The following is an extract from Jethrem Tobal of Chelemby's A Mainland Heritage, describing some common Ilviran symbols, their derivation and meaning. The work as a whole treats the Jarin culture in light of Jethrem's theories on their descent from
Though enjoying a good reputation among non-Jarin scholars, the Jarin themselves would find it laughable. For in his 'research' into the subject, Jethrem allowed full flight to his fancy, seeing connections which fit his theories where none really existed. It seems likely too that he was duped by a number of his Jarin sources, who found his willingness to write down anything they said too tempting an opportunity to resist a little mischief. [Also perils of researching in Orbaal and the distortions this has. More below.]
Jethrem Tobal is a native of Chelemby and currently resides there. He is of ... descent, but has a self-professed afinity with the Jarin peoples. Following his learning of [some 'archaeological' find connecting (in the most dubious way) the Jarin with ...], Jethrem hit upon the idea that the Jarin were really .... Fired by his own discovery on Chelemby of ..., he started work on the explication of his thesis, in the form of a book entitled A Mainland Heritage.
The research for his book took him to Hârn, including a brief visit to Orbaal.
Given that Ilvir developed from the ancient Jarin god Toeran (or Olfar, or Yrbera, depending on which texts are read), it should not seem unlikely that some of the symbols now associated particularly with that god were originally a part of the wider Jarin culture of the time (that is, before the migration to Hârn).
Circles and spirals abound in Ilviran art, and this can be traced first to the Jarin who form the majority of Ilviran priests and laity, and from them back to their ancestors. Among the runes that these ancients used were several relating to the stellar bodies; these are not surprisingly depicted by circles. Obviously the circle is a common motif in many cultures, but that should not make the derivation in this instance be any less clear.
Several decorative patterns that adorn the art-work not only of followers of Ilvir, but also the Jarin people as a whole, are most likely derived from these early runes. For example, the border design shown below is the repetition and combination of a single rune, that which denotes god. As is clear, the pattern is a versatile one, ideally suited to the hems of garments, where indeed it is frequently found on priest's robes.
Another is the pattern commonly referred to as herringbone
,
though it is again the simple repetition of a single figure, in this
case that of the divided road. There is the possibility that the
hexagon which forms the honeycone pattern is also derived from this
forked rune. This was pointed out to me by Foo of Wibble, who had seen
a weaving which used different three colours, so that each line of the
rune could clearly be discerned among its fellows. Nevertheless I am
wary of including such a pattern in this description, for it occurs
also in nature, and is pleasing of its own accord.
In all of these cases the present-day symbols are of a mostly decorative nature, and little precise meaning is attached to them, although they naturally have some significance. Often they serve to mark whatever they adorn as being related to Ilviran belief - whether this is an object, a person, or a site.