The Symbol That Named a Nation
When I was young, my grandmother gave me a solid gold eagle pendant. I didn’t appreciate it then—just another piece of jewelry from gjyshja (grandma). It sat in a drawer for years. Only after she passed away did I finally put it on. I haven’t taken it off in five years. Yes, every Albanian seems to have a gold eagle necklace, but this one carries weight beyond its metal. It connects me to something older than memory.
That eagle around my neck represents a symbol that predates Byzantium by a thousand years, shapes our national identity, and appears everywhere from ancient Illyrian shields to modern street art. This is the real story of the Albanian double-headed eagle—not just a flag, but the very name of our nation.
Origjina e lashtë
The standard history claims Byzantium created the double-headed eagle and Albanian nobles borrowed it. Archaeological evidence tells a different story. A 6th century BCE carving from Croatia shows an Illyrian warrior carrying a shield decorated with a double-headed eagle—one thousand years before Byzantine influence reached these lands.
Near Liqeni i Ohrit, the Royal Tombs of Selça e Poshtme (3rd century BCE) revealed intricate artifacts combining eagle and serpent motifs. These symbols would echo through Albanian folklore for millennia. By 1190 CE, Albanian stone carvers were already using the eagle in their work, documented in carvings that predate Skanderbeg by 250 years.
The Albanian Academy of Sciences houses remarkable evidence: 6th century BCE plaques from near Lake Shkodra depicting sun deities with eagle wings throwing lightning into fire altars. These reveal sophisticated solar worship systems where eagles served as divine messengers. Archaeological sites at Shtoj, Mati, and Çinamak continue yielding eagle artifacts dating from 4500 to 2400 BCE.
The Legend of Mount Tomorr
Mount Tomorr rises 2,416 meters into Albanian skies, and every August, half a million pilgrims gather on its slopes. They come for Bektashi ceremonies, but the mountain’s sacred status predates any current religion. According to ancient tradition—recorded by classical writers including Aeschylus—Zeus sent two eagles flying in opposite directions around the world. They met at Tomorr’s peak, marking it as the center of the world.
This isn’t mere folklore. Archaeological evidence reveals temple sites on Tomorr with perpetually burning fires, matching descriptions in ancient texts. The Illyrian temples at Noricum featured mountain-peak sacrificial altars for sun cults. Eagles and waterfowl appeared as primary solar symbols across Illyrian territories from the Glasinac plateau to Albanian lands.
Our language preserves these ancient connections: Perëndi (God/sky) echoes thunder-god traditions, Zojz parallels Zeus, and weekday names like enjte (Thursday) derive from Enji, the fire deity. These linguistic fossils connect modern Albanian to pre-Christian belief systems where eagles bridged earth and sky.
Skanderbeg’s Eagle
When Gjergj Kastrioti Skanderbeg took Krujë in 1443 and united Albanian princes in the League of Lezhë (1444), he raised a red flag bearing a black double-headed eagle. This wasn’t invention—it was tradition. The Kastrioti family, like many Albanian noble houses, had used eagle heraldry for generations.
Fifteenth-century seals and contemporary accounts confirm Skanderbeg’s banner matched today’s Albanian flag in its essential elements. What Skanderbeg did was transform a family emblem into a unifying symbol for all Albanian lands. When Albania declared independence at Vlorë in 1912, the same design became our national flag.
The symbol survived every regime change. King Zog added a crown. Italian occupation brought fasces. Communists added a star. Each was removed in turn, but the eagle remained. A 2002 law standardized proportions, but the core design—red field, black double-headed eagle—never changed.
Regional Variations
Travel through Albanian lands and you’ll discover the eagle changes its form like a dialect. Northern Gheg regions favor angular, austere eagles carved into gravestones and wooden beams. The Hoti clan combines eagles with horses on memorial markers. The Kastrati wear black ghurdi jackets, claiming perpetual mourning for Skanderbeg.
Cross the Shkumbin River into Tosk territory and eagles flow with Byzantine influence. In Korça, 18th-century eagles dance across doorways with urban sophistication. In Gjirokastër, they appear in delicate silver filigree. Each region developed its own aesthetic while maintaining the essential symbol.
Kosovo preserves perhaps the most varied traditions—over 200 different clothing styles incorporate eagle motifs specific to clan histories. The white plis hat itself represents an eagle form. In Ulcinj, on Montenegro’s coast, Albanian fishermen paint eagles on boats, creating maritime adaptations of mountain symbols.
The Arbëreshë communities in Italy, established over 500 years ago, preserve eagle forms in Byzantine religious art unknown in modern Albania. In Piana degli Albanesi, Sicily, eagles appear on bilingual street signs. These diaspora variations reveal how the symbol adapts while maintaining its essential meaning.
