Decoration from the house snake cult belief system, as evidenced in...

Decoration from the house snake cult belief

system, as evidenced in Kosovan
vernacular architecture
Flamur Doli*

Abstract
This study investigates symbolic decoration arising from the
house snake cult belief system, as evidenced in Kosovo's
vernacular (popular) architecture. This snake cult certainly has
its place among the most unusual and important cults within
the survival of the belief system surrounding the protecting
house gods in Albanian popular belief.
Among the issues raised in this study, it is posited from the
very beginning that because of their character and their
symbolism, the decoration arising from the snake cult has
always been applied in the most exposed places or elements of
composition since its use had a magic function of protection
and bringing good luck. Furthermore, the use of this
ornamentation, particularly in the artistic form of bas-relief, is
notable for a compositional structure which is in organic
harmony with the architectonic and structural aesthetic concept
of vernacular building, or its structural elements.
To give as full a picture and as much evidence as possible of the
use of decoration from the earth cult of the snake either as
abstract geometric interpretation of it as a symbol, or as a
realistic artistic interpretation, there is analysis of a fair number
and range of Albanian ethnographic sites where this decoration
is to be found.
From the beginning of this study, it is shown that the snake cult
is a part of the complex ethno-cultural heritage of our people.
Taking a diachronic view, this cult has an uninterrupted history
through the arc of time from the Illyrians to the Albanians of
our own time.

                                                            
* Dr. Sc. Flamur Doli, Prof. Arch. Department of Architecture, Building and
Architecture Faculty, Prishtina University, Republic of Kosovo,
[email protected]

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128 Flamur Doli

Keywords: snake cult, symbolic decoration, protective house gods,

popular belief, Illyrian mythology, realistic figurative and abstract
representations of the snake, the sun cult.

Vernacular decoration stemming from the belief system

of the protective house gods

The snake cult has its place among the most unusual and important
cults from the survival of the belief system relating to the
protecting house gods. This cult frequently appears in the
Balkan area from pre-historic and Neolithic times. However,
when the Illyrians appeared on this land, the importance of the
cult grew to the point when it took the dominant role within the
mythological and religious system of the Southern Illyrians.
Meanwhile, the snake as a symbol of fertility, of the protection
of the house and home, or as an earth god, was connected in
many ways with the Sun cult. Among the Illyrians, as for other
peoples at that level of development, the Sun cult was the
foundation for all religious observances. It is said that it
developed most in the northern Illyrian lands.1 And despite
great challenges through history, the Illyrians maintained their
cultural homogeneity and traditions. The conservative strain in
maintaining the cults of their ancestors, and then the
unbreakable identity and spirit of the Illyrians meant that these
religious beliefs have been protected to survive into our own
times. As a consequence, as we will show below, the snake cult
still appears as a special phenomenon in Albanian popular belief.
Among the Albanians, the snake is closely connected with
the home and the family. Thus, in popular Albanian rites and
beliefs, the snake appears as a god protecting life, well-being and the
good fortune of the family.2
Depending on the period of history, snake cult decoration
has been applied in different ways, with realistic figurative
artistic representations or in abstract geometric stylisation.
Figurative-realistic artistic representation with moulded features is
                                                            
1 Aleksandër Stipçeviq, Ilirët, Historia, Jeta, Kultura, Prishtina, 1980, p.48 and p. 188
2 Mark Tirta, Mitologjia ndër shqiptarët, Tirana 2004, p.145.

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found from Neolithic times, as in the case of the terracotta snake

figure, with uniform features in all Balkan-Anatolian Neolithic
complexes.
This archaeological figure was discovered in the packed clay
layer of a house in the Neolithic settlement, 'Tjerrtorja' on the
outskirts of Prishtina. The fragmented body of the snake,
which is missing its head, is decorated with zigzag incisions
accompanied on both sides with vertical incisions (fig. 3.)3. This
snake doubtless served a cult purpose.4
Later, with the formation of the Illyrian etnikum, we also find
the snake in figurative realistic representations in the silver
bracelets found in the 6th-5th century BCE grave of a royal
Illyrian couple in Banjë e Pejës.5
The features of the formation of these Illyrian artefacts
(fig.4.), and in particular those of the bracelet, which ends in the
form of a realistic representation of a snake's head at both ends,
are an expression of the emergence of figurative representation
in Illyrian art from an early period of the Iron Age. This is
natural as the snake motif has its roots deep in Illyrian religion.6
This means that the snake cult within Illyrian mythology was
protected in an unbroken line to our own times. It is therefore
not surprising that in 2001, during the archaeological
excavations in an Illyrian centre in Kosovo - specifically the
Illyrian settlement of Çifllak 7- from the first or second century CE,

