Archive for January, 2020

…a simple question for everybody > >

January 28, 2020

Image, from Writing indigenous languages Ancient accounting practices in the modern world Guest post by Fernando Toth (Professor of Anthropology, University of Buenos Aires)

Token: an art piece that mixes anthropology, experimental archaeology, archival analysis and regional history                               me: see the last token

Ancient Mesopotamian clay tokens. Image from here.

Folowing picture, from Clay Token System The Three-Dimensional Precursors of Ancient Mesopotamian Writing by                                                                                       me: see that one before the last:

Clay Tokens, Uruk Period, Excavated from Susa, Iran. Louvre Museum (Department of Near Eastern Antiquities).

Table, from How Did Writing Evolve?                                                                                                                               See column XIV/column before last one :                                                                                         Sumerians depicted by this shape an animal, “cow”

The shape of tokens coresponds to written symbols                                  =========================                                                                                                     From  Mnamon Ancient writing systems in the Mediterranean                                              A critical guide to electronic resources                                                                                   

“The Cretan Hieroglyphic script is a non-deciphered writing system found in Crete and, sporadically, on the islands of the Aegean Sea (Kythira and Samothrace)th  from the 18-th to the 17th centuries BC, the period of the so-called “First Palaces” on Crete. All the same, it is possible that it was first used in the “pre-palatial” period. In fact, some seals from central Crete, datable from the 21st to the 19th centuries BC, present traces of a similar writing system (the so-called “Archanes script”, named after the place where the seals were found).”                                                                                                                                Image from same site

Medallion from the Knossos ‘Hieroglyphic Deposit’, 18th century BC (Museum of Herakleion, Crete)

===== THE QUESTION IS ==========

If you give to some childs modelling clay for making some simple shapes, finally  how many will show by chance this shape ?                                                                                            1 out of 200; 1 out of 600; 1 out of 1.000 ?

Probably as Mr. E.Papakitsos and G.Kenanidis allready advanced the hipothesis, (me sustaining also with own arguments) that all Aegean writing systems, (beginning with Aegean Proto-Linear)                                                                                                                              – has a fillum=genetic relation with sumerian proto-cuneiform writing.                              & early minoans were sumerian migrants

From › publication › 273885539_A_Comparative_Ling…                            (PDF) A Comparative Linguistic Study about the Sumerian
Evangelos Papakitsos at University of West Attica .
<< Based on the previous linguistic evidence and conditions, it has been
suggested that a very suitable candidate language as the base for creating the Aegean scripts could be the Sumerian. Being an agglutinative language, it both
exhibits the matching syllabic pattern of the CV-type, and it can justify the phonetic values of the Linear-A/B and Cypro-Minoan signs as well, through the rebus
principle. It is also suggested that the formation of each Aegean script could have been conducted in the late 3rd millennium BC by means of absorption from a parent
script, named Protolinear, being created by a scribal guild of Sumerian linguistic origin.>>
From › pdf-files › sjss2(4)33-44                                                               Investigating the Origins of the Minoan Civilization PDF by EC Papakitsos 
‎<< CV-type phonotactic is usually found in agglutinative languages, a feature that in LA has been ignored although observed very early by Duhoux (1998) and recently by
Davis (2014) as well. Such a well-studied nearby agglutinative language of the 3rd millennium BCE were the Sumerian. Thus, instead of claiming that a very complex writing system had been intentionally devised, we may adopt a simpler explanation, according to the Ockham’s Razor principle (Rodríguez-Fernández, 1999), which is that
LA (and LB) script is a typical case of alloglottography (Rubio, 2006). According to the CP theory, the Sumerian scribes, who invented the original script, had to write in languages other than their own mother tongue, which can deduce that all the “non-Minoan” languages being written with LA/LB are quite distorted.
…. a suitable period of an arrival of the first Sumerian settlers at Crete can be defined between 2800-2600 BCE. >>
See: › Cretan_Hieroglyphics_and_Protolinear_Script                                        (PDF) Cretan Hieroglyphics & Protolinear Script| Giannhs …
Anistoriton Journal, vol. 15 (2016-2017) 
From › Minoan_Sumerian                                                                                          (PDF) Minoan Sumerian| Giannhs Kenanidhs –Evangelos C Papakits
From › publication › 279940914_Additional_Palaeogra…                                      (PDF) Additional Palaeographic Evidence for the Relationship .. E.Papakitsos I.Kenanidis
<< As explained in previous works, the Cretan Protolinear script was created by the Minoans, who were Sumerian settlers >>
See: › publication › 320712507_A_Decipherment_of_…                                         (PDF) A Decipherment of the Eteocretan Inscription from Psychro…
See also: Possible connection between the cultures of Ancient Sumer and Minoan Crete

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~                                                                                                      I suppose that this sumerian “influence” was exercited in Crete and Cyclades (note that oldest remains in Aegean/EBA=EarlyBronzeAge are in Cyclades).                                               Further, I suppose that from Cyclades (as Tartaria artefacts found close by are evidenced), this early writing (carried by a 1-st,2-nd degree relative trader, metal prospector/craftsman ?), reached Danubian area, so we have the “mysterious Tartaria tablets”.

From › artifacts-other-artifacts › minoans-0011442                                   Pre-dating the Minoans: The Cycladic Civilization and Their


Vinca culture meanders, related to later Aegean labyrinth ?.

January 24, 2020

From                                                    a winding path or course   ; especially LABYRINTH
                                                                                                                                                           From › dictionary › labyrinth                                                         a place constructed of or full of intricate passageways and blind alleys.                                     ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~                                                                            Why humans needed from ancient time  to display such a tricky graphics and what was the meaning; how was related to averyday life or religion ? 
                                                                                                                                                              My opinion (and equally proposal( is as follows:
                                                                                                                                                          From most ancient time humans were enchanted, admired the cosmos and life show, got in extatic an prostation state before the sky. Life forms, direct visible could be touched but not understood. Life was magic .Life was represented and condensed in an image in different concret shapes, all close to entrails (a succesion of meanders), and represented “the nature matrix”, ( of human, mamals) the abode and origin of life.
Despite the fact that saw how humans appear and saw the birth, they thought that the first, original ancestor appeared from an egg, and their original-first mother was in fact a bird, bird-mother. Bird-Mother Goddess.
Tey associated  bird-humans-matrix-life
  1. uteruswomb
  2. dam (non-human female animal kept for breeding)
  3. sourceorigin
  4. listregister                                                                                                                 Etymology From māter(mother).

Also the course of life usually has with and apparent dead ends. Interesing enough they expected kind of second life after death. This would be either not easy, one must encounter challenges and pass over, for reaching the heaven at the end.


