Tartaria tablets

It seems that the place of origin of sumerian gods was Gobeklitepe. From https://en.wikipedia.org/wiki/Du-Ku Du-Ku or dul-kug [du6-ku3]  is a Sumerian word for a sacred place Divine The location is otherwise alluded to in sacred texts as a specifically identified place of godly judgement.The hill was the location for ritual offerings to Sumerian god(s). Nungal and the Anunna dwell upon the holy hill in a text written from Gilgamesh.

From https://en.wikipedia.org/wiki/G%C3%B6bekli_Tepe << Schmidt also engaged in speculation regarding the belief systems of the groups that created Göbekli Tepe, based on comparisons with other shrines and settlements. He presumed shamanic practices and suggested that the T-shaped pillars represent human forms, perhaps ancestors, whereas he saw a fully articulated belief in deities as not developing until later, in Mesopotamia, that was associated with extensive temples and palaces. This corresponds well with an ancient Sumerian belief that agriculture, animal husbandry, and weaving were brought to humans from the sacred mountain Du-ku/Ekur, which was inhabited by Annuna deities, very ancient deities without individual names. Schmidt identified this story as a primeval oriental myth that preserves a partial memory of the emerging Neolithic.>> From https://enenuru.proboards.com/thread/176/du-ku-cosmology << Next, Black addresses the ḫursag̃ and the Holy Mound (dul) and something new emerges in this excellent discussion: “Now the terms ḫursag̃ “hill” and dul “mound” are known from administrative field plans dating from the Third Dynasty of Ur, which conveniently demonstrate the use of these terms as part of the everyday vocabulary of vernacular speech, not restricted to a purely literary lexicon. The plans use ḫursag̃ for the “hilly” parts of fields, which are difficult to cultivate (so the ḫursag̃ can be translated as “hill(s)”), and dul for areas of fields which are unproductive because they are tell-ground (that is, ground untillable because it is the site of ruined habitations). The word translated here as “mound” is Sumerian dul, Akkadian tillu (which is, of course, Arabic tell). A hill known as the Holy Mound, then, was the birthplace if the Anuna, and the other gods, at the time before sky and earth were separated. They lived up on it, and mankind lived down below. The imagination stimulus for the idea of a single Holy Mound -a dul or tell– must have been the numerous ruin mounds that dot the surface of the Mesopotamian plain, with evidence of ancient habitation. Nobody lived on them, but you only have to investigate them cursorily- if your village is next to one and you stroll up there of an evening- to realize, from the ceramic remains and the occasional skull and bone, that they had been inhabited in the past. But by whom? The mythic imagination tells us that this is where the gods lived in the most distant past, with their feet on the ground but close to the sky. A mythic image or metaphor such as the Holy Mound, then, is a single cosmic location derivable from generalized elements of the landscape, such as uninhabited ruin mounds, that are multiple and ubiquitous. “ Summing: From a survey of different cosmological material we can see that the du-ku seems in large to be absent from Sumerian imaginings in regards creation. …….. Cohen on Sheep and Grain/ The author notes the occurrence in the debate poem Sheep and Grain of an instance of the cosmological du-ku as we have above – he briefly recaps the views of other scholars, namely van Dijk’s suggestions of a the du-ku (sacred mound) as situated on a sort of world mountain on which the gods come from (as Black said, hursag). He mentions Jacobsen’s n. 27 from page 371 from his “the Harps….”. This is an important hint Jacobsen contributes: “Duku, “the holy mound,” was a sacred locality. Originally and basically the term designated the plastered-over pile of harvested grain, but it was extended to underground storage generally. Enlil’s ancestors- powers for fertility in the earth- were located in Duku.” ….. En-me-šar₂-ra “Lord All Essences” In the OB and later lists [Enmešara] is treated in the context of Enlil’s ancestors, but not as one of them. Very little is known about him from other late third and early second millennium sources, and the few facts there are must be enriched by scattered information from late cultic commentaries and theological texts heavily influenced by the mythology of Enūma Eliš. ….. The meaning of this conflict for cosmogony lies in the tension between essences, me, and divine government, nam-tar, “decreeing the fates”. The essences are by nature part of existence, they came into being with what was created, but they are not created themselves. Enlil, An and Enkig represent active rulership, they distribute the essences over the gods and assign each his task, nam-tar. The essences are made subservient to the purposes of just rule. The brainless old cosmos of essences had to go, but it did not give way without struggle, it rebelled: Enmešara, “Lord all Essences”, tried to know nam-tar and rule like Enlil, but he failed and was defeated. What there is was subordinated to divine government for good. Lb.Rom. Înțelesul acestui conflict pentru cosmogonie constă în tensiunea dintre esențe, Me și guvernul divin, nam-tar, „decretând soartele”. Esențele fac parte din natură a existenței, au apărut cu ceea ce a fost creat, dar nu sunt create ele însele. Enlil, An și Enki reprezintă o guvernare activă, distribuind esențele zeilor și atribuind fiecăruia sarcina sa, nam-tar. Esențele sunt subordonate scopurilor unei reguli juste. Vechiul cosmos fără esența esențelor a trebuit să meargă, dar nu a cedat fără luptă, s-a răzvrătit: Enmešara, „Doamna tuturor esențelor”, a încercat să cunoască nam-tarul și să conducă ca Enlil, dar a eșuat și a fost învinsa. Ceea ce există a fost subordonat guvernului divin pentru totdeauna. …….As well, a line from a hymn to Inanna also spells out the physical existence of the du-ku among the buildings of the E-kur temple complex: “Lady ……! Returning heroic youth, Inana ……. At the shrine, in Nibru, in the E-du-kug ……” M. Cohen, whose 1993 work Cultic Calendars of the Ancient Near East I will chiefly refer to below, adds that the du-ku is placed within the E-kur complex in 2 lamentations and also in an eršemma-hymn called “Dilmun”, which gives it as the du6-kù ki-kù “The Sacred mound, the sacred place.” He further isolates the du-ku as being positioned in whats known as the Tummal complex – a construct near the E-kur itself,>> From https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html Sign ME