                                                            
3 The fact that, according to the mythological beliefs of that time, the terracotta figurines
disappear from human eyes leads us to understand that in the Neolithic and Eneolithic
period the religious belief system was made up of a number of concepts, in particular the
forms of its manifestations. This means that the cult of the protective house gods was
manifested in the cult's concept of invisible objects - hidden from the eyes of humans -
as well as in the concept of objects, particularly visible cult ornamentation used
deliberately in the places most obvious to the human eye.
4 Radoslav Galović, Predionica, neolitsko naselje kod Prištine, Muzej Kosova i Metohije,

Prishtina 1959, p.25, Fig. 6/1.

5 Arheološko blago Kosova i Metohije, od neolita do ranog srednjeg veka, Katalog.

Prishtina: Museum 1998 (Belgrade), p.577.

6 Milutin Garašanin, Prahistorija, Belgrade/Zagreb/Mostar 1982, page 137.
7 The settlement of Çifllak is at the mouth of the valley of the White Drin, on the right

hand side. It is bordered to the north with the village of Kramovik, to the east with
Guri i Kuq, and to the west with Meqe ad Rakovina. In this ancient centre, quality
architectural objects made by local craftsmen have been found. Luan Përzhishta, The
Illyrian settlement of Çifllak, Albanika - Ekskluzive, 71/2007, page 66.

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snake figures were discovered in a block of marble,8 which

were carved in bas-relief from the surface of the stone.9
This is the reason that fig.1 shows a real snake, Vipera berus,
from the Viperiadae family of snakes, poisonous vipers, which
populates all the paleoarctic region and thus most of the area
where the Illyrians once lived, and where Albanians live
today.10
Supported by scientific observation, we can see immediately
that the snake's heads on the Illyrian bracelet have a figurative
structure which, in every detail of its features, reproduces those
of the real snake mentioned above.11
Furthermore, the natural features of this species of snake
weren't only the model for Iron Age artists, but also for the
craftsmen of an earlier period - the neolithic, as is the case with
the terracotta snake figure shown in fig.3. Here, the craftsman of
that period decorated the upper part, the terracotta snake's
back, with zigzag incisions accompanied by vertical incisions
regularly spaced on both sides, a decoration which represents
the green/ blue colours on the back of the real Vipera berus
snake, shown in fig.1.
And if we make a great leap in time, diachronically through
the uninterrupted existence of this cult of the snake, we will see
how it survives in Albanian popular beliefs even in our own
time in realistic figurative representations. In realistic
figurative forms, the snake is used in Albanian ethnographic
artefacts, shown in fig.2.
It's also very significant that the snake shown in fig.2.12,
made by a Drenica girl with textile thread and two colours of

                                                            
8 Here too, this block of marble could have been used as the base for a stele.
9 Here too.
10 Opća enciklopedija, 7. Zagreb 1981, p.109.
11 Similarly in Illyrian art later, in the Antique period, in relief representations of the

snake in the Ripçi fragment, as well in the representation of two other snakes in the
Sestenius urn (1st - 4th century CE), we can easily distinguish the Bosnian viper
(vipera amodyttus). Since the figurative composition used in these objects relates to
the cult of the dead, it is affected by the implementation of particular compositional
schemes in the same style (cf. Dimitrije Sergejevski, Iz problematike ilirike
umjetnosti, Godišnjak III/1, Sarajevo 1965, p.124).
12 Taken from the rich ethnographic collection of Nexhmi Bardhit, Zabel i Ulët, Drenica,

1998.

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 Decoration from the house snake cult belief system, as evidenced in... 131

beads, almost entirely reflects the real snake shown in fig.1. In

this case, too, the snake's back (fig.2.), as with the Neolithic
snake, is decorated with zigzag lines, produced with three rows
of coloured beads.13 Of these, the two outer rows are worked in
black beads, while the central row of beads are green.
Because of the great importance of this cult creature in the
survival of Albanian popular beliefs, there was a tradition that girls
would make one before their marriage, for their trousseau, and
hang it on the wall of the dairy on their wedding night and it
would never be moved from there. This survival from pagan
belief has been maintained by Albanians wherever they are,
because amongst other things, this creature of the earth
symbolised women's fertility.