Image result for labyrinth history vinca Vinca/rituallic bread

Other opinion:                                                                                                                                                                                                                                <<  A labyrinth is an ancient symbol that relates to wholeness. It combines the imagery of the circle and the spiral into a meandering but purposeful path.                       It represents a journey to our own center and back again out into the world                        A labyrinth can be experienced as the birthing womb of the Great Goddess.          Thus, the labyrinth experience is a potent practice of Self-Integration as it encapsulates the spiraling journey in and out of incarnation. On the journey in, towards the center, one cleanses the dirt from the road. On the journey out, one is born anew to consciously dwell in a human body, made holy by having got a taste of the Infinite Center. >>

From › books
The Life Of Symbols
Mary Lecron Foster, Lucy Botscharow · 2019 · Social Science
“… womb is represented by a labyrinth (Figure 11.13) which may also be a meander. … Early Vinca culture (Rast, SW Romania)


Image result for labyrinth history womb vinca
See › back                                                                                                                           The Cosmic Womb: Labyrinths and Rebirth in … – The Way

“The argument of this paper is that the labyrinth is the womb, and the rituals associated “

                                                                                                                                                                                   Image from
From › books
The Hero’s Quest and the Cycles of Nature: An Ecological …Rachel S. McCoppin
“… Neolithic Earth Goddess myths where the Goddess, as a representation of nature, holds the power to take life, but also to resurrect life”

From › page › articles › sagittarius                                                                     Göbekli Tepe’s Vulture Stone – A Warning Across Time or …  by A Collins – 
Pillar 43’s imagery more likely relates to early Neolithic beliefs and practices concerning the soul’s journey from the earthly plane to the realm of the dead, something now accepted by some of the leading archaeologists working at the site.
                                                                                                                                                          From › article › ancient-mesopotamian-beliefs-in-the-afterlife                             Ancient Mesopotamian Beliefs in the Afterlife – Ancient History …
Conclusions                                                                                                                                          In Mesopotamian conceptions of the afterlife, life did not end after physical death but continued in the form of an eṭemmu, a spirit or ghost dwelling in the netherworld. Further, physical death did not sever the relationship between living and deceased but reinforced their bond through a new set of mutual obligations. Just as the well-being of the ghost in the netherworld was contingent upon offerings from the living, so too was the well being of the living contingent upon on the proper propitiation and favor of the dead. To a notable degree, these afterlife beliefs reflected and reinforced the social structure of kinship ties in Mesopotamian communities.

From › oldeurope › single-post › 2015/07/24 › VinčaTu…                                  Vinča-Turdaș Culture | Old Europe –

                                                                                                                                                                   ” Gimbutas dated the civilisation of Old Europe from 6500 to 3500-3200 BC.                            It was at that time that the area was overrun by invading Indo-Europeans. The local population could do two things: remain and be ruled by new masters, or migrate, in search of new lands. It appears that the people of Old Europe did both: some went in search of a haven to the south, on the shores of the Aegean Sea, and beyond.            Harald Haarmann has identified them as being responsible for the rise of the so-called Cycladic culture, as well as Crete, where the new settlers arrived around 3200 BC.”
Later, in minoan civilisation, the labyrinth, beside the Minotaur lore, in fact was a temple of the Lady of the Lbyrinth :da-pu-ri-toyo Po-ti-ni-ya”, where rituals were performed.                                                                                                                                                  In many and many caves, if not were found double-headed axes, but also depicted labrys symbols.

From  The multi-symbolic profile of caves:  

spiritual landscapes, disaster environments and cultural monuments
Amanda Laoupi

                                                                                                                                                                “2.1 The labyrinth as cave /cosmic womb

Caves being ambiguous spaces, offer both protection and shelter, but can also trap and imprison. Because of their location within theEarth, which many cultures have identified as female, the caves have been identified as the womb of Mother Earth, being associated with regeneration and birth. Although sacredness may have been invested in many other natural forms and objects, during the Prehistoric Times,the earliest known sacred places where shamanic initiations took place, are naturally-formed caves. The cave as spiritual landscape, acts like an ‘ interiority’. Its direction is inward,
 but it is also down and the cave journey involves ‘getting down’. The heart, womb, and
cauldron are all inward, earthy spaces.                                                                                        As such,they involve a directness toward core and awayfrom periphery, toward depth and away fromsurface, toward concentration and away fromdispersion.

Moreover, labyrinths appear in various countries throughout the world as a strong symbolic archetype. This mystical symbol is at once the universe, the individual life, thetemple, the town, human existence, the cave /womb or intestines of the Mother Earth as its counterimage, the convolutions of the brain, theconsciousness, the heart, the pilgrimage, the journey and the way. In its duality, it is cosmos to those who know the way, and chaos to those who lose it. It is Ariadne’s thread, whosewindings create the world and yet enable us to unravel it or ravel it… This symbolic ‘conjunctio oppositorum’ is the place where opposites such as life/death, light/dark, male/female, are transformed and melt into each other, in the dance of the spiral.                                                                                                                     The Cretan labyrinth had been a dancing ground made for Ariadne rather than for Minos .‘Homer compares the dance worked by Hephaistos on the shield of Achilleus to a dance made by Daidalos, because he had never seen more clever workmanship’ (Paus.         The paths in the maze are dances that are performed by the participants in the ceremony. These dances prove that though many paths are taken, and some are a dead-end,life continues through. This is the key of the Dionysian rituals, Dionysos being her immortal husband.                                                                                                                       In the original story, Ariadne was a Goddess,who provided guidance through the mysterious temple maze of ancient Crete, where she presided as priestess.                      Her famous spiral-like thread helped seekers to find their way safely in and out. The real hero is one who can keep hold of the labyrinth’s thread, not fearing it, but following it to find self-actualization, spiritualrebirth and love. Another version of the story of Ariadne makes her a Goddess and lover, but also a destroyer. The labyrinth is her womanly cycle, the cave her womb and Minotaur her heart. Therefore, the traveller of the labyrinth learned lessons of ecstasy, transformation and immortality “

                                                                                                                                                               Even later, From › 2015/09/23 › symbols-of-the-minoan-…                                       Symbols of the Minoan Goddess Religion – Stijn van den Hoven
                                                                                                                                                                  “The connection between so-called ”fertility rituals” of ancient Goddess cultures and deeper spiritual mysteries becomes clear when seen in the light of the Mystery Cults that were a continuation of the Cretan religion: Despite its use of ”fertility symbols” such as grains, the great concern of the Mystery Cults was the fate of the soul in death and its resurrection, its salvation, through the grace of the Great Goddess. The Cretan religion, again, was a continuation of the ancient traditions of Goddess worship in Old Europe”

=============================================                                                                     Si apoi, apropos de oasele gasite ?”langa?” tablite, se presupune ca a avut loc un ritualun ritual de ingropare secundara.