Sumerian proto-cuneiform sign KU:”sacred” https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html

Sumerian proto-cuneiform sign Du:”mound”

From Elementary Sumerian Glossary – Cuneiform Digital Library …cdli.ucla.edu › pubs › cdlp › cdlp0003_20160104 · Pennsylvania Sumerian Dictionary on the … agrun-ků the goddess Ninlil’s sanctuary at Ur (LU 16) … ků(g) (kug) to be sacred, holy; to sanctify

Gobeklitepe sign ?? “sacred” ??

From https://www.facebook.com/TempleofSumer/posts/blessed-du-ku-from-temple-of-sumer-the-month-of-the-sacred-moundholy-hills-and-s/833633270129967/ Blessed Du-ku from Temple of Sumer! “The Month of the Sacred Mound” Holy Hills and Sacred Mountains – The Foundations of the Duku Festival Holy hills and sacred mountains permeate much of Ancient Near Eastern Literature, from the earliest cuneiform tablets, all the way to their central place in Biblical scripture. From the image of Moses, standing on top of Mount Sinai, receiving sacred cuneiform tablets from God, giving deified Hammurbian laws to mankind; to the image of the Prophet Elijah, standing on Mount Carmel, asking his God to prove himself more powerful than Baal; and all the way on to the image of Jesus giving the sermon on the Mount. Mountains have always had great significance in both Jewish and Christian literature, since they are seen as being “closer to God” who dwells where the Heavens meet the sky. As a result of this idea, we often see God bestowing his divine wisdom from a mountaintop in scripture. These are concepts and central motifs which stretch back to the earliest times, to long before the Bible was set to parchment, and long before the Patriarch Abraham first began his journey from the Sumerian City of Ur, all the way back to a time when civilization was just beginning. For it was said that upon this Scared Mound, “the ḫursag̃” (hill) of Heaven and Earth, that the ancestral Gods were created. In the earliest literature, the Sumerian poem ‘The Debate between the sheep and the Grain’, dated to the 3rd millennium BC, we are given the creation myth telling of the Sumerian ‘Edin’, meaning ‘steppe’, the place where the Anunna Gods were first created. This hill was situated at the point where the Heavens rested upon the Earth, and where mankind were given their first habitat. This sixty one line myth was set to stone over two thousand years before the Bible was even written, and before the “Garden of Eden” was even a concept. Later in time, from Third dynasty of Ur period (2200BC) onwards, we would find the term ‘Edin’ rephrased to ‘Hursag’ meaning ‘hill’, or in some cases ‘tillu’ in Akkadian, a term that was widely used to describe pre-historic tell mounds. In ‘Riches Hidden in Secret Places’ the acclaimed Assyriologist Jeremy Black noted that the Sumerians, unlike the scholars of today, had no interest in where their people had come from, and rarely wrote about it in their literature. Their Gods were Gods of civilisation, intent on bringing order to the universe, and civilisation to the society in which they served. Because of this, the Sumerians themselves were an incredibly forward looking people, focused on ingenuity and invention, and working towards a better tomorrow, rather than looking back to their past. On the other hand, the Sumerians knew they had not inhabited the earth since the very beginning of time, and that there had been a time before civilisation, when the very first men had lived in an uncivilised state like the animals, which was possibly the inspiration for Gilgamesh’s Enkidu. The Sumerians understood that civilisation had been a much later development, and it fascinated them to speculate on how the world had come into being, and how things has been at the beginning of time. In ‘The Debate between the sheep and the Grain” we see the Holy Mound take centre stage, as it was set as the birthplace Of the Anuna Gods at the time before sky and earth were separated. The Anuna Gods were ancient Gods from a time before recorded history. They were Gods that during the Sumerian period, and into the late Akkadian period were portrayed as seven judges who sit before the throne of Ereshkigal in the Underworld, their primary function is to decree the fates of humanity. During the Old Babylonian period, the Anuna were believed to be the chthonic deities of the Netherworld. In the ‘Curse of Akkad’ the Sacred Mound is also