A visual comparison of the Celtic god Taranis and the winged sun wheel symbols found in 3rd millennium BCE artifacts, suggesting early aerial anomalies.
THINK ABOUTIT UFO SIGHTING REPORT
Date: 3rd millennium BCE
Location: World Wide
Summary/Description: Bronze Age Discs: F.W. Holiday’s research into disc symbols in early Britain, often found alongside “dragon” or “pestie” iconography.
F.W. Holiday Discusses the appearance of the Disc symbol in early Bronze Age iconography in Britain. It often appears in conjunction with a Depiction of the ‘pestie’ or Dragon. Holiday notes the prevalence of the so-called “sun wheel” in pre-Celtic iconography, and the Discoid appearance of many burrows and mounds. He points out that what many scholars have called a “sun wheel” is, in fact, often Depicted as a winged Disc – much like the purported layout of the Avebury stones. (He also points out that many cultures have a custom of setting wooden Disks and hurling them through the air to repel evil, usually at night…)
The wheel is often named for Taranis, the thunder-god, who rumbled and boomed as he moved through the sky. (Sound familiar? “skyquakes”?) It also often seems to have legs as well as wings.The Eye symbol, related to the one-eyed god Odin and the eye-god Horus, is also prevalent in the Bronze Age culture, and there are numerous reports of so-called “Eye”Discs in UFOlogy. Other UFO Designs, such as the conjoined Discs, ‘cloud cigars,’ and the Dome, appear replicated as curious Bronze Age artifacts from Britain.
In many cases, the Disc is Depicted in battle against the serpent, which Holiday assumes means the Disc represents the forces of the sky (which are good) battling against the forces under the earth (which are bad.) This Design appears in numerous forms in mythology, with the Dragon or ‘pestie’ coiled around the base of the world-tree, and the thunderer in the Disc above the tree Descending to battle it.
Yet in pre-Christian and pre-Norse legends, and in China, the “Wyrm” is not seen as evil. While it is blamed for toothaches and other misfortunes in many cultures, in its earliest appearances in iconography it is a symbol of fertility and renewal. Holiday seems to think that lake monsters and the “dragon” in general are evil, malevolent forces.
Yet they Do not become thought of in these terms until the first sky-religions (and the sky-discs) arrive. The reason for this sea-change in mythology is Discussed by Gimbutas, who thinks Old Chthonic Europe was overrun by sky-and-thunder-god-worshiping nomads from the north (the Kurgans.) This mystery is worth more examination…
Comparative Mythology and Archeo-Astronomy
The persistent appearance of the “Sun Wheel” or “Winged Disc” across 3rd millennium BCE cultures suggests more than mere solar worship. While traditional archaeology views these as metaphors for the sun’s journey, the Ancient Astronaut theory proposes they are eyewitness depictions of structured craft navigating the atmosphere. In the United Kingdom, the work of F.W. Holiday highlights that these discs were often described as possessing physical, mechanical properties—such as the rumbling sound associated with Taranis, which modern researchers might identify as skyquakes or sonic booms.
Taranis and the Physics of the Sky-Wheel
Taranis is uniquely defined by his wheel, an object that rumbles through the sky independent of traditional chariots. This “Sky-Wheel” is frequently depicted with spokes that resemble the internal structural support of a discoid craft. If the 3rd millennium BCE inhabitants of Austria and Britain were witnessing unidentified aerial phenomena, they would naturally use the most advanced technology of their time—the wheel—as a baseline for description. The addition of wings or legs to these wheels in iconography further suggests a level of maneuverability and landing capability that transcends a simple celestial body.
The Avebury Connection and Winged Discs
The massive Avebury stone circle provides a physical, earthbound echo of these aerial sightings. Holiday famously argued that the layout of Avebury was intended to replicate a winged disc when viewed from above, potentially serving as a “calling card” or ritualized landing site for the entities associated with these crafts. This theory aligns with the broader “Eye” iconography seen in China and Egypt, where the Eye of Horus or Odin acts as a surveillance device from the heavens—a concept modern UFOlogy often links to autonomous probes or “drones”.
The Serpent vs. The Disc: A Conflict of Domains
The transition in mythology from serpent-centric worship to sky-disc dominance marks a pivotal shift in human history. As noted by researchers like Marija Gimbutas, the arrival of the Kurgans brought a “sky-religion” that demonized the indigenous, earth-based “serpent” or “dragon” cultures. From an Ancient Astronaut perspective, this might represent a territorial or ideological conflict between two distinct groups of non-human intelligences: those who operated from the subterranean or aquatic realms (the “Wyrm”) and those who arrived in luminous discs from the atmosphere (the “Thunderers”).
The conjoined discs and cloud cigars found in Bronze Age artifacts remain physical anomalies that challenge conventional artistic evolution. By analyzing these symbols as technical renderings rather than purely spiritual abstractions, we uncover a global pattern of contact that defines the 3rd millennium BCE.
Researcher Notes: Symbols of a Forgotten Contact
-
Acoustic Anomalies: The connection between the “rumbling” of Taranis’s wheel and modern skyquakes provides a rare link between ancient myth and physical, unexplained atmospheric phenomena.
-
Iconographic Consistency: The “winged disc” is not isolated to the United Kingdom; its appearance in Austria, Egypt, and China during the same era suggests a global influence or observation.
-
Technical Artifacts: The presence of conjoined discs and cloud cigars in the Bronze Age record mirrors modern UFO classifications, suggesting these shapes have been part of the human experience for millennia.
The 3rd millennium BCE serves as a critical junction where human mythology began to codify encounters with the “other”. By interpreting the wheels of Taranis and the Avebury stone circle as responses to aerial anomalies, we see a civilization attempting to record a sophisticated technology using the vocabulary of nature and divinity. These artifacts and legends are not just relics of worship, but potential technical renderings of an ancient astronaut presence that fundamentally reshaped human belief systems.