Din Resurrection through decomposition: The role of secondary burials in the journey to the Afterlife 

“For some cultures death is the beginning of a spiritual purification process that starts with decomposition and ends with skeletonization. The people in these cultures believe that before a soul can reunite with their ancestors in the Land of the Dead the body must completely decay.                                                                                                                                  There are typically two burial phases in these societies: initial and secondary burial.  During the initial burial the body maybe buried or exposed while it decomposes, and the funeral ceremony during this phase marks the beginning of the soul’s journey. Once the remains are completely skeletonized the bones are collected, cleaned, and placed in a secondary burial, like an ossuary.  After the secondary burial, the deceased is considered truly dead and the soul is resurrected to join their ancestors.”

===============================                                                                                                              From Genesis Encyclopedia: 30,000, Labyrinths, Spirals, and Meanders. pdf Joan, Eahr Amelia. Re-Genesis Encyclopedia: Synthesis of the Spiritual Dark Motherline, Integral Research, Labyrinth Learning, and Eco-Thealogy. Part I. Revised Edition II, 2018. CIIS Library Database. (RGS.), 2018   Eahr Joan


Going on means going far,Going far means re-turning.(Tao Te Ching.)

Manifold Ways of Knowing.

The labyrinth is the winding, all-encompassing path;meandering here and there, moving nonlinearly toward, then away from, then toward the goal again-patient path that seems to enjoy its own winding [serpentine] journey. …                                                                           Manifold ways of knowing [that] …suggests the multiplicity of being [be-ing]– the vast possibilities of what may be realized in the form of concrete particulars.                              The winding labyrinth path that touches and depends upon each and every point of its area may symbolize the infinite possibilities that may be realized-an infinite appreciation of a pluralistic universe.


Primary ontological assumptions: the universe is basically a single whole within which every part is connected to every other part. This wholeness includes every aspect accessible to human awareness –the physical world as discerned through our physical senses, and all the contents of consciousness.


[A]n elementary unicursal labyrinth as they have an indirect path leading to a hidden center.

Labyrinth Spiral Meander Origins.

The labyrinth can be traced back to the spiral and meander c. 30,000 BCE. This new prominence is supportedby further engraved artifacts and stones plus, cave finds.


Place of the labrys.


‘Meaning [is] from the word labrys (labrys/lip)’ fertile womb of the Great Mother Earth.


With each new spiraling re–turn or katabasis to mother earth, is the possibility of another Re-Genesis.


The labrys is a manifestation of incantation rites and metamorphosis

or re–generative rituals. The emergence of the aniconic phenomena of the labyrinth can be traced back to the spiral and meander c. 30,000 BCE.                                                             * This new prominence is supported by further engraved artifacts and stones plus cave finds that include:                                                                                                                                 * the oldest ‘picture layers’ from the Altamira (Santander) Cave (EP: 295,                             * meandering imagery on a bull’s head from the ceiling in Altamira (Santander) Cave (EP: 301, Fig. 188, 300);                                                                                                                         * mammoths and bird goddesses plus other full breasted goddesses located in the gallery known as the Hall of the Hieroglyphs in the Pech –Merle Cave (EP: 52, 54, 295, 305, 397, 530, 538, Fig. 18);                                                                                                                                   * sixty spiral cupules from a rock shelter in La Ferrassie, Dordogne,France (EP: 136, Figs. 79, 138);                                                                                                                                                          * bird goddess with engraved meanders, Mezin, Ukraine                                                       * an engraved bone with a serpentine pattern of sixty-nine spherical indentations from Abri Blanchard, Dordogne in the Gorge d’Enfer Rock Shelters (TROC: 44-9, 54, 90, Figs. 7, 9, 10 a-b, 8); plus                                                                                                                                     * spirals, meanders, and goddesses from Mal’ta, near Irkutsk, Siberia.                                            ————————————————                                                                                              For a more in depth discussion and detailed images, see ARAS (The Archive for

Research in Archetypal Symbolism),

ARAS record numbers include: 1Ca.002; 1Ca.003; 1Ca.008; 1Ca.016a; 1Ca.060b and

1Ca.104a. The keyword phase is, “meanders and spirals.” Also see ARAS record

numbers: 1Ca.061 and 1Ca.062, keyword is “Mal’ta.” * (For the first Re-Genesis

entry that includes the spiral, see 50,000 BCE, African Homo Sapiens Migrations

and Matrilineal Motherline. (RGS.))                                                                                                         ——————————————-                                                                                                  Further research recommendations:

Although c. 30,000 BCE saw a further development of the aniconic spiral and the

meander, it was during the Neolithic (8000-3500/3000 BCE) that the labyrinth and

labyrinthine engravings became more pronounced along with the coil, spiral

(oculi), snake, concentric circles, and owl goddess configurations. Selected

Neolithic labyrinthine ceramics, seals, sites, monuments, and other related

iconographic research includes: 6000-5500 Sesklo Seal (COG: 317, Fig. 1); 6000

sandstone sculptures with labyrinthine/uterine designs, Lepenski Vir, Serbia

Danube (PRR: 36-37, LOG: 157); 5790-5750 kilim with labyrinth design, Çatal

Hüyük Anatolia ARAS Record, 2Da.117; 5500-5200 ceramics, Bukk Culture,

northeast Hungary and east Slovakia (COG: 43-7); 5200-5000 meander/labyrinth,

Banjica near Belgrade, Early Vinca (COG: 313, Figs. 8-11); 5500-4000 ceramics,

Dimini Culture, Greece (COG: 25-29); 4500 Karanovo-Gumelnita square labyrinth

homes; 4000-3000 Locmariaquer, Brittany France; 4000-3500 Gavr’Innis (or

Gavrinis), Brittany France; 3800, Hal Saflieni Hypogeum, Malta; 3500-3200 New

Grange or Newgrange, County Meath, Dowth, and Knowth Ireland (COG: 214, Fig.

6-33 plus 298, Figs. 7-119; SOTG: 115); 3400 Egyptian tomb of King Perabsen (or

Peribsen) (MLW: 33, Fig. 38); 3300, Tarxien, Malta (MS: Fig. 55); 3250 Abydos,

Egypt; 3150 Tomb of King Ka’a, First Dynasty, Egypt; 3100 Stonehenge,

England; 3000 Avebury, England; 3000 Woodhenge, England; 3000 Troy,

Anatolia; Entrail-labyrinth, Mesopotamia (MS: Fig. 2); Rocky Valley near

Cornwall, England; Clear Island Co. Cork Ireland (MMG: 256; ancient Val

Camonica, Lombardy, Italy (LCS: Fig. 7); Naquane in Valcamonica, Italian Alps;

Mogor, Galicia (MMG: 256); Casal, Minho Portugal (MMG: 256); Lerfall, Ukraine;

Knossos, Crete; and spirals on numerous clay stamps. (LOG: 123, Fig. 193.)

