Tartaria tablets

         In memory of Sabin Adrian Luca

   ! !  <<<<<<<   A T T E N T I O N >>>>>>>  !

• Due the fact that Mr.Merlini is believing that the tablets have a very old age (much olders with 2K Years than the real age wich could be in fact)
• Deep inside beeing not sure  what is in fact that age
• He is expecting Neolithic and even not think of Bronze age.
• Not know that proto-writing emerged in the world around 3.200 B.C. (Sumer,Egypt,Indus). No single proto-writing before 3,500 in the World!
• His reasearch wich is regarding the signs, is extending at an extremely wide time span and too far back in time. The time spanning / period of time/ timeline from paleolithic to late neolithic.                                                                                                                                          S O R R Y, D E E P L Y  W R O N G !
• He did not realise even now, that the Vinca Civilisations stopped at the verge of discovering the writing.
• I mean, out of those singleton tablets ( wich could be made yesterday by one as me, who has elementary knowledge of some dispersed ancient signs) no other writing proove that even proto-writing existed in Vinca-Turdas civilisation.
• So, he is mainly searching in such a big pile of ancient signs as finaly cannot decide, and he DO NOT KNOW WHAT TO CHOOSE.
• Writing developed as a stringent necesity in high developed societies (Sumer, Minoan)..”high” I mean really high in respect of every single aspect of economical and social activity. (Remember only the Hamurabi code or minoan streets and houses.) The hearth of writing in Europe was in the Aegean. I wonder wich was the supposed path of “Kadmus road”… probably close to that of commerce. The writing emerged close to places where thousends of tablets were found !
• Nobody knows how cultural transmission happened (by air like flu or how?) Evidences points that Aegean was influenced by sumerians (see papers of Evanghelos Papakitsos and Iannis Kenanidis).Early minoans seem to be native sumerians.
• There were population movements that only now with genetics developements could be traced.
• An “laboratory”-like scientific analysis of the sign is stormed by “Mylady Tartaria” story, otherwise introducing more mistery not scientific needed and beeing your own contribution or production.

UPPER HALF:                                                                                                                                 From https://en.wikipedia.org/wiki/T%C4%83rt%C4%83ria_tablets

First, begining from the left, H-like sign https://www.shapeways.com/product/SZMTARPYB/letter-khet-paleo-hebrew-with-chain-loop

  The folowing, from https://fi.wikipedia.org/wiki/Heeta

From Marco Merlini https://fashiondocbox.com/Jewelry/90885882-Tartaria-and-the-sacred-tablets.html:                                                                                                                        THE ESOTERIC MESSAGE ON THE DISK-SHAPED TABLET

Merlini:”In the Late Neolithic Vinča C culture, the D is engraved on the forehead of a statuette discovered at Medvednjak (Republic of Serbia)1493. Due to positioning, Winn considers this sign as “symbolic”149

Me: In hundreds of statuettes not on forehead there were not cyclops were exactly in the eyes places. (See my post :”Common… in early writing”)More than symbolic, the eye shape is direct related to light through light to deities and sun!

Merlini:”In Akkadian cuneiform, the D is the Labat number 480 with sound DIS, meaning ‘praised one’

Me: yes, but only “one” and not “praised one” because there is no particle there for praise it is only “one” meaning of course the God,praysed-one.Attention, dis much used for numbers; for “one” ment the unique single ONEis +++++ “AS” present on tablet.           1 is “Dis” and “Dili”

Merlini:”At Tărtăria, the tail on the D was incised intentionally. We have to deduce that the ‘scribe’ applied this small auxiliary marker to the root-sign in order to produce a variation to its conceptual meaning or to differentiate some phonetic units of the spoken language. Unfortunately, we are blind concerning the denotation of the D sign and its sound value.

Me: Pitty enough, no sign connection less a given meaning.

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Upper half, right side ; image from http://aplaceofbrightness.blogspot.com/2008/11/moonlight-in-romania-tartaria-tablets_21.html KEYTH MASSEY

 

 

COMB-like sign                                                                                                                             Merlini:”As already mentioned in the previous chapter, on the upper right quadrant of the circular tablet, a ligature between the incised on the higher register and the biggest D on the lower register is nonexistent, although common in literature1507″

Me: the ligature exist, but what this element can push to other divergent interpretations remain to be discussed.

