Cosmic Hunt mythology motif of Northern Eurasia and the Americas yet absent in other parts of the World

“Researchers treat the possible reflections of the Cosmic Hunt myth in the rock art of Karelia, Siberia, the Far East, and Northern Mongolia. The analysis comprises the more interesting groups of depictions, located on the coast of Lake Onega on Cape Peri Nos III, and on the northern Cape of Besov Nos, in Old Zalavruga by the White Sea, in the river basin of the Lena River in Central Siberia and elsewhere. A conclusion is reached that due to the fading of the contents of the myth and the specifics of rock art, it is difficult, if not impossible, to prove the relevant connection. Therefore, it might be concluded that in the written materials, many motifs of rock art have too easily been associated with the Cosmic Hunt myth.” ref

“The images of the Cosmic Hunt are relatively widespread within Northern and Central Eurasian, as well as American, peoples. The reflections of the discussed heavenly myth have also been suggested on several rocks in Northern Eurasia. The researchers of rock art have defined the myth in question differently. For example, M. Khlobystina distinguishes two versions of the myth. In one case, a certain elemental force (at first in a zoomorphic, later in anthropomorphic form) pursues another elemental force, and in the other situation a certain monster is constantly hunting the Sun or the stars. In the extensively detailed book about Russian rock art the researchers, from Moscow, Ekaterina & Marianna Devlet, treat the first version in the chapter with the title “Cosmic pursuit” («Êîñìè÷åñêàÿ ïîãîíÿ»), the other version in the chapter named “Heavenly hunter” («Íåáåñíûé ñòðåëîê»), without clearly distinguishing the concept ‘cosmic hunt’ (êîñìè÷åñêàÿ îõîòà) which is, however, used in both cases.” ref

“In the case of cosmic pursuit, a certain animal, which epitomizes the ever-lasting darkness of the underworld, chases after and tries to destroy the source of light, the Sun. This might suggest either the alternating of day and night, or a solar eclipse. The Devlets describe two motifs: in one case, a circular sun (as a solar symbol) is depicted, and in the other case, an elk-shaped astral body. The first motif can also be found in Siberian rock art where the animal depicted in West Siberia, in the vicinity of the Tom River is obviously a bear, whereas, towards the East the image is more of a dragon-shape, similar to

Chinese mythology. In these instances, an animal figure in profile can be seen on the rock, with a circular disc or a circle around its muzzle in the majority of cases, or, infrequently, a star.” ref

“According to the Devlets, the subject matter of the ‘heavenly hunter’ comprises prehistoric tales and pictures in which 1) the Sami thunder god, featured as a giant hunter, chases the Sun – depicted as a rushing reindeer with golden horns a hunter (culture hero) chases a predator who tries to catch a sun elk, and 3) a hunter (culture hero) kills several suns that concurrently shine in the sky and ravage the earth. In the current study, the Cosmic Hunt is treated solely as the second option suggested by the Devlets. A serious problem in the research is whether, in rock art, it is possible to identify myths at all considering the relatively scarce data, and if yes, with what likelihood.” ref

“The reason being the blurring and further development of ancient myths in the course of millennia, wherefore in rock art it mostly remains unclear as to who or what is depicted on a certain image. For example, the elk was an especially important animal in the Eurasian forest zone, both in the economic and cultural sense. The relevant plots, associated with the elk in rock art, have been divided into the following groups: 1) scenes connected with biology and behavior of the animal (rut, the birth of an elk calf, migrations), 2) hunting scenes, and 3) religious scenes. On the basis of the North Eurasian myth remains it is difficult to determine whether a certain elk figure marks the Earth, Sun, some constellation, theriomorphic fairy or an ancestor, etc. However, in certain instances, the theme of the Cosmic Hunt should be looked for in rock art, especially in cases where the images can be accurately identified, and the composition (the scene) on the rock comprises a possibly larger number of characters.” ref

NORTH ASIAN SCENES

“Regarding North Asia, there are two compositions from the Far East, suggested by the rock art researcher Anatolii Mazin, as well as works of rock art found in Altai and the northern part of Mongolia that have been considered reflections of the Cosmic Hunt.” ref