Figurative representation of the snake to protect the home

We find an artistic figurative representation in iron of the snake

in Albanian vernacular architecture used as a protector of the
house on the front gates to the courtyard of the ZHERKA family
home in Gjakova (fig.7., beginning of the 20th century).
Two snakes, shown in a realistic form with simplified
stylisation, make up the structure and function of the iron
latches for shutting the front gates to the courtyard of this home.
One of their eyes, as can be seen in fig.7., is formed by the end
of the extended flat piece of the latch which is decorated with
incisions in the form of zigzag lines in three rows, of which the
middle row, on both sides, is accompanied by triangles in a
regular pattern.
We also find this form of artistic representation of the snake,
symbolised with the abstract geometrical stylisation in the form
of zigzag lines accompanied by triangles on two sides, in the
Illyrian first century CE stela at Sinj (Croatia) with the Illyrian
names PAIO and CUIO (fig.11).
On this Illyrian stela, the snake cult decoration is shown in
                                                            
13 In this instance, we think that it could be stressed too much and the popular artist was
not aware of artefacts and works from Neolithic artists. However, it still means that
these two works took as their model a real snake from the same species.

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an artistic geometric composition together with decoration of

the Sun cult in the form of encircled six-sided star-rosettes.
Similarly, some centuries later, in the early middle ages of
the Arbër Period (the 6th to 8th century CE), we see the snake
cult and the Sun cult together in a brooch of molten bronze. In
the encircling part of this ornament, the snake cult motif is
shown in a meandering abstract geometric stylised form -
broken zigzag lines which encircle the figure of a creature in
whose body are five decorations from the Sun cult in the form
of concentric circles (fig.10.).

The union of the earth cult with the Sun cult

The representation of these two cults together in geometric art

occurred in accordance with the period when the appearance of
realistic figurative representations of the earth creature, the
snake, was alternated with its abstract-geometric symbolic
representation. This was in the first century BC, and in the
beginning of the common era, at the time when, according to
the expert G MANO-ZISI,14 as well as the existence of cultural
unification, a way of life, being burned in an underground
chamber or grave, we also have the union of the earth cult and the
sun cult.
The union of these two cults can also be explained by the fact
that, according to A. STIPÇEVIQ,15 the snake was not only an
earth symbol but also a symbol of plant fertility and was
connected with other sources of life, as was the Sun. In Egypt
and in Greece, the snake is sometimes seen as a personification of
the Sun.
Consequently, we also find these two cults appearing
together, whether in stylised abstract geometric form or in realistic
figurative form in the front board of cribs from the Dukagini
Plain (fig.9.) and then in the under pillar and central pillar of
the front of the hajat and in other parts of the garner in the
village of Grashticë in Prishtina municipality (fig.12., beginning
                                                            
14 Djordje Mano-Zisi, Antika, Belgrade/Zagreb/Mostar 1982, p.21.
15 Aleksandër Stipçeviq, Simbolet e kultit te ilirët, Prishtina 1983, p.60.

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 Decoration from the house snake cult belief system, as evidenced in... 133

of the second half of the 19th century16), and again in the arch of
the small door to the courtyard of the Albanian kulla of the
SYLËREXHA in Vranoc in the Barani Valley (fig.13., end of the
19th century) and then in the kulla of Rexhë FETAHU in
Gurakoc in the municipality of Istog (fig.16., first half of the
19th century), on the arched doorway of the kulla in the village
of Perla e Epërm in Mirëdita,17 on Dukagjini plain spindles
(fig.22.), on the house built in the Pulaj neighbourhood, in the
village of Vërmicë (fig.15.), on the gravestone in the Albanian
village of Vuksan Lekiq in Tuzi (second half of the 17th
century18), as well as on the arched doorway in the kulla of
Ramadan SELIMI in the village of Krajk in the Has region
(fig.19.), where there is Sun cult decoration carved in bas-relief
in the stone of the arch of this doorway (19th century) and
others.