….bla bla bla to conclusion:

Merlini:”In conclusion, if the comb-like sign from Tărtăria finds some parallels in the Mesopotamian pictography and in other ancient scripts, the best semiotic correspondences are from other settlements in Transylvania and in Serbia of the subsequent Neolithic Vinča C and Turdaș cultures of the Danube civilization where it is a component of a numeric system“

Me: yes could be numeric as 10+5 or 50 ( deceased female’s age), but you only said:” finds some parallels in the Mesopotamian pictography”,did not noticed the exact proto-cuneiform sign AS (one,single,unique)

-In respect of he said above, no given number meaning

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First “D-sign”

Merlini:”The crescent moon is visible in the shape of a celestial D1522. The variant

is not recorded in the inventory of the signs of the Danube script.It is very similar to the shape individuated by Gh.  Lazarovici with code 238f, meaning ‘first quarter of the moon’. The same sign was utilized to render the first crescent in a lunar cycle engraved on a stone around the second part of IV millennium BC at Knowth (Boyne Valley, Ireland)

1523. The graphic concept is similar to that at the base of the ancient form of the Chinese character Yue4, meaning ’moon’. In the beginning, the pictograph was a new moon hanging in the sky. Gradually, a vertical stroke was added inside. I also assume the

a s a symbol for the ‘first quarter of the moon’.”                                                                    

Correct:                                                                                                                                                    “At Tărtăria, the tail on the D was incised intentionally. We have to deduce that the ‘scribe’ applied this small auxiliary marker to the root-sign in order to produce a variation to its conceptual meaning or to differentiate some phonetic units of the spoken language. Unfortunately, we are blind concerning the denotation of the D sign and its sound value.However, the Transylvanian D is the same as the sign of the moon on the Chinese divination bones. Is the rounded D-shape with a tail representing the abstract

concept of the Moon (the divinity of the Moon?)”

Me: Yes, could be 1-st quarter of the moon, but out of your rendering https://cdli.ucla.edu/tools/SignLists/ATU1.pdf ATU 528 of the sign wich has 2 paralel strokes inside, I’ve found an exactly pair of our sign wich has an L-like sign inside.It is the sign SUR.

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Second D-sign

Merlini:”The sharp incised on the upper right quadrant finds graphic parallels with ATU 527. As substantiated in the next chapter, if the D is a lunar symbol in several early systems of writing and in rock art, at Tărtăria it stands for the Full Moon as the best suitable moment for human fecundation.

Me:If I am not for precisely ” full Moon” but as I run out of better solution, I agree for Moon (as I found only exact shape ATU 527 https://cdli.ucla.edu/tools/SignLists/ATU1.pdf but there no indication for sign name nor meaning!)

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“o o” signs

Merlini: (directly up to conclusions):”In conclusion, the sequence D– D – O –o

incised on the lower register of the upper right quadrant of the Tărtăria tablet seems to indicate the moon according to the following phases: First Quarter Moon, Full Moon, Last Quarter Moon, and New/Black Moon.”

Me: Yes could be, but the main  posibilities  are :

– o o =sumerian 10 10

– two sumerian signs “o” LAGAB(circle) =sumerian 2xLAGAB=”o o”=”nigin”: “encircle,roaming around,full,total,etc.etc….

 

DOWNWARD LEFT SIDE OF THE TABLET

 

Image, from http://aplaceofbrightness.blogspot.com/2008/11/moonlight-in-romania-tartaria-tablets_21.html KEYTH MASSEY

 

Left side,”Merlini:The stylized bow+arrow sign“

Merlini:”The bow+arrow sign finds some parallels with pictography from Uruk and Jemdet Nasr: sign ATU721,, with the sound BA, meaning ‘eye’ and also ‘to see’1352. In Ak kadian cuneiform, it has the sound IGI, meaning ‘eye’, Labat number 449 1353. Vaguer is the resemblance with the sign with sound BA (‘offer’,‘give’), Labat number 5135″

Me: Yes, BA (‘offer’,‘give’).                                                                                                                 Ba is by no way is eye, IGI is meaning eye.The Ba (“offer etc,) has one shape, and IGI (eye) another shape.. But seeing the position of the arrow related to the cord, the sign is definitely much close to our sign is Ba !! (“offer,give”).