KARELIAN SCENES

“The Neolithic engravings by Lake Onega, which appear in contact with the engravings depicting a celestial body, might be considered heavenly creatures (e.g. a single elk image of Cape Karitski and Cape Peri Nos VI, an animal-headed anthropomorph of Cape Peri Nos III) but these can hardly be connected with a definite myth. A scene on Cape Peri Nos might be considered one of the more plausible representations of the Cosmic Hunt myth, whereas the connection, of the scene on Cape Besov Nos with the myth, is more unlikely.” ref

“In the literature on rock art, some scenes are far too easily regarded as representations of the Cosmic Hunt. It should be admitted that there is hardly any ground to associate the scenes depicting elk or deer hunting with the Cosmic Hunt myth, whereby there is no visible connection with the luminaries, and even more so if we are dealing with figures of archers on foot or on skis, without a (prey) animal. Likewise, it is difficult to prove the Cosmic Hunt myth in petroglyphs, where the respective attributes or hunting elements cannot be seen. The suggestion of the relevant theme is inhibited by the fact that

the rock depictions are excessively schematic and do not allow unambiguous identification. In some cases, it is possible to show that we are dealing with myths associated with celestial bodies, but which of these, remains unclear.” ref

“The establishment of the relevant connection is more complicated as the myths have been fading over time. Thus, it can be very cautiously suggested that from among the above-discussed compositions, it is the scene of Cape Peri Nos III by Lake Onega, and the one at the Maia River in Central Siberia that seem to be the most certain representations of the Cosmic Hunt. Despite thumbing through numerous reference sources, the present author has found no information about the possible representations of the cosmic myth in Finnish and Scandinavian rock art. For example, among the numerous petroglyphs of Central Sweden, that depict a species of Cervidae, there is only one elk figure struck through with a (big) spear, although there is no hunter depicted in the vicinity. As becomes evident from the above-described, it is very difficult to prove the presence of a cosmic myth in rock art. While continuing the relevant research, the possible thematic compositions of the whole world should be analyzed in great detail. But can they be found elsewhere?” ref

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Cosmic Hunt: Variants of Siberian-North American Myth

“The mythological motif of the Cosmic Hunt is peculiar to Northern and Central Eurasia and for the Americas but seems to be absent in other parts of the globe. Two distinct Eurasian versions demonstrate North-American parallels at the level of minor details which could be explained only by particular historical links between corresponding traditions. The first version (three stars of the handle of the Big Dipper are hunters and the dipper itself is an animal; Alcor is a dog or a cooking pot) connects Siberian (especially Western Siberian) traditions with the North-American West (Salish, Chinook) and East (especially with the Iroquois). The second version (the Orion’s Belt represents three deer, antelopes, mountain sheep or buffaloes; the hunter is Rigel or other star below the Orion’s Belt; his arrow has pierced the game and is seen either as Betelgeuze or as the stars of Orion’s Head) connects the South-Siberian – Central-Eurasian mythologies with traditions of North-American West – Southwest. Both variants unknown in Northeast Asia and in Alaska probably date to the time of initial settling of the New World. The circum-Arctic variant(s) (hunter or game are associated with Orion or thePleiades) are represented by neighbouring traditions which form an almost continuous chain from the Lapps to the Polar Inuit. This version could be brought across the American Arctic with the spread of Tule Eskimo.” ref

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Milky Way as tracks of Cosmic Hunt

Many cultures see the Milky Way as related to the Cosmic hunt.

“The Cosmic Hunt is an ancient and widely distributed family of cognate myths. The story involves a large animal pursued by hunters; the animal is wounded and transformed into a constellation. Variants of the Cosmic Hunt are common in cultures of Northern Eurasia and the Americas, and include the story of Callisto in classical sources. The prey animal is either a bear or an ungulate, and the associated constellation involves the four stars of the bowl in the Big Dipper asterism of Ursa Major. In some variants blood or grease may fall from the wounded animal; in an Iroquois version the blood causes leaves to change color in autumn. Sometimes the hunters are also placed in the firmament, represented by the stars of the Big Dipper’s handle. The original prototype of the myth likely originated over 15,000 years ago, and diffused across the Bering land bridge. It has been suggested to provide evidence for punctuated equilibrium as a system for myth evolution.” ref