described as the resting place where the great ancestors of the Great God Enlil, En-duku-ga the Lord of the Sacred Mound and Nin-duku-ga the Lady of the Sacred Mound. These primordial gods even predated Enlil himself, and Enlil is the first born son of An and Ki. They may be the parents of one of Enlil’s parents, or they may go even further back. Jeremy Black theorised that at the time of writing this myth, the Sumerians lived in a land surrounded by these tell mounds, and knew they were the ruined habitation of their most ancient ancestors, and possibly even the Gods themselves ancestors, which fuelled their mythic imaginations. Although Sumer emerged as a complex civilisation between 5500BC to 4500BC, it is clear that there had been inhabitants in the land between the rivers long before that point back to Neolithic times. We call these early inhabitants the proto-Euphrateans, or Ubaidians, and they had left many markers behind. Many of these early inhabitants were probably very ancient ancestors of the Sumerians themselves, although before that point in time they were not classed as ‘civilisations’. The term ‘civilisation’ only comes into play with ‘recorded history’, and when characterized by a series of set markers, of which include urban development, social stratification imposed by a cultural elite, a perceived separation from and domination over the natural environment, and symbolic systems of communication such as complex writing systems. So, while the Sumerians were the first true civilisation to fit all of those criteria, their ancestors had probably already lived in this area, and its surrounding areas, for millennia before this point. Jeremy Black went on to state that: “The imagination stimulus for the idea of a single Holy Mound -a dul or tell- must have been the numerous ruin mounds that dot the surface of the Mesopotamian plain, with evidence of ancient habitation. Nobody lived on them, but you only have to investigate them cursorily- if your village is next to one and you stroll up there of an evening- to realize, from the ceramic remains and the occasional skull and bone, that they had been inhabited in the past. But by whom? The mythic imagination tells us that this is where the gods lived in the most distant past, with their feet on the ground but close to the sky. A mythic image or metaphor such as the Holy Mound, then, is a single cosmic location derivable from generalized elements of the landscape, such as uninhabited ruin mounds, that are multiple and ubiquitous.”The acclaimed German archaeologist and pre and proto-historian Klaus Schmidt firmly believed the original ‘Duku’ that was written of in ‘The Debate between the sheep and the Grain’ was none other than Göbekli Tepe, the ancient Neolithic mountain sanctuary dating back to around 9130BCE. He believed that the poem itself was a cultural memory of ancient site, and a mythohistorical narrative from the time when mankind moved from being predominantly hunter gatherers to a time of permanent settlement. It’s worth considering that the site of Göbekli Tepe is situated in what would one day be classed as Northern Mesopotamia, and the site itself was only seven days walk on foot from what would one day become the Sumerian City of Ur in Southern Mesopotamia, and even closer than that when travelling by donkey, or by boat down the River Euphrates. It’s probably no coincidence that this buried and abandoned “ancient city” was situated in a hilly and mountainous environment just like in the Sumerian myth, and being what many believe to be birthplace of animal husbandry from the archaeological evidence at the site, fits the myth perfectly too. What is even more compelling however is the creation of grain that takes place in the myth, especially when you consider the ancient einkorn wheat, found in the hills surrounding the Göbekli Tepe, just happens to be the single genetic ancestor of every strain of wheat grown and eaten across the earth today. During the Third Dynasty of Ur period, and over seven millennia later, the Sacred Mound had taken on a symbolic representation during the Duku Festival, as a likeness of it was built in harvested grain in the lead up to the religious holiday. This new meaning for the term ‘Duku’ seems to have caused confusion among scholars, as while most academics held to the Sacred Mound as a historic locality, others such as