Merlini:(conclusion) “These observations, when crossed with the identity of Milady Tărtăria as a magic-religious practitioner, open the possibility that the sign on the tablet symbolizes a communication tool utilizing the image of a hunting weapon. It could depict the dynamic, magical moment/action in which the arrow is shot, and the charm has taken off”

Me: Milady Tărtăria’s story is for any help; in my opinion the deceased ~ 5.200 B.C. is not direct related with the tablets (unknown age).No human made any proto-writing signs before 4.000 B.C. other than pictographic!                                                                             I feel so frustated as somebody is recognising that is down, have no drop of energy/resource and signaling indirectly and asking for help…..

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Signs >> (double-arrow)

After an excursus of where and in how many instances from paleolithic humans used arrows, he (Merlini) come to conclude:

Merlini”On the circular tablet from Tărtăria, the sign >>represents two arrows in abstract style pursuing the target. It might be indicated by the sign incised below,

, with an unfortunately obscure meaning.”

Me: Fortunately noticed the proto-cuneiform RU-sign (close to >>) but not know the meaning, and that there was also an sign >(wich theoretically could be doubled >> as to form plural)

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“Double-cross” sign upon Merlini (me:Z-like):  

 

Image, from  KEITH MASSEY                                                          http://aplaceofbrightness.blogspot.com/2008/11/moonlight-in-romania-tartaria-tablets_21.html

 

Merlini:The ” sign”does not find parallelism with the Proto-cuneiform pictogram ATU 295, 1397= Jaritz#560 1398. It is just the duplication of the sign ATU 223 = Jaritz #101,

, which indicates a ’branch growingfrom a stem’, and symbolizes ’grow (large), swell up, bud’. However, the is partially present at Jemdet

Nasr as the 90 grades rotated(JN 47). Regularizing and standardizing the Proto-Sumerian pictograms, Zakar believes to have found the Transylvanian sequence also at Jemdet Na sr ( ), and at Knossos (in the form)1399. In Akkadian cuneiform, the double-bar sign has the Labat n umber 295 with phonetic value PA, KUN, meaning ‘branch’, ‘club’, ‘scepter’

1400. Denoting also someone holding these tokens of authority, it acquired the meaning of someone in power1401. However, some convergences are also with Labat number 467: a ‘god’, ‘the hero’1402

Me: The sign is present from Cretan hierogliphyc through Linear A/B as sign PA2, and is also present coincidentaly in sumerian as PA,”branch” but also as “branch,upper part,supervisor,someone in power,etc”

No wonder by my side: no direct sign connection, the sign remain suspended in the thin air of the Vinca civilisation.Mr.Merlini is bounded to the conception that some-how Vincans wrote. Dissapointment, they made big steps but stopped at the point to discover and use proto-writing!

Merlini:”The analysis of the convergences of the

from Tărtăria with early writing systems evidences a common thread from the Danube script to the Aegean writings. The occurrence within inscriptions of the Danube script documents its use on ceremonial objects of the Danube civilization, and its very rare

presence on daily utilitarian articles confirms the magic-religious significance of this sign.

Me:Not given a chance to sumerians, (apropos Ba+Ru=Baru, barupa”: “magician”                          ;also Ba+Ru=Pa). Nor the slightest chance to Cretan hierogliphyc 2200B.C, or Linear A 2.000 B.C. or even for Linear B 1500 B.C. They wrote for nothing.                                    Again, so sorry.

