Insights Into Avebury And The Culture That Created It
"As you drive or cycle into Avebury, you cannot fail to be aware of other monuments in the landscape: the huge mound of Silbury Hill beside the A4, the more ancient West Kennet Long Barrow on the brow opposite, or the rows of standing stones of the West Kennet Avenue. Yet nothing quite connects. There are fragments of lost worlds muddled with the present, all asking the same question: What am I doing here, what do I mean?" Mike Pitts ~ "Hengeworld", Arrow Books 2001
"In a world rabid with spirits as early prehistoric Britain was, people's world-picture was very different from ours." "Death and regeneration are the themes of Avebury." Aubrey Burl ~ "Prehistoric Avebury", 2nd Ed, Yale University Press
"The question of mortatilty was of profound concern but the deep perception of the periodicity of nature based on the cycles of the moon and the female body led to the creation of a strong belief in the immediate regeneration at the crisis of death. There was no simple death, only death and regeneration.
This culture took keen delight in the natural wonders of this world. Its people ... built magnificent tomb-shrines and temples, comfortable houses in moderately sized villages, and created superb pottery and sculptures ... Their culture was a culture of art. " Marija Gimbutas ~ "The Language Of The Goddess", Thames and Hudson 1989
"Of the undamaged megaliths inside Avebury Henge which bear recognisable heads (which means the majority of them), left-facing heads number fifty against nine right facing ones ... They are likely to be heads which the Neolithic worshippers knew too, and that is the ultimate criterion."
"The concept is unique and awesome. It is an inconspicuous artform lost thousands of years ago when the race of artists disappeared from the face of the earth, along with the worshippers who understood and adored Avebury and Stonehenge. Some calamity, we know not what, intervened and the aged, ancestral fertility system collapsed. The megaliths were never used, never understood again." Terence Meaden ~ "The Secrets Of The Avebury Stones", Souvenir Press 1999
"Silbury was designed to bring elemental forces together within the persona of the Great Goddess, to the benefit of the community. So rock and earth were joined by wind-rippled water, glazed by the sun's fire and by moon and starlight, all merged within her recumbent body. This union accords with Gimbutas view of the pan-Eurasian Neolithic deity as "the Goddess-Creatrix in her many aspects."" Michael Dames ~ "Silbury - Resolving The Enigma", The History Press 2010
"The Avebury monumental landscape, in its totality, was a dynamic memory space." Lynne Kelly ~ "The Memory Code", Atlantic Books 2017