mythology. Historical sources, such as reports about the sanctuary of Swantevit in Arkona, describe the horse as an oracle animal. Small bronze horse pendants, which are particularly common in the Baltic-Slavic contact area, symbolise strength, endurance and the connection to the divine sphere.

Small amulets with bird motifs, especially birds of prey or ducks, are also common. While the falcon was often associated with heroism and the warrior elite, duck pendants are frequently found in female burials. Research suggests that water birds played a role as creators of the world in Slavic cosmogony. These zoomorphic representations testify to a deep connection to nature and an animistic worldview that persisted in folk art and jewellery even after official Christianisation.

Technological mastery: filigree granulation

An essential aspect of Slavic metalwork is its technical complexity, particularly the use of granulation and filigree work. These techniques were often inspired by Byzantine models, but were further developed independently by Slavic craftsmen. Finds from the magnificent tombs of Mikulčice and trading centres such as Krakow show that the goldsmiths of that time had a deep understanding of metallurgical processes. The application of tiny metal beads or the laying of the finest wires required a precision that underlined the social status of the person wearing the jewellery.

In addition to these precious metal works, bronze casting using the lost wax process was widespread. This allowed the production of mass-produced goods for the rural population that were nevertheless aesthetically sophisticated. When we produce these Slavic pendants as detailed replicas, we strive to preserve this appearance in bronze and silver. We take care to preserve the surface structure and feel of the original finds. However, these pieces of jewellery are not only important for re-enactment, but can also serve as symbolic windows to the past when worn as necklaces in everyday life.

History to wear: a window to the past

Researching Slavic jewellery replicas always involves examining the history of global exchange in the Middle Ages. The presence of Oriental dirhams, which were often pierced by Vikings and Slavs and worn as pendants, as well as Nordic knot patterns in Slavic finds, shows that the medieval world was by no means static. The Slavs acted as a crucial link between the Scandinavian markets and the opulent cultures of the south and east.

We see our work as a contribution to the preservation of this cultural heritage. For us, an authentic replica is the key to understanding the material culture of that time. We are not only concerned with reproducing a form, but also with understanding the craftsmanship and ideas behind it. By preserving and replicating these pieces of jewellery, we are helping to make knowledge about the social, religious and technological contexts of early Slavic history accessible to the present day.