“The mythological motif of the Cosmic Hunt (F59.2 according to S. Thompson’s index) is defined as follows: certain stars and constellations are interpreted as hunters, their dogs, and game animals, killed or pursued. This motif forms the core of the tales typical for northern and central Eurasia and for the Americas but is rarely, if at all, known on other continents. In the folklore of the aborigines of Australia, only some texts from Victoria have any relation to our theme. According to them, two brothers kill a cannibal emu. One of the stars is considered to be its eye, and the dark patch between the Southern Cross and Centaurus is its body. No hunt is described, and the emu is not a game but an enemy, a monster.” ref

“We can conclude that the spread of the Cosmic Hunt motif itself is evidence in favor of mythological links between Siberia and the Americas. Such links become more specific as to their area distribution if we address the particular variants of the motif. The combinations of stars that form constellations recognized by the Europeans and by people of other continents rarely coincide. Only Orion, the Pleiades, and (in the Northern Hemisphere) the Big Dipper have such characteristic outlines that they play some role in most of the world mythologies. However, the relative stability of the composition of these constellations makes the diversity of their associations even more obvious.” ref

“Among the Munda and Dravidian groups of Western Bengal, Bihar, Orissa, and Madhya Pradesh, the Big Dipper is a bed with one leg broken off, among the Muskogeans of the American Southeast, it is a canoe, among the Californian Numic Indians it is a net put out by the Rabbit, among the Alaskan and Western Canadian Athabaskans it is a one-legged man. For most of the Indians of Guyana, Orion is a one-legged man, while the Yupic Eskimo of Alaska interpret the Big Dipper as poles with skin ropes tied to them. Such examples are truly numerous.” ref

“As for the particular form of the hunt, the communal hunt with many animals driven by a crowd of people is never described. The celestial hunters always pursue the only game animal or a small group or such animals. For example, in a myth of the Carrier Athabaskans of British Columbia, the stars of the Big Dipper are the hunters, and the Pleiades are the caribou. Usually the hunters pursue one big mammal such as a bear, an elk, a dear, an antelope, a mountain sheep, or a tapir. Only in the myths of the Chacoan and Patagonian Indians of South America is the game a big bird, the rhea.” ref

THE FIRST (WESTERN-SIBERIAN) VARIANT

“The first variant of the Cosmic Hunt is conditionally named the Western Siberian one. Several men pursue an elk (in most of Eurasian versions) or a bear (in most American tales), the hunters being associated with the stars of the handle of the Big Dipper, and the animal with the dipper itself. As a Polar constellation, the Big Dipper could easily attract the interest of the people of the Northern Hemisphere, but the stable association of the hunters and of the animal with certain stars cannot be due to this fact alone. Besides, in the Arctic where the Big Dipper is seen best of all, it does not play any role in the Cosmic Hunt tales. The peculiarity of this variant of the myth is much strengthened by the fact that a weak star near Mizar (the second star of the handle) is interpreted as a cooking pot carried by one of the hunters. Such a motif is known to the Khanty, the Selkup, the Ket, the Khakas, and to the western (but not to the southeastern) Evenk.” ref

“In America, it is found again among the Iroquois, both the northern, in particular, the Seneca, and the southern Iroquoian speakers, i.e. the Cherokee. The Cherokee are Iroquoian speakers but they are not Iroquois proper. These are the Seneca, the Cayuga, the Oneida, the Onondaga, and the Mohawk, the tribes who joined together to form the Iroquois Confederacy. So this allows to presume the existence of the motif at least at the time of the Iroquois language unity, because the Northern and the Southern Iroquois were not in direct contact in historic times.” ref

“There are other mythologies in which the four stars of the Big Dipper represent an animal (or a storehouse in which the animal has approached), and the three stars of the handle are described as the hunters. Such ideas are recorded among the Orochon Evenks, the Udeghe, and the Oroch of the Russian Far East. In America, they were known to the Coastal and Interior Salish, including the Lillooet, Thompson, Shuswap, Hakcomelem, Snohomish, Coeur d’Alene, and possibly, Twana.” ref

“The same version was known to some Chinook groups, the neighbors of the Salish. In eastern North America, the constellation was interpreted in the same way by the Mohawk Iroquois and by several Algonkian people to the west (the Fox) and to the east of the Iroquois (the Lenape, the Micmac, maybe to the Penobscot). This interpretation of the Big Dipper is mentioned by the late 17th – early 18th century sources on the inhabitants of Eastern Canada and New England. For other Algonkian groups of the Midwest and Eastern Canada (Menomini, Ojibwa, Naskapi) the Big Dipper was a fisher (Martes pennanti) with an arrow stuck into its tail.” ref