Further research for the labyrinth and related BCE labyrinthine examples that

followed the Neolithic, includes: 2000, Knossos coin pattern, later apparent on

Gotland Island in Sweden and the US Hopi Indian tribes (TK: 82-83); and 1842-

1797 Egyptian Labyrinth Temple of Amenemhet (or Amenemhat) III (NLEL: 111-

120; LFS: 21). Egyptian meander hieroglyphs and possibly the first Greek key

pattern (LFS: 5-7); 1750 literary descent of Sumerian Inanna, Urak, Babylon (RAR);

1700 Phaistos Disk, plus Cretan palaces, labyrinths, and owl coins (MS: Fig. 51);

Dapuritojo (Lady of the Labyrinth) as invoked at Knossos (ETG: 26) and also

mentioned in the Linear B inscriptions (MHE: 138); Glastonbury Tor, England;

Labyrinth Court, Palatine Hill, Rome; Malekula, New Hebrides Island; burial

chamber Bryn Celli Ddu on Anglesey Island, Wales; 1000 representation of

Solomon’s Labyrinth (ARAS, record #5Do.002); 1000 BCE, Montegrande mound in

Peruvian city of Jaen; 100 BCE to 700 CE famed Nazca Lines in the Peruvian

Desert; and Oraibi Arizona USA. (MLW: 32, Fig. 37.)

Similar patterns of the labyrinth, labyrinthine subterranean passages, spirals, and

meanders continued to emerge for thousands of years on stone engravings,

numerous painted cave walls, and sacred sites in: Egypt; Africa; Australia;

Scandinavia; Turkey; Mesopotamia; Russia; India; Indonesia; Tibet; Greece;

Brittany; China; South America; and American Pueblos tribes including the

Hopis, Zunis and the Pimas. (LCS: xxii-xxiii; 24.)Selected CE examples include: the labyrinth mosaic of Theseus and the minotaur

(ARAS, 3Pg.001); 500 Villa of the Mysteries fresco (Villa dei Misteri); ‘initiation

and descent ritual’ of Roman women plus the House of the Labyrinth, Pompeii

Italy (ARAS record #3Pa.017); 9


century Samarra Mosque, Iraq (MS: Fig. 48); 12 c.

Gethsemane Courtyard fresco in Jerusalem; 1167-1200 city plan of the walls of

Jericho (LCS: 12, Fig. 33); 1200 Chartres Cathedral (TGG: 35) * plus the Cathedrals at

Poitiers, Amiens, Ravenna, and St. Omer (LCS); 1400 Notre Dame, Paris; 1510

vulva labyrinth design (MLW: 85, Fig. 127); 1549 Villa d’Este Tivoli Gardens (MLW:

116, Fig. 177); 1674 Versailles; 1699 Saffron Walden (best preserved UK turf

labyrinth), Essex England (MLW: 52-3, Fig. 79-81); 1899 Vincent Van Gogh’s Starry

Night France (MS: 25); and the 1991 indoor labyrinth followed by the 9-3-1995

outdoor labyrinth installations at Grace Cathedral, San Francisco, CA.

* Black Madonna With Child of Chartres, France was whitewashed in 2013 CE.


Kerenyi theorizes that the labyrinth, spiral, and meander are [unicursal] paths or

journeys in which one re-turns to the beginning. (D: 92-96.) Labyrinth means the

place of the labrys. (MTPC: 11: n. 7.) The etymology for both labyrinth and labrys is

the Greek labyrinthos, ‘a network of intricate passageways.’ “The palace of

Knossos was itself called labyrinthos, or ‘the palace of the double-axes and both

the labyrinth, a universal symbol of the uterine maze, and the double-axe (or

labrys), derive their meaning from the word labrys (/labia/lip),’” fertile womb of

the Great Mother Earth. (EW: 65.) Cameron adds that from this same “root comes

the word labia, the elaborate folds of the labia majora and the labia minora of the

vulva. The butterfly/double – axe symbol could represent [the] opened labia.” (SA:

10, n. 7.) Adding to the butterfly – labia consideration, archaeologist Sir Arthur

Evans “published a series of chrysalises, butterflies, and goddesses related to

chrysalises or with butterfly wings. (RN: 53-71.) He interpreted the chrysalis as an

emblem of new life after death.” (GGE: 186-7.)

In addition to the labrys symbols, ‘butterfly – chrysalises – labia’, the double-axe

conjoined at apexes is also a prototype of Cretan labia and a common theme

found in Minoan – Mycenaean art. The double-axe (or more appropriately labium

(SA: 10)) has two conjoined triangles at the apexes. Also, images of Minoan –

Mycenaean butterflies are frequently portrayed with double-axe wings or

conjoined triangles at the apexes. (See, MMRS: 195. Fig. 90 (41).) According to

Gimbutas, “these schematized butterflies are the prototypes of the Minoan double

– axe.” (GGE: 186.) The ancient symbols for the triangle, double-axe, and butterfly

may well be the X and V as first introduced in Re-Genesis 70,000 entry, Blombos

Cave followed by numerous other Re-Genesis entries as noted below. For

additional V/triangle/vulvic research, see (GGE: 186-7; LOG: 13; WAM: 116-8; ECLE.)

Further X considerations include Holy for the Goddess.

Concerning the use of the mark X in Near Eastern religions, Urs Winter,

  1. cit., 301 quotes O. Keel who discovered that the X on the forehead of

certain Near-Eastern statuettes is a sign, which identified the woman as

belonging to the goddess. The X, which in old Canaanite alphabet is the

same as, the letter Taw meant ‘Holy for the goddess.’ So were cakes and

breads also marked that were dedicated to the goddess. From the Old

Testament, Keel refers to Ex 28.36 and Ezekiel 9.4-6 where such signs

were used meaning a dedication for JHWH. See also Urs Winter, op. cit.

  1. 569 concerning remarks on terra-cotta figures, which may represent

baked goods with the sign of an X (TVG: 188, n. 64).The double – axe indicates significant objects of worship that were used for ritual

purposes in caves, mountains, and on altars in temple shrines including the Shrine

of the Double-axe and the Tomb of the Double-Axe. These and other labyrinth

cave sanctuaries are considered as prototypes of 12


century CE cathedrals. It is

also of note that the sizes of double-axes vary significantly. Many are either 6-8

feet tall (MAL: 30-31, Fig. 9) such as the ‘pillar culture’ finds from the Dictaean

Cave as discussed by Evans (MTPC: 9-13) – or – much smaller bronze or stone

votive objects found in conjunction with priestesses and rituals. Re-Genesis

suggests that the labrys is a manifestation of incantation rites and metamorphosis

or re-generative rituals. Interpretations of the labrys include the: labia; butterfly;

chrysalises; double-axe conjoined at apexes; figure 8 (eternity); earth’s center;

and the waxing and waning moon. Significance may be a homecoming to self and

mother (or cosmocentric matrix) that sparks or enhances be – ing and be – coming

as in re-creation i.e. thelytokous parthenogenesis/autopoiesis. This awakening

spark might also be compared to the “spark of the indigenous genius of

humankind” that each person embodies. (NHI: 155.) Self-actualized numinosity.