Abstract geometric interpretation of the snake symbol

As well as these, we find the use of decoration from the earth

cult of the snake in geometric abstract interpretation of its
symbol, whether knowingly or not, in numerous instances in
other vernacular built or ethnographic sites. Thus we see it

                                                            
16 It should be emphasised that in this hambar, of megaron type, is an impressive
number of 34 ornamental motifs, mainly from the cult of the Sun but also from the
cult of the snake.
17 A. Baçe et al, Historia e Arkitekturës shqiptare, Tirana 1980, p.580.
18 Šefik Bešlagić, Stari malisorsi nadgrobni spomenici u Vuksan Lekiću, Museum of

Kosovo bulletin, no.X, Prishtina, 1970, p.376, fig.5.

From the evidence of gravestone memorials, called 'steqke', in the Malësia village of
Vuksan Lekiq near Tuzi, the author noted ancient graves of mountain Albanians of
the Catholic faith, of very great importance. He considers these graves to be dated
partly from the 17th century and mainly in the 18th century. From the illustrations
given in this study we can see that on the gravestones is bas-relief and high-relief
carving of a host of ornamentations with a variety of cults which are relics of pagan
belief. Represented here are the cult of the Sun, the earth cult of the snake and other
animals of the earth, and the cult of the protection of nature, particularly the gods of
vegetation etc. As part of this complex of ornamentation with particular
symbolism, other geometric shapes have been carved, including triangles and
ornamentation using a great variety of complex forms, as well as range of arms of
different types etc. This means that in this case we are dealing with a very complex
social and religious belief or phenomenon.

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used in Albanian popular textiles, particularly on women's

costume woven at home, and also in men's clothing, on the
capital of cradles, and on wedding chests, on the shuttle of
loom, on spindles, on basketwork (bassinets), etc.
We find an abstract geometrical interpretation of the snake
produced by zigzag form incisions on Iron Age two-handled
clay bowls (4th - 5th century BCE, fig. 5.19), found in the Illyrian
tumulus necropolis in the village of Romajë in Dukagjini. We
also find this abstract figurative form, as we see in fig.6., in the
cradle belt - capital made with coloured beads, and in cushions
from Dukagjini (fig.8.), round gates, on the front of the hambar
in Grashticë (fig.12.) as well as in handtowels with embroidered
motifs from the end of the 19th century in Dukagjin. By
observation of the cushion from Dukagjin and the details in the
front of the garner in Grashticë we understand that, as well as a
number of similarities between these two geometric
representations of the snake, their ends are notable for their
similar structure. To these facts we can add that the dots
between the zigzags on the garner decoration are the same as
those we see in Illyrian archaeological finds.
Meanwhile, we find the belt-capital of the Drenica region
cradle with abstract geometric use of the snake symbol in
numerous cases. Invariably the colour blue is used in their
weaving and decoration with beads. A concrete example of this
is the blue beads used to form triangles which are accompanied
on both sides by a meander in zigzag form. As with the use of
blue, the triangles are used for their apotropaic function.20 The
ethnographic object, the capital, is placed above the cradle
surround. In many cases, a snake is carved on this part of the
cradle in a realistic artistic style. In Dukagjini, we find such

                                                            
19 Arheološko blago Kosova i Metohije, od neolita do ranog srednjeg veka, Katalog.
Prishtina: Museum 1998. (Belgrade), p.570.
20 Also deserving of mention here is the survival of the less prevalent pagan belief of the

cult of snake sacrifice for good luck in building a home. As far as we have learned,
the practices of this cult was also carried out at the ground-breaking ceremony for
the Bajraj family kulla in the village of Istog i Poshtëm, when a snake was killed and
its blood poured around the foundations, and finally its body was walled up on the
east corner of these foundations (cf Ukë Xhemaj, Etnokultura shqiptare në Podgur,
Prishtina 2003, p.259)

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 Decoration from the house snake cult belief system, as evidenced in... 135

chiselled snakes also on the outer side of the side panels of the
cradle21, and on the capital of a cradle from a village near Peja22,
as well as on a cradle from Podguri,23 and on the capital of
another cradle from Kosovo,24 etc.