Thorkild Jacobsen, who read texts detailing the construction of this symbolic depiction saw its origin as a “plastered-over pile of harvested grain”, and concluded that the Duku must have been some sort of underground storage. However as practitioners of the Sumerian religion we sometimes have the luxury of seeing hidden meanings where perhaps the academics are too focused on literal depictions in the text, and as any who are well versed in the concepts of sympathetic magic will attest, in this case the laws of similarity are obvious in their apparency. We can see from the method of construction of the walls of this grain ‘Duku’ are incredibly similar to the construction of ancestral tells, together with the harvest it contains, the offerings of milk it is given, and offerings of dozens of lambs prepared, all tie in intimately with the myth ‘Debate between Sheep and Grain’ and it’s links to the mythic Sacred Mound, on which the Gods were given life. Because of this I would say this grain Duku came later, and was the development of a symbolic construction originally created to be as part of the cultic activities, which then later developed from there to the idea of grain silos.In the Nippurian Calendar the month of Duku begins properly with the sighting of the new moon on the 20th of September, with the first day of the month beginning properly on the 21th. At this time the preparations would just be beginning to take shape for the Duku festival, which didn’t actually take place until much later in the month. During this time, a symbolic Sacred Mound is constructed in Tummal, a “sacred city” located middle-way along the canal between Šuruppak and Nippur, suggesting a possible identification with the site of Tell Dlihim. The cult centre of Tummal is sometimes defined in texts as a primeval city, much like Eridu, connected to reeds and abundance. The Duku Festival itself actually takes place on the 27th and 28th day of the month, or the 17th and 18th of October, during the time of the dark moon. As the Festival of the Sacred Mound began, the cult statues of Enlil and Ninlil, accompanied by the King, along with the cult statues of other Nippurian Gods, were taken from the Ekur Temple in Nippur, and transported by boat to the Tummal where the elite had gathered to begin the ceremony. During the festival large quantities of food and drink were distributed to the people after the rituals and offerings. The festival itself takes place just a few days before the new moon appears on the 19th of October. The new moon’s appearance no doubt marking the end of the festival, and signalling that the month of Apin Du-a is about to begin.A good myth to read on this day would be ‘The Debate between Sheep and Grain’ for much of the reasons we have covered in this piece, because the myth is intimately linked with the Duku. Offerings appropriate for this holiday are milk and grains, and many Sumerian Reconstructionists will bake them into cupcakes. Bread making is a fundamental building block of civilization and demonstrates the cultivation and refinement of grain. Cooking it into a cake, and frosting it shows a mound of grain being symbolically plastered over. The cupcake recipe should include milk, as this was one of the most common offerings to the mound.Although the Festival of the Sacred Mound was generally seen as a great time of celebration and feasting, we must also be mindful that is had sombre undertones, as it was also a time when the Gods of the underworld were paid homage, and the ancestors were remembered, so we should also remember to pay our respects to those we have lost in the past, and in doing so pay tribute to their achievements. Though those memories, those we have lost will never leave us.>> Du-Ku=Sacred place, among E-Kur complex in Hur-sag. Sacred place(pillar precinct), among E-kur complex. Pillar precinct (circular enclosure) among Göbeklitepe temple complex. < Ekur (É.KUR) is a Sumerian term meaning “mountain house”. It is the assembly of the gods in the Garden of the gods, parallel in Greek mythology to Mount Olympus and was the most revered and sacred building of ancient Sumer. There is a clear association of Ziggurats with mountain houses. Duranki (Dur.An.Ki) was the Sumerian term for the people who were created by their Gods. Dur translates to Bond, An translates to Heaven or skies, Ki translates to Earth. >