The re – turning journey to the labrys is known in Greek as the katabasis or the

descent. Metaphorically walking the labyrinth may have three stages including:

detachment; parthenogenetic re – birth; and then integration or a Re-Genesis

during the exit or ascent. In Mazes and Labyrinths of the World, W. F. Jackson

Knight links the labyrinth to death and rebirth themes as a: “microcosm of the

earth and a macrocosm of the human anatomy.” (MLW: 10; MLT.)

In death one returns to the earth, the mother, from which one is eventually

reborn. The presence of the labyrinth at burial structures signifies a ritual

entry into the earth; the labyrinth represents both the earth and the human

body as sources of life (MLW: 10; MLT).

Following Jackson’s theme that in death is the return to mother earth, *

propose the universal quest of all seekers and pilgrims to the womb – cavern to

reunite with one’s origins.

Because the journey into the cavern of the underworld [or labyrinth

Cosmic – womb] is the central human quest, the womb – cavern is the

archetype of every holy – of – holies. It is as though architecture has

recorded for eternity the forgotten goal of religion [spirituality] – to

reunite with the feminine [female] principle in order to transcend duality

and attain wholeness, oneness, and enlightenment (BT: 36).

* For an 11


century translation of a Hymn to Mother Earth:

Battaglia, Frank. “Goddess Religion in the Early British Isles.” Varia on the

IndoEuropean Past: Papers in Memory of Marija Gimbutas. Eds. Miriam

Robbins Dexter, and Edgar C. Polomé. Journal of Indo-European Studies

Monograph No. 19 (1997): 67-73. (GR.)

From the earliest, spirals, meanders, labyrinths, and labryses starting with ancient

rock and cave symbols and engravings are reminders of human’s “unceasing

preoccupation with the spiral order and his [one’s] spiral development.” (MS: 29.)

The spiral may also “be thought of as an elementary unicursal labyrinth as they

have an indirect path leading to a hidden center.” (MLW: 18.)

The spiral or labyrinth [and meander], depicted in ancient tombs,

implies a death and reentry into the womb of the earth, necessary before

the spirit can be reborn in the land of the dead. But death and rebirth also

mean the continuous transformation and purification of the spirit

throughout life; the alchemists use the word VITRIOL to stand for Visita interiora terrae rectificando invenies occultum lapidem. ‘Visit the interior

of the earth; through purification thou wilt find the hidden stone.’ Such a

descent into the underworld (the kingdom of Pluto) is the theme for most

initiation rituals, and is comparable to the passage through the wilderness,

or the ‘dark night of the soul,’ which is experienced by mystics [and all

soul seekers] on their path. It is furthermore [almost] always symbolized

by the spiral. Those on the columns of the Treasury of Atreus (a relic

which is still to be found in the volutes of the Ionic column) have a further

correspondence; by passing between two spiral columns, the initiate

becomes the central axis or pillar and consciousness and equilibrium, for

he [/she] has thus passed between two opposite pillars of the Tree of Life,

or between the coils of the serpents of the caduceus, and has thereby come

into direct contact with the Source of Being (MS: 29-30).

In a more contemporary light, the soul or spirit’s search for wholeness is an

ongoing labyrinthine journey back to the labrys that includes further

considerations such as the: center, matrix, matter or mother earth. With each new

spiraling re-turn or katabasis to mother earth, is the possibility of another Re-

Genesis. In William Braud’s article, “The Ley and the Labyrinth: Universalistic

and Particularistic Approaches to Knowing” he eloquently speaks to a spiraling

return (or nonlinear) process.

The labyrinth is the winding, all-encompassing path; meandering here and

there, moving nonlinearly [or nonlinear] toward, then away from, then

toward the goal again – patient path that seems to enjoy its own winding

[serpentine] journey. … Manifold ways of knowing [that] …suggests the

multiplicity of being [be-ing] – the vast possibilities of what may be

realized in the form of concrete particulars. The winding labyrinth path

that touches and depends upon each and every point of its area may

symbolize the infinite possibilities that may be realized – an infinite

appreciation of a pluralistic universe (LL: 1, 17).

Further research on the labyrinth, labrys, spiral, and meander: 30,000-25,000,

Aurignacian Age; 3000, Founding of Troy; 2700, Silbury Hill, England; 2600-

2000, Early Bronze Age, Crete, Chthonian; 2000-1450, Middle Bronze Age,

Crete; 2000, Asherah; and 1450-1260, Hattusa and Yazilikaya, Anatolia. For a

significant tomb with multiple spirals, see the Castelluccio tomb door #34 in Re-

Genesis entry, 19


to 15


BCE, Castelluccio Culture. (RGS.)

Re-Genesis research on ancient healing/re-generating centers, some more well

known than others: Anatolian Bursa, Pergamon/Asclepion, Perge, Pamukkale,

Ephesus and Bogazkoy; Egyptian Philae, Dendera, Abu Simbel/Abshek’s Sacred

Cave, and Kom Ombo; Roman Villa of Mysteries, Herculaneum, and Pompeii;

Greek Kos; Minoan Crete; Megaliths Stonehenge, Avebury, Woodhenge, and

West Kennet Long Barrow; ancient chalk mound Silbury Hill; Celtic

Glastonbury/Chalice Well, and Brythonic Bath; Breton Gavrinis; Eire/Ireland’s

Knowth and Newgrange; Syrian Palmyra, * and Iberian – Roman Alhambra.

* UNESCO world–heritage site Palmyra was invaded and seized by Islamic

militants on 5–20–2015. Ancient Palmyra was a major caravan juncture for

centuries, crossroad center of trade, dark–deity rituals, water–healing facilities,

and mercantile information exchange resource for Greek, Roman, Persian and

Islamic cultures. As a world–crossroad repository, Palmyra’s archaeology is/was

(?) an iconic legacy and archive of ancient civilizations.

Further underworld/labyrinthine descent (Greek, katabasis) research: 4000,Sumer, Mesopotamia and Myth; 1750, Hammurabian Dynasty, Babylon, Ishtar,

and Inanna; 1750, Ishtar; 630-620, Goddess Kore, Izmir Turkey; 528, Agrigento,

Sicily; 500, Greek Mysteries; 282-263, Demeter’s Priene Temple; and 200,

Greece and Pergamon, Anatolia. * (RGS.)

* For the matrix of descent and re–turned deities see RG: 37-48 CE, Mary and

Pagan Goddesses.

(Further research on the Pergamon mystery rites is pending, including the nearby

Amazon temple site at Myrina.)

Keyword suggestions for further research about possible cities founded by

Amazons, include: Smyrna (Izmir); Ephesus; Cyme (Side); Gryneium; Prjene

(Priene); Pitane (Western Anatolia; Mytilene (Lesbos); Troy; Samothrace; and

outside of Pergamum (Pergamon).