Representations of the snake in a realistic artistic form

As we said earlier, we find realistic representation of the snake

carved on the arched doorway of the SYLËREXHA kulla in
Vranoc25 (fig.13.), as well as on a cornerstone of the 'long house'
near the entrance gate of this kulla (fig.20.), and in a arch feature
of the window built on the second storey - on the side elevation
of the kulla of Ali GECI in Llukë e Poshtme near Deçan26, fig.21,
as well as on the arched doorway of the kulla of Ramadan
SELIMI in the village of Krajk in the Has region (fig.19.), on the
arched doorway of the kulla of Sadri SALIHI in the village of
Dubovik in Dukagjini (fig.17.), on the cornerstone of the kulla of
Haxhi ZEKA in Peja, on the front elevation of the kulla of Rexhë
FETAHU in Gurakoc near Istog (fig.16.), on the right hand
upright of the arched doorway of the kulla of Bardhosh DINA
in Dubovik, in the municipality of Deçan,27 etc.
In the context of all this, we will pay special attention to
representations of the snake in a realistic figurative form,
shown in bas-relief (showing moulded above the surface of the
stone). This snake decoration can be seen on the right hand
vertical stone of the arched doorway of one of the kullas built in

                                                            
21 See: the author's extensive photo-documentation
22 Mark Krasniqi, Gjurmë e gjurmime, Prishtina 1979, p.457.
23 Ukë Xhemaj, Etnokultura shqiptare në Podgur, Prishtina 2003. p.317.
24 See the author's photo documentation.
25 In the context of the Vranoc kulla in the Barani Valley it should be emphasised that

from the fieldwork done we can see that the Albanian vernacular architecture in
this area is notable for a very rich ornamented symbolism.
26 On the arch of this window, in bas-relief from the surface of the stone, two snakes are

carved, with their heads uppermost, looking at one another. I.e. the artistic
compositional representation of these two snakes is a compositional structure, i.e.
symmetrical, against the vertical shaft of the window, and on its arch.
27 In this case we see two snakes in parallel positions, sloping with heads uppermost

carved in bas-relief from the surface of the stone.

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136 Flamur Doli

the HOXHAJ neighbourhood in Junik.28

As we can see from the above, because of the character and
their symbolism, these snake ornamentations are always shown
in the most exposed places, since their use had the functions of
magic, protecting and bringing good luck. Furthermore, the
use of this ornamentation, particularly in the artistic form of
bas-relief, is notable for a compositional structure which is
organically in harmony with the aesthetic conceptualisation of
the structuring and architectonics of vernacular architecture, or
with elements of its structure.

The cults of the sun and the snake

On the SYLËREXHA kulla in Vranoc, on the arch of the small

door to the courtyard, through which family members and
guests enter, there are a total of seven (7) decorative motifs
from the cult of the Sun and the snake (fig.13.29). Meanwhile, the
                                                            
28 As part of this belief system from the snake and Sun cults, we have two other astrological
motifs, showing the half moon, carved on both sides of the sun motif in the form of
a spiral. Similarly, on the arched doorway of the kulla of Ramadan Selimi in the
village of Krajk in the Has region, as well as decoration from the snake and Sun
cult, we see three other astrological motifs showing the half moon. The same motif from
the moon cult, together with an earth creature is also carved on a cornerstone of the
kulla mentioned above. Furthermore, the half moon motif, together with the snake
as an earth creature, carved in a realistic representation, can be seen on the arched
doorway of Sadri Salihi's kulla in the village of Dubovik in Dukagjini. It is clear that
this representation, together with those relics of belief in the moon, the Sun and
other natural phenomena, are complex expressions of pagan beliefs related to
nature.
29 Two such decorations are also carved on the lower arch of the right hand window of

the men's oda, set on the front elevation of this kulla. On entering the kulla's
courtyard, whether we like it or not, our glance is drawn to the arched doorway of
the kulla entrance and to its rich and aesthetically pleasing ornamentation, so rare
for a kulla. On the lower part of the arch of this door, on either side two decorations
from the Sun cult are carved in the form of encircled six-sided star-rosettes.
Similarly, another ornamentation of the same type is carved on an edging stone on
the top of this arch, with slightly larger dimensions in comparison with the two
decorations below. These three decorations together make up a series of ornaments
with circular contours which, in Illyrian times, symbolised the sun trinity, meaning
the Sun in the east, at its zenith and as it sets. On the left hand pillar of the arched
doorframe, two geometric decorations are carved, the likes of which we see used
everywhere in the physical culture of Albanians. Between these two decorations is
carved another circular decoration from the Sun cult, with smaller dimensions
 