Din http://isida-project.org/turkey_2018/gt_en.htm << Practic, reliefurile de pe stâlp conțin imagini cu animale, rareori – părți ale figurilor umane, precum și diverse simboluri și pictograme. Klaus Schmidt și Joris Peters în articolul lor “Animals in the symbolic world of Pre-Pottery Neolithic Göbekli Tepe, south-eastern Turkey: a preliminary assessment” oferă date statistice despre imaginile din basoreliefurile Templelor (A-D):

• Snake-23 (and multiple images on one stone were considered as one)
• Fox – 9
• Boar – 7
• Crane – 5
• Bos taurus / bull – 3
• Wild sheep – 2
• Asian wild donkey – 1
• Gazelle – 1
• Leopard / Lion – 1
• Bear – 1?

Vulpile apar pe pozitii fruntase atat in ceea ce priveste ramasitele gasite cat si in ceea ce priveste evidentierea lor pe monumente. Din ResearchGateGöbekli Tepe. Animal depictions on the T-shaped pillars in enclosures… | Download Table https://www.researchgate.net/figure/Goebekli-Tepe-Animal-depictions-on-the-T-shaped-pillars-in-enclosures-A-to-D-Caveat_tbl2_237785162

Din Gobekli Tepe’s Pillars – Prehistory Decoded – blogger Pilonul 10:

<< Intrarea portalului în incinta B de pe latura sa de nord prezintă un cap de taur (bucraniu) flancat de o pereche de vulpi. Din nou, acest lucru indică probabil constelațiile Capricornus și Vărsător și, prin urmare, fluxul de meteori Taurid. Așadar, nu este surprinzător să găsim mai multe proverbe mesopotamiene referitoare la vulpe și taur, în timp ce vulpile și taurii apar în mod evident în iconografia lor religioasă.>> Din the fox in Sumerian Proverbs – Foxes from the Gods << Proverbele relevante sunt: ​​Colecția 2:65 Vulpea a călcat pe copita taurului sălbatic. Nu a durut, a spus. Colecția 8:21 O vulpe urmărea testiculele unui taur sălbatic ca și când ar fi murit de foame.>>

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Bineinteles ca multi au fost interesati si au cercetat care puteau fi motivatiile si explicatiile figurarii vulpilor pe monumente.Eu ma voi raporta cum am mai facut si altadata la relatarile si referintele consemnate in cea mai veche civilizatie din zona si anume cea sumeriana.Am gasit referinte in proverbe, unde apare asociata cu taurul (pe care urmareste sa-l muste !?) si mai apoi ca fiind animalul sacru al zeitei mama Ninhursag. Fox Mythology | Mythology & Cultures Amino << In early Mesopotamian mythology, the fox is one of the sacred animals of the goddess Ninhursag. The fox acts as her messenger.>> In aceasta ultima instanta, cu ocazia imbolnavirii zeului Enki, singura care-l putea tamadui era Ninhursag. Dar aceasta nu era de gasit.In schimbul unei recompense, vulpea s-a oferit sa o aduca, din lumea mortilor (unde era plecata la sora ei Ereskigal). Din Ereshkigal – Wikipediaen.wikipedia.org › wiki › Ereshkigal << În mitologia mesopotamiană, Ereshkigal (sumerian: 𒀭𒊩𒌆𒆠𒃲 EREŠ. KI. GAL, lit. „Regina Marelui Pământ”) era zeița lui Kur, țara morților sau a lumii interlope din mitologia sumeriană. .>>

Dupa cat se pare, vulpea stia sa patrunda in lumea mortilor si sa se intoarca, prin aceasta avand roluri si capacitati (nu pe deplin lamurite) legate de lumea mortilor si de vrajitorii. Din www.diva-portal.org › getPDF The World of the Sumerian Mother Goddess – DiVA << Cuvinte cheie: zeița mamă sumeriană, Mesopotamia, mit, … când vulpea este numită „înțeleptul, vrăjitorul”>>

DECI RETINETI CA LA SUMERIENI VULPEA ESTE ASOCIATA UNEI ZEITATI FEMININE. IN INCINTA D DE LA GOBEKLI TEPE SUNT IN CENTRU 2 PILONI; PE UNUL EU IL ASOCIEZ UNEI ZEITATI MASCULINE (P31, CEL CU COLIERUL BUCRANIU) Din http://martinsweatman.blogspot.com/2020/10/gobekli-tepes-pillars.html

<< Pillar 31: the second central pillar of Enclosure D is very similar to it’s ‘brother’, Pillar 18, but is less decorated. Gone are the H and crescent symbols on the belt or beside the buckle. And the ‘eclipse’ brooch is exchanged for what looks like a bucranium symbol.>> SI CELALALT PILON(P18 MAI BOGAT ORNAMENTAT), IL ASOCIEZ UNEI ZEITATI FEMININE Din http://a9414495.eu5.org/origin/gobekli.html?fbclid=IwAR0yYfLgecEbBFmu-aSKrPETQA3cdiOCc7dBV7ToeQsOwlTHREBxSX7pjAk