Further V/triangle/vulvic research : 70,000, Blombos Cave; 34,000-28,000, Les

Eyzies Vulva Engravings, Dordogne Caves; 31,000, Chauvet Cave and Vulva

Engravings; 30,000-25,000, The Aurignacian Age; 30,000-25,000, Goddess of

Willendorf, Austria; 8000/7000-5000, Early Neolithic; 7000-5000, Early

Neolithic Crete; 5500-3500, Cucuteni (Tripolye) Culture, Eastern Europe; 5300-

4300, Climactic Phase and Script in Old Europe; 4000-3000, Locmariaquer,

Brittany Hook Symbology; 4000-3500, Gavrinis, Brittany France; 2000, Asherah;

1900-1800, Dawning of the African Alphabet and the Aniconic Goddess Triangle;

1790-1700, Goddess of Kultepe, Anatolia; 1500, Lachish Ewer, Triangle, and

Menorah; and 800, Tanit (Also Taanit, Ta’anit, Tannit, or Tannin). (RGS.)

Further research on vulva images: 34,000-28,000, Les Eyzies Vulva Engravings,

Dordogne Caves; 31,000, Chauvet Cave and Vulva Engravings; 30,000-25,000,

Aurignacian Age; 30,000-25,000, Goddess of Willendorf, Austria; 25,000-20,000,

Goddess of Laussel; 5300-4300, Climactic Phase and Script in Old Europe; 3000-

2000, Cycladic Goddesses; 2600-2000, Early Bronze Age, Crete, Chthonian; and

400, Celtic Sheela-na-gig. (RGS.) *

* For additional CE information, see illustration of a 1600 c. vulva labyrinth

design in: Bord, Janet. Mazes and Labyrinths of the World. New York, NY:

Dutton, 1976. 85, Fig. 127.) (MLW.)

Further research on symbolic systems including the V/triangle/vulvic cave

engravings and gender emergence:

Caldwell, Duncan. “Supernatural Pregnancies: Common Features and New

Ideas Concerning Upper Paleolithic Feminine Imagery.” Arts &

Cultures. Geneva, Switzerland: Barbier-Mueller Museums, 2010. 52-75.


Clottes, Jean, and J. David Lewis-Williams. The Shamans of Prehistory:

Trance and Magic in the Painted Caves. Trans. Sophie Hawkes. New

York, NY: Harry N. Abrams, 1998. (SOP.)

Conroy, L. P. “Female Figurines of the Upper Paleolithic and the Emergence

of Gender.” Women in Archaeology: A Feminist Critique. Eds. Hilary

du Cros and Laurajane Smith. Canberra, Australia: Dept. of Prehistory,

Research School of Pacific Studies, Australian National University,

  1. 153-160. (FF.)

Jabr, Ferris. “Ars Longa.” New York Times Magazine, Dec. 7, 2014: 18, 20.


Joan, Eahr Amelia. “Ochre’s Living Lineage: The Gyne-Morphic Bloodline of

Spirituality.” Publication, 2018. (OLL.)

Lewis-Williams, David J. The Mind in the Cave: Consciousness and theOrigins of Art. London, England: Thames and Hudson, 2002. (MIC.)

Marler, Joan, and Miriam R. Dexter, Eds. Signs of Civilization: Neolithic

Symbol System of Southeast Europe. Novi Sad, Hungary: Institute of

Archaeomythology, 2009. (SC.)

McCoid, Catherine Hodge and LeRoy D. McDermott. “Toward

Decolonizing Gender.” American Anthropologist 98.2 (Jun.

1996): 319-326. (TDG.)

Rubin, Alissa J. “A Mirror of Subterranean Wonders: Replica of

Chauvet Cave Bristles with Lifelike Paintings.” New York

Times, Apr. 25, 2015: C1-C2. (MSW.)

Tedlock, Barbara. The Woman in the Shaman’s Body: Reclaiming the

Feminine in Religion and Medicine. New York, NY: Bantam Books,

  1. (WSB.)

Further research indicates that ancient cave artists who made the hand stencils

‘were predominately female’:

Snow, Dean. “Sexual Dimorphism in European Upper Paleolithic Cave Art.”

American Antiquity 78.4 (Oct. 2013): 746-76

Further research on the double-axe including: sites and sanctuaries; hourglass;

butterflies; chrysalises; labia, labrys (katabasis); figure 8; X; plus, bucrania and

bull’s heads:

Evans, Sir Arthur. “‘The Ring of Nestor:’ A Glimpse into the Minoan After-

World and a Sepulchral Treasure of Gold Signet-Rings and Bead-Seals

from Thisbê, Boeotia.” The Journal of Hellenic Studies 45. Part 1

(1925): 1-75. (RN.)

Gimbutas, Marija Alseikaite. Goddesses and Gods of Old Europe, 6500-3500

BC: Myths and Cult Images. 2nd ed. London, England: Thames and

Hudson, Ltd., 1984. [The Gods and Goddesses of Old Europe, 7000-3500

BC: Myths, Legends, and Cult Images. Berkeley, CA: University of

California Press, 1974.] (GGE.)

_____. The Language of the Goddess. San Francisco, CA: Harper San

Francisco, 1989. 239-243, 270-275. (LOG.)

_____. The Civilization of the Goddess: The World of Europe. San Francisco,

CA: Harper, 1991. 244-248, (COG). (See extensive index.)

Nilsson, Martin Persson. The Minoan-Mycenaean Religion and its Survival in

Greek Religion. 1927. New York, NY: Biblo and Tannen, 1950. 165-

235and 195, Fig. 90 (41.) (MMRS.)

Further research on parthenogenesis/self-seeding/self-making/autopoiesis and 21

century routine aspects of self-fertilized eggs = two X chromosomes:

Capra, Fritjof. The Web of Life: A New Understanding of Living Systems. New

York, NY: Anch…….>>



Insemnele culturii Vinca nu au ajuns (din pacate) sa se finalizeze nici macar in proto-scriere.

January 22, 2020

    Din                                                                        << Primele sisteme de scriere apărute la începutul epocii bronzului nu au reprezentat o invenție bruscă. Mai degrabă, ele s-au dezvoltat pe baza unor tradiții mai vechi ce constau din diferite sisteme de simboluri care nu pot fi clasificate ca scrieri proprii deși au multe caracteristici izbitor de asemănătoare cu scrierea. Aceste sisteme pot fi descrise ca fiind proto-scriere. Aceste sisteme folosesc simboluri ideografice și/sau primele simboluri mnemonice pentru a transmite informații încă au fost, probabil, lipsite de conținut lingvistic direct. Aceste sisteme au apărut în perioada neoliticului timpuriu, încă din mileniul al VII-lea î.Hr >>                                                                                                    ——————————————————————-                                                                                  In literatura de specialitate se vorbeste de “Danubian script” si “Indus script”  .Am inteles ca termenul are legatura cu scrisul, dar nu am fost sigur asupra intelesului sau.       – “Script, a distinctive writing system, based on a repertoire of specific elements or symbols, or that repertoire”                                                                                                                – “handwriting as distinct from print; written characters.”                                                          – ” Însemnare, consemnare, relatare scrisă; text.”                                                                     Am vazut ca notiunea se aplica atat la insemnarile care constituie scris cat si la cele nedescifrate, despre care nu se stie exact in ce faza premergatoare a scrisului propriu-zis ar putea fi, ex. proto-scriere.                                                                                                         Lucrurile stand astfel, am tradus script prin “scriptura (manuscris, semne facute cu mana),=colectie de semne, insemne/insemnari”