“In many of the versions described above, a certain weak star continues to play some role, though its interpretation is different, being not a cooking pot but a dog of one of the hunters. In Siberia, such an interpretation is typical for the Orochon Evenk, the Udeghe and the Oroch, and in America, among the Salish, the Chinook, the Mohawk, the Lenape, and the Fox. In all cases when our sources are adequate enough, they identify this star with Alcor. On the star map, Alcor is very near to Mizar (second star of the handle) and the capability to see this weak star was always a test to prove one’s sharp

sight. It seems that Alcor was the smallest of the sky objects singled out in the pre-scientific era, the fact reflected in the Ancient and Medieval Chinese, Arab, and Latin texts.” ref

“In connection with the Cosmic Star tale, the Big Dipper without the associations mentioned above (the handle as three hunters, Alcor as a pot or a dog) appears in several other Eurasian and North American stories. Interpretations found in the Khakas (seven foxes), Nenets (elk), Ob-Ugrian (elk), Evenk (elk) tales do not change the geography of the image in question, but the Ancient Greek (bear), Mari (she elk with her calf) and Chuvash examples (mounted hunters with their dogs) prove that the Cosmic Hunt myth describing with the Big Dipper as the main sky object was known not only in Asia but also in Europe. In the Bering Sea region, the Koryak, the Kamchadal, and the Aleuts identified the Big Dipper with a deer or elk but there is no data on any connection of this image with the Cosmic Hunt myth.” ref

The second (Central-Asian) variant

“The Turkic and Mongolian cases of the Central-Asian variant of the Cosmic Hunt myth were studied in detail by S. Nekliudov (1980). This variant is known across all the area from southern Siberia to India. The most important sky objects are the three stars of Orion’s Belt, which are interpreted as three deer or antelopes. One of the neighboring stars is an arrow (or a bullet in later versions), shot by the hunter to hit the animals. Such texts, some of them rich in details, others not, are recorded among the Kazakhs, the Kirgiz, the Tibetans, the Tuvinians, the Altai, the Teleut, the Telengit, the Khakas, the Tofa, the Buriat.” ref

“There is not enough data on the cosmography of Xinjiang but the existence of a Tibetan version enables to suggest that the area of the motif encompassed all Central Asia and that the Uigur were familiar with the story just as well as other Turkic-speaking peoples of the region. The Indian version is similar to the Central Asian ones, though not quite identical with them (Orion is a stag, three stars of Orion’s Belt represents an arrow that has pierced the animal. It could well have been brought to South Asia by the Indo-Arians. No Cosmic Hunt is known in China where the Big Dipper was a locus rather than a personage.” ref

“In western and eastern Siberia, the borderline between the Central-Asian and the Western-Siberian variants coincides with the frontier between the Turkic and Mongolian people to the south, and the Uralic, Yenissei and Tungus people, to the The Cosmic Hunt: Variants of a Siberian – North-American Mythnorth. Both geographically and thematically, the Khakas version from Radlov’s collection is between the main types. Unlike other Khakas variants, it belongs to the West-Siberian type, but hunters pursue not an elk but two deer. Just as the Western Siberian variant, the Central-Asian one has analogies in North America, in particular in the southwestern part of the continent across the Great Basin, Southern California, North-western Mexico, and the Great Southwest.” ref

“Corresponding texts are recorded among different Yuman peoples, among the Seri (probably distantly related to the Yuma), among the tribes of the Numic and Takic divisions of the Ute-Aztecan family, and among some Apachean groups. The latter could hardly bring these ideas from their Canadian homeland but borrowed them from some of their Southwestern neighbors. Only the Algonkian Gros Ventre version (the Northern Plains) stands territorially slightly apart from the others. Among the Paviotso, Chemehuevi, Yavapai, Maricopa, Kiliwa, and Gros Ventre the Orion’s Belt represents three ungulates (mountain sheep, antelopes, buffaloes), pursued by hunters. Among the Mojave, Tipai, Cocopa, Seri, the Takic (Cahuilla, Luiseño, Cupeño), Western Apache, Mescalero, Lipan and Southern Ute, three stars of Orion’s Belt are interpreted as one single animal. When additional details are available, the Orion’s Sword is always associated with the feathered tail of the arrow and the stars of the Orion’s Head are the arrow tip.” ref