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UNDERSIDE HALF

 

Those “complex” ideograms on the right side,

The image, from http://aplaceofbrightness.blogspot.com/2008/11/moonlight-in-romania-tartaria-tablets_21.html KEYTH MASSEY

 

 

Left ideogram/logogram

 

Merlini:”The finds no obvious correspondences in Akkadian cuneiform. It is paralleled with Labat sign n. 353 by Badiny, with phonetic value ŠA, meaning ‘face’, ‘care’ 1415. But it is the Labat sign n. 172, with sound NE and meaning ‘fire’, according to Kolev 1416. As a representation of a fireplace, a similar symbol occurs on an Assyrian relief from the 9

th century BC, or even older. The sign means ‘throne’ or ‘table’ in the inscriptions of the Hieroglyphic Luwian1417. The assumed convergence between the Transylvanian and the, A330 in Linear A, is unconvincing 1418. In this Cretan writing, the correlated sign is the A3 18,1419.To summarize, even if the (sign)is more or less present in different repertories of ancient systems of writing, it is typical of the Danube civilization and finds the best correspondences within the Vinča and Turdaș cultures as elements of the symbolic code1420. It is not a sign of the Danube script.Its naturalistic rendering indicates it as an altar for fire sacrifice, with three columns that seem to designate three tongues of fire. In the present book, Gh. Lazarovici advances the interpretation and

related archaeological evidence that this symbol represents an altar model, an altar for the worship of fire. Analogies with ancient rituals might support this interpretation. Hindu fire worship begins with an off ering to the three tongues of fire that represent the Orient, the Occident and the central place,followed by an invocation to the divinities. In the Manuscripts from Qumran Cave1, 1Q29 1Q is the “Liturgy of the Three Tongues of Fire” 1421

Me: Has simylarities with Cretan hierogliphyc and Linear A&B as showed in my papers.

So you’re right It is not a sign of the Danube script .It is of Sumerian/Aegean origin.            Closest is proto-cuneiform SA (“sieve”) wich was and is my rendering

An altar, yes, but not necessary an altar for fire sacrifice.An altar for burning incences in many rituals.Gr.eskara lat.asa

 

Right ideogram/logogram

 

Merlini:THE ORANTE-DANCER The ‘orante-dancer’,(sign 13a and 13b in fi g. VIIC.6b), incised on the right of the and on the edge of the quadrant, occurs only at Tărtăria.

Me: Not like an orante dancer but like a female astral deity!                                              There it is not in upper part the sign UD or PIR “pine” it is udu,utu:SUN” and precisely U:day,SUN

At the base is the sign AB or UNUG :”abode“

So if it is 90% sumerian sign then close to “Sun-shrine/abode” and in our case could be with equal chances also an female astral deity, simylar to TANIT (70% same graphics) and much close than Tanit a deity as ASASARA.

It seems that at minoans and before them, topmost deity in the Balcans was a GODDESS not a God.

See my Cretan hierogliphyc-Linear A,B reading attempt.

Merlini 2011

Eugen Rau 2005 FRIDAY, DECEMBER 30, 2005 OLD EUROPEAN WRITING TARTARIA WRITTEN ROUND TABLET

“sign of SAMAS, Sun-God”

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FOR PUBLIC, INTERESTED VIEWERS:

 

PROTO CUNEIFORM SUMERIAN SIGNS (Late Uruk)                                                                ALL SIGNS ARE PRESENT ON TARTARIA ROUND TABLET

 

Sumerian proto-cuneiform signs are from  from UCLA https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html

(otherwise also take a look at Mr. Fackelmann sign-list https://cdli.ucla.edu/tools/SignLists/ATU1.pdf )

 

AB present in the ideogram of Sun-abode=sign of city LARSA

 

AB

present in ideogram of sun-abode, sign of city LARSA

AMAR (calf)

 

ARARMA, sign present on emblem of cty Larsa (sun-abode)

 

ASZ,AS (upper half,right, up)

 

BA bow-arrow sign

 

 

ENSI Lord, (here first sign) present in downward half, left side, most underside

 

src=”https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns/2(LAGAB~a).jpg” width=”26″ height=”38″ />

 

This entry was posted on November 24, 2018 at 11:28 am and is filed under Ancient civilisations, Epigraphy, PROTO-CUNEIFORM, PROTO-WRITING, Tartaria tablets, VINCA-TURDAS. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.