DEVELOPMENTAL STAGES                                                                                                                    A conventional “proto-writing to true writing” system follows a general series of developmental stages:

  • Picture writing system: glyphs (simplified pictures) directly represent objects and concepts. In connection with this, the following substages may be distinguished:
    • Mnemonic: glyphs primarily as a reminder.
    • Pictographic: glyphs directly represent an object or a concept such as (A) chronological, (B) notices, (C) communications, (D) totems, titles, and names, (E) religious, (F) customs, (G) historical, and (H) biographical.
    • Ideographic: graphemes are abstract symbols that directly represent an idea or concept.
  • Transitional system: graphemes refer not only to the object or idea that it represents but to its name as well.
  • Phonetic system: graphemes refer to sounds or spoken symbols, and the form of the grapheme is not related to its meanings. This resolves itself into the following substages:
    • Verbal: grapheme (logogram) represents a whole word.                                                            ———————————-
    • Syllabic: grapheme represents a syllable.
    • Alphabetic: grapheme represents an elementary sound
  • Cele cu maro apartin proto-scrierii, cu exemplu proto-scrierea sumeriana, care folosea semne proto-cuneiforme care aveau numai unul din atributele de mai sus, iar altele au inceput sa aiba asociate si sunete/foneme.
  • Cu albastru, scriere propriu-zisa ; ex scrierile Linear A si Linear B .  ===========================
  • Savantul Harold Haarman, precaut si in maniera inteligenta, stiind foarte bine ca nu poate fi vorba de scriere, foloseste termenul de “scriptura Vinca/Danubiana” (Vinca script si nu Vinca writing).                                                                                   Dansul in mod corect afirma ca daca avem o scriptura, gen colectie de semne nu inseamna neaparat ca nu este scris, dand exemplul scrierii Linear B, care inainte de a fi descifrata avea aspectul unei scripturi/colectie de semne.                                      Mai departe, a observat in mod corect ca multe din semnele din cultura Vinca sant semne elementare (gen V, I <.+, L, etc.etc.),
  • iar altele au la baza semne elementare  lineare, (aspectul general fiind ca multiple combinatii de semne lineare),
  •                                                                                                                                                           Din
  • Common symbols used throughout the Vinča period
  • iar altele au la baza semne elementare  lineare, (aspectul general fiind ca multiple combinatii de semne lineare).                                                                                              Other Vinča symbols
  • Nu sant sigur, dar retin si ma mir ca nu a folosit pentru acest tip de insemnari termenul consacrat  de “proto linear”.
    Din › 03_IKKenanidis_ECPapakitsos                                                            An Interpretation of the Malia Stone Inscription in Terms of the …

    Cretan Protolinear script, which is considered herein as the
    original script that all the Aegean scripts evolved from. ”                                                                                                                                                                                                         Mai departe, dansul presupune in mod corect ca semnele aveau o semnificatie, presupune dansul (!)  cu preponderenta religioasa (!?).                                                              In continuare presupune ca este posibil sa avem de-a face cu o “scriptura nucleara” , unde un semn poate reprezenta un concept sau cuvant, dar  nu tot cuvantul , ci numai radacina lui. Ex. VORBim

  •                                                                                                                                                       Din An Introduction to the Study of the Danube Script
    Harald Haarmann and Joan Marler
  •                                                                                                                                                           << When an inscription consists of only one sign, this sign must express a single idea or, the most elementary independent unit of language, a
    whole word. This inductive identification is logical since any single sign with phonetic value (syllabic, segmental or alphabetic) would not express an independent linguistic unit and, thus, would not render a meaningful component of a message. In nuclear writing, only that part of a word (i.e., the stem) is rendered graphically which bears the elementary meaning. Nuclear writing is cumbersome because it requires a great interpretative effort on the part of the reader to specify the precise meaning of a text and to identify the exact contents of messages. For the reasons explained in the foregoing nuclear writing is by definition logographic.    …..The best known script based on this principle of nuclear (logographic) writing is the system of Sumerian pictography, the predecessor of cuneiform writing. Nuclear writing is the principle which governs the sign compositions in the oldest clay tablets from the cultural strata of Uruk III and IV, dating to between 3200 and 3000 BCE     …..The social functions of the Danube script, as far as they can be reconstructed from the archaeological record, point to a predominantly
    religious context. Religious functions dominate the early phase of literacy in the Danube civilization. In the course of time, the use of signs extended to also encompass the sphere of everyday life>>
  • Din


  •                                                                                                                                                    Deci Dl. Haarman presupune ca ar putea fi vorba de proto-scriere, ca si cea sumeriana gresit numita pictografica, de fapt proto-cuneiforma, dar nici dansul si nimeni altcineva din lume nu a putut face dovada ca face parte dintr-o asemenea faza premergatoare scrisului.      Si nici dovada clara a functiei semnelor in domeniul religios si al vietii zilnice.
  • Aici, Dl. Haarman in loc sa explice cum si de ce nu este proto-scriere alege sa sustina ca poate fi o folosire a semnelor intr-un script chiar fara descifrare, dar gaseste motive si explicatii de conjunctura, de ce nu poate fi descifrata:
  •                                                                                                                                                          << 7. How to Make Progress with the Decipherment of the Danube Script?
    As outlined earlier (see under 2), a positive identification of sign use in the Danube
    civilization as a script is possible even without a successful decipherment. This analysis of the sign inventory and its composition, the artifacts and their inscriptions and the resemblances with other ancient writing systems has, hopefully, provided insights into the early experiment with writing in Southeastern Europe.                                                                                                                                            At the moment, it is doubtful whether significant progress with the decipherment can be made since bilingual and digraphic texts do not exist. In the absence of a “Rosetta Stone”—the item that made possible the breakthrough in the decipherment of Egyptian hieroglyphs in the 1820s (Champollion 1825)—the prospects to ever crack the code of the Danube script seem minimal.There are certain conditions of the cultural embedding of the Danube script and its literacy
    which, seemingly, pose unsurmountable problems to a successful decipherment:
    o The scarcity of longer texts which would allow for a computational approach to identify frequencies and group patterns of signs in inscriptions;                                    o The appearance of multifunctional signs which may represent a script sign but are also integral components of religious symbolism (e.g., the cross sign, the V
    sign, the lozenge and the meander). Although it is highly improbable that we might
    ever be able to read entire inscriptions in the Danube script we may well know more about its social functions and about formulaic patterns of its sign use. Progress may also be expected from an analysis of signs and their groupings
    according to their appearance on certain objects, such as cult vessels, spindle-whorls, sculptures and ceramics, thus facilitating the distinction
    between writing and other notational systems (e.g., numeration, calendrical information, weights and measures, and heraldic emblems as markers of social groups). All these systems interacted in a sophisticated network of communicatiotion in the ancient Danube civilization. >>
  • =============  E X P L I C A T I E  ================
  • Sumerienii, dupa ce initial au folosit “margele” (conuri, discuri, etc.) din lut care semnificau produse :
  • Din
  • le-au inlocuit cu semne care le reflectau forma.   Apoi la scurt timp au mai adaugat pictograme si ideograme care prin forma semnificau realist semnificatul.
  •  Apoi la scurt timp au mai adaugat pictograme si ideograme care prin forma semnificau realist semnificatul.
  • Exemple;  Din
  • A, “apa” SAG, “cap” Sze/Se “cereale,orz”                      Apoi semnele au inceput sa semnifice si idei,cuvinte
  • AMAR ,”vitel”
  • si sa devina mai complexe.Pe parcurs unor semne li s-a uitat semnificatia initiala.
  • numere:
  • 23″                                                                                                           (Fig. 2) Impressed tablet featuring an account of grain, from Godin Tepe, Iran
  • ==============================
  • Inteleg ca aceste incercari legate de scris au incetat la un moment dat:
  • Din
  •    <<  The Danube script was successful as well although its continuity into later periods is still a matter of dispute. The ancient tradition of literacy on the continent ends about 3200 BCE (Owens 1999: 117). There are traces of a decaying writing system and of a notational system in the early third millennium BCE on the
    Greek mainland (Haarmann 2002b: 17 ff.). Literacy shifts to the Aegean. The earliest evidence for Linear A in Minoan Crete dates to around 2500 BCE.   >>