“The stars identified with the hunter are in every case below Orion’s Belt. That is also typical for all Turkic and Mongolian versions. The only difference is that in Asia the arrow that has pierced animals is considered to be smeared with their blood and is accordingly associated not with the Orion’s Head but with Betelgeuse, the bright red star slightly to the left. Similar interpretation is, however, included in some American versions. At least the Cahuilla identified the hunter with Rigel which is on the other side of Orion’s Belt directly opposite Betelgeuse. Identified with Rigel, the hunter has to shoot in the direction of Betelgeuse. In the Apachean myths, Betelgeuse grew red from anger when the arrow missed its aim (the mountain sheep) and almost hit this star. The association of three bright stars of Orion’s Belt with three animals or persons could well appear independently (cf. Spanish Tres Marías). However, the arrow tip associated with one of the bright celestial objects above the Orion’s Belt (Orion’s Head or Orion’s Shoulder, i.e. Betelgeuse) is too specific to be a random coincidence.” ref

The third (Circum Arctic) variant

“This series of tales is not so uniform as the two previous ones, and consists of two or three separate versions in all of which the Orion and/or the Pleiades are associated not with the animals but with the hunters. Among the North-Alaskan Inupiaq, the hunters (the Pleiades) pursue polar bear (Aldebaran). The Mackenzie River Eskimo mention dogs in the sky which accompany hunters. In this case, no association with constellations is provided, but among the Copper Eskimo, closely related to the Mackenzie groups, men who pursue the bear are the stars of the Orion’s Belt.” ref

“The Netsilik Eskimo farther to the east, hunters and their dog pursue a bear and are associated with the Pleiades. For the Iglulik and the Polar Eskimo, the Pleiades are dogs and a bear which they encircled, while for the Labrador Eskimo bear and dogs seem to be identified with the Orion. For the Baffin Land Eskimo, Betelgeuse was the bear, Orion’s Belt represents the hunters, and Orion’s Sword was the dog-sledge. All these Cosmic Hunt stories have been recorded among the Inuit – Inupiaq branch of the Eskimo with no such a story in Alaskan Yupic folklore. Like many other tales, the Inuit-Inupiaq Cosmic Hunt myths find parallels not in Southwestern Alaska, but to the west of the Bering Strait. Among the Chukchi and the Koryak, the Orion (i.e. the hunter) pursues the reindeer associated with the Pleiades or Cassiopeia. Much further to the west, the Lapp version is the nearest parallel for the Chukchi one. According to it, the hunter is also Orion, and the elk or reindeer pursued by him is Cassiopeia.” ref

“The Yukagir cosmology is poorly known. The Mestizos of Markovo (with a probable Yukagir substratum) describe the Big Dipper as an elk pursued by three brothers and three sisters, their story being somewhat similar to the Evenk ideas. In Yakut myths the Orion pursues the elk, the Big Dipper is not mentioned. The Yakut tradition is heterogeneous. Some versions describe a lonely hunter whose ski path turned into the Milky Way, which is typical for some Western Siberian, Tungus, Negidal and Ugedhe-Oroch stories. Other Yakut tales not relevant to the origin of the Milky Way, describe a group of hunters.” ref

“In America, the interpretation of the Milky Way as a ski path is present across Alaska and British Columbia among the Tlingit, Central Yupic, Ingalik, and Tahltan, but only among the Tlingit is this image connected with the Cosmic Hunt tale. Among the Even (Lamut) three hunters who pursue mountain sheep are associated with the Pleiades. The Pleiades mentioned in one of the Nganasan versions are hunters who catch the reindeer with a net. The association of hunters with Orion or with the Pleiades is a feature shared by Yakut, Nganasan, Even, and the Chikchi–Inuit versions.” ref

Conclusions

“The first and the second variants of the Cosmic Hunt tale demonstrate Eurasian–North-American parallels at the level of minor details which could be explained only by particular historical links between the corresponding traditions. According to the first variant, three stars of the handle of the Big Dipper are hunters, and the dipper itself is an animal, while a weak star of the handle, most probably, Alcor, occupies a special place in this picture. Its association with a dog and especially with the cooking pot carried by the second hunter is highly specific and could not emerge independently in Asia and in America.” ref