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 Decoration from the house snake cult belief system, as evidenced in... 137

great arched doorway to the courtyard, on the rear section of

the right pillar, as well as the left section of the arch, each have
decorative engravings of the Sun cult in the form of a six-sided
star-rosette, within a circle30. Similarly, on the front (eastern)
elevation of the kulla, near the door mentioned, on roughly the
middle stone carved on the left corner of this elevation, there is
another decorated motif from the snake cult. In this case, the
snake carved on the stone in bas-relief, standing out against the
surface of the stone, has its tail curled in a spiral, or as the
common expression is, 'curled like a coil' (fig.18.).31
The representation of the snake in vernacular architecture in
the forms described above, particularly in its carving in the
characteristic position, from which the snake observes and checks
anyone coming into the courtyard or the house immediately
symbolises the protective god of the house and family
members.
As Zyliha (Gunga) DOLI, born in the ninth decade of the
19th century, frequently told people, the house snake which was
fixed in the stones of the great courtyard of his house, in the
Çabrat neighbourhood of Gjakova, knew and protected every
member of the family living in the house. According to him, they
often saw the house snake curled like a coil. So the snake cult in
Albanian popular belief, as a relic of ancient pagan beliefs, was
not only thriving in the villages, but was a powerful force even
in the cities.
In addition, we also learn that in the past in popular belief and
ritual the snake was represented as an earth creature with totemic
powers.
Totemisation refers to the belief in primitive traditional
human communities that a mythological relationship exists
between humans, on the one hand, and animals and plants on
the other, in which the creatures and - less frequently - the
                                                                                                                                
when compared with the Sun trinity. Furthermore, within this kulla, on its third
floor, in the men's oda and the divanhanja, on the front of the chimney of the hearth,
beautifully formed, there are similar decorative motifs from the Sun cult in the form
of encircled six-sided star-rosettes, in two compositional variations.
30 Particularly above this stone, on the other elevation - the kulla's southern side, we

have another deep-relief carving of another astrological motif showing the half-moon
31 Aleksandër Stipçeviq, Ilirët... op. cit. p.197.

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138 Flamur Doli

plants, are seen to have the role of protectors of the ancestors of the
tribe or of the clan. This mythological phenomenon, known to
have existed among the Illyrians previously, and unbroken in
its continuation, survives in popular Albanian belief.
The belief system surrounding ornaments with a range of cult
symbols, carved in the kulla of Ramadan SELIMI in the village of
Krajk in the Has region is also a element within the defined
context described above.
On the arched doorway of this kulla, a total of 14 (fourteen)
decorations are carved. Moreover, on one of the cornerstones
of this kulla two decorations have been carved, while just one
decoration has been carved on the other stone.
In the current study we will not stop for wider full
individual explanations of the symbolism of these decorations,
suffice to say that they are part of the decorations of the earth
cult - creatures of the earth and thus the snake cult, the sun cult,
the horse cult, as well as the vegetation cult together with the cult
of birds.
As part of this belief system surrounding ornaments with
particular symbolism, in bas-relief, there are also carvings of
other astronomic and apotropaic ornaments, such as the half
moon and the triangle, as well as three other ornaments from
the cult of craftsmanship.

Conclusion

In this analytical study it has therefore been clearly proved that the
cult of the snake is a part of the complex ethno-cultural heritage of our
people. This cult developed diachronically, in an unbroken line of time
from the Illyrians to the Albanians of today

Translated by Trankos

References

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 Decoration from the house snake cult belief system, as evidenced in... 139

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Fig.1.

Fig.2.

Fig.3. Fig.4.
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Decoration from the house snake cult belief system, as evidenced in... 141

Fig.5.

Fig.6.

Fig.7.

Fig.8.
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Fig.9. Fig.10.

Fig.11. Fig.12.

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Decoration from the house snake cult belief system, as evidenced in... 143

Fig.13. Fig.14.

Fig.15.

Fig.16.
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Fig.17. Fig.18.

    
Fig.19. Fig.20.

  
Fig.21. Fig.22. 

Thesis Kosova, no. 1, 2009