Living Culture
The eagle transcends formal heraldry to permeate everyday culture. The xhubleta, a 4,000-year-old bell-shaped dress recognized by UNESCO in 2022, features eagle motifs as central design elements. Traditional Albanian households incorporated eagles everywhere: carved into cradles for protection, painted on wooden chests for prosperity, etched into door frames for honor.
Wedding ceremonies feature the shenja e flamurit—the eagle hand gesture made by crossing hands over chest with fingers spread like wings. During traditional dances, participants throw money while making eagle gestures, combining prosperity wishes with protective symbolism. Even today, many Albanian families maintain these customs, passing them to new generations.
Religious communities adapted eagle symbolism to their own contexts. Albanian Catholics combine eagles with crosses on gravestones. Muslim communities favor geometric eagle patterns. Orthodox Christians in the south blend eagles with Byzantine artistic conventions. The symbol proved powerful enough to transcend religious boundaries while maintaining its protective and identity functions.
The Diaspora Effect
The 2018 FIFA World Cup brought global attention when Swiss players Granit Xhaka and Xherdan Shaqiri made eagle hand gestures after scoring against Serbia. FIFA fined them $10,100 each for “unsporting behavior,” but for Albanian communities worldwide, this moment represented recognition on the world stage.
This gesture—hands crossed over chest, fingers spread as wings—serves as what Swiss sociologists called “the only visible trace of Albanian identity” for second-generation immigrants. In Chicago’s Albanian neighborhoods, in Detroit’s communities, in New York’s Bronx, the eagle marks businesses, adorns jewelry, appears in wedding halls.
The Arvanites in Greece face unique challenges. Their dialect approaches extinction with fewer than 50,000 speakers remaining, yet eagle symbolism persists in wedding ceremonies and folk dances. They maintain these traditions privately while publicly identifying as Greek, creating complex identity negotiations through symbol rather than language.
Archaeological Battles and Academic Debates
Not everyone agrees on the eagle’s origins. Professor Mark Markou sparked fierce debate by stating “the double-headed eagle on our flag is Byzantine, it does not represent us.” His view challenges mainstream Albanian historiography that traces the symbol to ancient Illyrian heritage.
The evidence, however, supports multiple origin theories. While Byzantium certainly used the double-headed eagle after 1261 under the Palaiologos dynasty, the Croatian shield and Lake Ohrid artifacts predate this by centuries. Recent archaeological research traces double-headed eagle motifs to Mesopotamian and Hittite sources from 3000-2000 BCE.
What emerges is a symbol that transcended single civilizations. Like the eagle itself, it flew from culture to culture, adapted by each, claimed by many. For Albanians, the continuous use from koha ilire through the present represents not borrowing but inheritance—a symbol so deeply embedded it became the name of the nation itself.
From Ancient Peaks to Urban Streets
Contemporary Albania has embraced the eagle in new forms. Tirana’s post-communist transformation includes massive eagle murals in the rrethi Blloku. Street artists blend traditional symbolism with urban aesthetics. The hip-hop scene incorporates eagle references throughout lyrics and imagery.
Yet the ancient connections persist. Drive to Mount Tomorr during the August pilgrimage and witness continuity stretching back millennia. Visit the Muzeu Historik Kombëtar in Tirana to see eagles across centuries of coins, seals, and artifacts. In Krujë, Skanderbeg’s museum documents how a family symbol became a national emblem.
The real eagles, though, live outside museums. They’re carved into bridges, painted on houses, sewn into traditional costumes, worn as pendants passed from grandmother to grandchild. They appear in the gesture a mother makes blessing her children, in the pattern a woodcarver learned from his father, in the song an old woman hums while baking bread.
Understanding the Double-Headed Eagle Today
What does this ancient symbol mean for modern Albanians? The two heads traditionally represent vigilance—watching both East and West, guarding all horizons. Some see it as the ability to honor our past while building our future. Others interpret it as the Albanian gift for survival—always alert, always adapting, never conquered.
For those of us in the diaspora, the eagle becomes even more precious. It connects us to a homeland that distance cannot diminish. Whether worn as jewelry, displayed as art, or flashed as a hand gesture, it declares identity beyond words.
The archaeological evidence reveals we’ve been eagle people for at least 2,600 years. Through Illyrian kingdoms, Roman occupation, Byzantine influence, sundimi osman, izolimi komunist, dhe democratic transformation, the eagle endured. Empires rose and fell. The eagle remained. We remained.
This persistence isn’t accident or stubbornness. It’s the deepest kind of cultural memory—the kind that lives in symbols when everything else is stripped away. My grandmother knew this when she gave me that gold eagle pendant. She was passing on more than jewelry. She was ensuring I’d never forget: we are the people who named ourselves after eagles, and that naming made us who we are.
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