“The second variant of the Cosmic Hunt contains such specific details as the association of the three stars of Orion’s Belt with three deer, antelopes, or mountain sheep and especially the association of the hunter’s arrow (or its point) with Betelgeuse or with the group of stars which form the Orion’s Head. Estimating the possible time sequence of the penetration of the described variants of the myth into the New World, we should take into consideration how distant from the Bering Strait the corresponding areas are. The deeper into inner Asia and inner America, the less probable is a recent spread of the myths.” ref

“The Western Siberian and Central-Asian variants are differently localized both in the Old and in the New World. To understand relations between them, we should remember another Eurasian–North American motif, i.e. the transformation of seven brothers into the Big Dipper. Its area in the Old World largely coincides with the area of the second variant of the Cosmic Hunt. In America, it occupies the Plains, i.e. is in between the Salishan (the western) and Iroquois – Algonkian (the eastern) parts of the area of the tale about three hunters who pursue a bear. The Western-Siberian variant of the Cosmic Hunt contains details which are also found in the Seven Star Brothers story.” ref

“In both cases, the principal stars of the Big Dipper (all seven or only three stars of the handle) are separate persons and not one man or object like a carriage, a bed, etc. In the Seven Brothers tales of the Plains Indians, Alcor also plays its special part being identified with a younger sister of the brothers (Blackfoot), their younger brother or child (Crow), (Cheyenne), (Wichita) or with the sister’s dog, (Crow).” ref

“The Central-Asian variant of the Cosmic Hunt myth and the Seven Star Brothers’ motif could have been brought to America by migrational episodes which were close to each other in time. Most probably, it was the time when a large set of motifs recorded across Central Eurasia, on one hand, and across the Plains and Midwest, on the other, was brought across the Bering Strait. The absence of these motifs in South America makes improbable their connection with the initial stages of the settling in the New World. As for the Western Siberian variant, geographically localized nearer to Chukotka and Alaska, it could have reached North America later. In both cases, however, we speak about the time before the spread of the Eskimo, Paleoasiatic, Tlingit, and Athabaskan groups across Eastern and Western Beringia.” ref

“The problem of Paleoasiatic origins is beyond the scope of this paper, still we should notice a fact which can direct the search. Among the Chukchi, the Orion was considered to be a humpback since the time when his jealous wife (constellation of Leo) hit him with a heavy board because of the attention he paid to the Pleiades women. A similar plot was recorded among the “Tangut”, i.e. the Tibetans of Chinghai. Gachari (a certain red star), a jealous husband of the Pleiades, broke Orion’s back with a stone because of his supposed interest in Gachari’s wife. Such a parallel is not a proof of any special connections between the Chukchi and the Tibetans, but it still is an argument in favor of the inner Asian homeland of some of the Paleoasiatic ancestors.” ref

“In the case of the third, circumpolar variant of the Cosmic Hunt, it is totally possible that the Lapp and the Chukchi versions, which identify the hunter with the Orion, have preserved the form of the myth widespread across Far Northern Asia before the relatively recent migration of the Samoyed, Turkic, and Tungus peoples. The absence of this version among the Yupic and its presence among the Inuit-Inupiak make one suggest that it had penetrated the Eastern Arctic only after the BC/AD transition together with the neo-Eskimo Thule tradition. The Inuit Eskimo texts have little in common with the Cosmic Hunt tales of the American Indians. The Arctic variant, with the Orion being the hunter, is separated from other

American versions by the Subarctic, where in the Athabaskan mythologies, the “astral code” is quite undeveloped. No Cosmic Hunt tales have also been recorded among the Muskogean and other non-Iroquois peoples of the Southeast or in Mexico (besides the Seri) and Lower Central America. This fact supports the hypothesis about different Eurasian origins of the separate groups of American natives, not only the Eskimo, the Aleuts, and the Na-Dene, but of different Amerindian tribes.” ref

Cosmic Hunt mythology motif of Northern Eurasia and the Americas yet absent in other parts of the World

Paganism 12,000-4,000 years old

The Atheist-Humanist-Leftist Revolutionaries Shows in the prehistory series:

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