Domnul H.Haarman, sustine ca scriptul Danubian a fost sursa de inspiratie pentru scrierile Egeene. Eu nu subscriu. Sant de parere ca scrierile sumeriana proto-cuneiforma si Feniciana au fost sursa scrierilor Egeene.                                                                                                                                                                                                                         Ex. ce inseamna proto-Linear:                                                                                                       Cretan Protolinear Script: The Sixth-Vowel Set of Syllabograms Ioannis K. Kenanidis

  •                                              ! A T E N T I E
    Nicaieri pe tot globul nu exista nici cea mai mica urma de proto-scriere inainte de 3.500 B.C. ! Daca cineva ar ssustine (inca) o vechime de sa zicem 5.300 B.C. ar fi o gogomanie putin mai mica decat ceea de a sustine ca oamenii au fost contemporani cu dinozaurii (in schimb scara proportiei temporale este asemanatoare) ******************************************
  • Initial v-am suspectat ca dumneavoastra vreti sa va sustrageti (evaziune, eludare) folosind termenul de script. Pentru a nu face apropierim trimiteri si comparatii directe cu scrierea sau proto-scrierea. Spuneti ca scriptura/insemnele Danubiene ar fi un “scriptura nucleara”, ca scrierea pictografica sumeriana. Probabil trebuie sa va reamintesc ca sumerienii nu au folosit niciodata chiar nici la inceputuri numai pictograme. De la inceput au folosit semnele proto-cuneiforme din care unele erau pictograme iar altele logograme si ideograme. Cu aceste semne au realizat proto-scriere, cu care reuseau sa transmita mesaje, adevarat la modul general.                                                                                                                                                                  Exemplu de proto-scriere sumeriana (cum o denumiti Dv. “pictografica”)                          Chiar aici aveti exemplul numarului 1 care nu este pictograma ci IDEOGRAMA, deci chiar de la inceput nu a fost scriere pur pictografica):
  •                                                                                                                                                       Din Writing systems; signed and spoken language. Language and thought.
  • Such early documents are difficult to interpret, largely because they lack indication of verbs and the interrelations of nouns — precisely what full language excels at. The meaning might be                                                                                                           “two sheep received from the temple of Inanna”, or “two sheep delivered to the temple of Inanna”, or perhaps something else entirely.
  • Deci 2 ,templu!nu casa, oaie, zeitate, Inanna
  • Putem doar deduce aproximativ, fara a avea ceritudine:
  • ” ?date?primite?2 oi  ?pentru sacrificiu? templul ze-itei Inanna
  •                                                                                                                                                        Aratati-mi un singur exemplu privind o succesiune de semne din “scriptura Danubiana”, oricat de scurta din care sa se poata extrage un mesaj ori un inteles.
  • Aratati-mi un singur exemplu in sprijinul ipotezei Dv. ca semnele erau folosite cu preponderenta in domeniul religios (chiar daca nu explicitati mesajul/intelesul)
  • Din › 2010/07/13 › rebutta…                         Rebuttal of Sproat, Farmer, et al.’s supposed “refutation” by …

  • “The Vinca markings on pottery are linear but scholars have established that the symbols do not appear to follow any order – the system thus can be expected to fall in the maximum entropy range (MaxEnt) in the above figure.”
  • Deci gradul de dezorganizare=entropie se apropie de maxim pentru scriptura Vinca (grupul acela de linii in culori pastel reprezinta limbi si scrieri cunoscute si au grad de dezorganizare=entropie mai mica)
  •                                                                                                                                                    Din                                                                                      Analysis
    Most of the inscriptions are on pottery, with the remainder appearing on ceramic spindle whorlsfigurines, and a small collection of other objects. The symbols themselves consist of a variety of abstract and representative pictograms, including zoomorphic (animal-like) representations, combs or brush patterns and abstract symbols such as swastikas, crosses and chevrons.                                          Over 85% of the inscriptions consist of a single symbol.                                               Other objects include groups of symbols, of which some are arranged in no particularly obvious pattern, with the result that neither the order nor the direction of the signs in these groups is readily determinable.                                 The usage of symbols varies significantly between objects: symbols that appear by themselves tend almost exclusively to appear on pots, while symbols that are grouped with other symbols tend to appear on whorls.
  • The Jiahu symbols found carved in tortoise shells in 24 Neolithic graves excavated at JiahuHenan province, northern China, with radiocarbon dates from the 7th millennium BC. [25] Most archaeologists consider these not directly linked to the earliest true writing.[26]
  • The Dispilio Tablet of the late 6th millennium may also be an example of proto-writing.
  • The Indus script, which from 2600 BCE to 1900 BCE was used for extremely short inscriptions.>>

Even after the Neolithic, several cultures went through an intermediate stage of proto-writing before they used proper writing. The “Slavic runes” from the 7th and 8th centuries AD, mentioned by a few medieval authors, may have been such a system. The quipu of the Incas (15th century AD), sometimes called “talking knots,” may have been of a similar nature. Another example is the pictographs invented by Uyaquk before the development of the Yugtun syllabary for the Central Alaskan Yup’ik language in about 1900. >>