1. Pilonul 18 al incintei D, cel mai semnificativ din întregul complex al templului. Acesta este o femeie care simbolizează actul sexual și nașterea copiilor. Prototipul viitoarelor zeițe ale iubirii, sexului, familiei și fecundelor Inanna, Ishtar, Isis, Afrodita și altele. Să o numim zeița N. În partea de jos a coloanei sunt șapte păsări fără aripi. Aceștia sunt copiii ei. Pe centură, simbolurile alternante C și H. C sunt imaginea lunii noi, H este simbolul actului sexual (bastoanele verticale sunt bărbat și femeie, stigma orizontală este organul masculin și H este simbolul bărbatului și femeii asociate în actul sexual). Mâinile femeii sunt apăsate pe fundul burții și indică locul de concentrare a atenției sale. În timpul sarcinii – este un copil în burtă și îl îngrijește, în timpul actului sexual – centrul senzualității și atenției. Pe partea din față a centurii există 2 simboluri H în poziția normală și 3 simboluri H în poziția rotit (culcat). H obișnuit simbolizează actul sexual în poziția în picioare, minciuna H – actina sexuală în poziția mincinoasă.Imaginea vulpii închide organele genitale. O vulpe este un simbol al actului sexual. Vânătorii antici au observat adesea cum o vulpe se ascunde într-o gaură. Această acțiune are o formă similară cu apariția actului sexual. Prin urmare, vulpea simbolizează actul sexual (și nu o cometă așa cum scriu astronomii. Ne pare rău, oamenii de știință, astronomii, iubesc și astronomia, dar adevărul este mai valoros)). Capul unei vulpi cu cinci pliuri descrie vaginul, iar coada cu două picioare este organele genitale masculine. Faptul că vaginul și organul masculin sunt descrise într-un singur animal simbolizează unirea lor în actul sexual. Imagine a unei vulpi pe trunchiul unei femei. Acesta este simbolul actului sexual pe corp. Este un simbol al sexului ca acțiune principală care este dominantă pentru această femeie și în acest loc. Aceasta este puterea zeiței date H și puterea anumitor femei neolitice care fiind cele mai abile în sex în tribul lor, au servit mai întâi ca imagine pentru zeița H și pentru stâlpul 18, iar mai târziu au fost preotese și slujitoare ale această zeiță. Pilonul 18 întruchipează sexul feminin, nașterea și este simbolul său în general. Simbolul H este ca un pandantiv pe un colier pe gâtul unei femei. Este un simbol al sexului ca sens al vieții acestei femei. Acest H de pe colier diferă de celălalt H prin faptul că are două bețe de legătură în loc de unul. Bastonul superior este un sărut, cel inferior este raportul sexual sau mâinile conectate. Acesta este deja un simbol nu numai al sexului, ci și al iubirii ca fenomen social și emoțional.Inel peste lună pe al doilea colier de pe gâtul femeii. Simbolul ciclului menstrual și faptul că corpul femeii este supus ciclului lunar. Deci, simbolismul pilonului 18 este clar și clar dovedit. Zeița iubirii a fost figura principală din complexul templului. Ea a fost cea care atrage triburi nomade de vânători și culegători, ea a fost cea care a inspirat oamenii sălbatici din epoca de piatră să proceseze și să mute megaliti de 20 de tone. Era o profesionistă în sex și a transmis cultura sexului, cultura comunicării, cultura familiei la vânători și culegători sălbatici. A fost începutul civilizației. De unde aceste cunoștințe și aceste abilități au venit la zeița H? Aceasta este o întrebare și mai complicată, al cărei răspuns este aproximativ același cu întrebarea despre modul în care Newton a descoperit legea gravitației. Dumnezeu Creatorul i-a dat-o în dreapta DACA VULPEA ESTE ANIMALUL SACRU AL ZEITEI-MAMA NINHURSAG, AM FOST CURIOS PE CARE PILON ESTE VULPEA, PE PILONUL-ZEU SAU PE PILONUL-ZEITA !? CULMEA, VULPEA ESTE PE PILONUL DE “FACTURA FEMININA” CA LA SUMERIENI !

From https://www.bibliotecapleyades.net/arqueologia/gobekli_tepe08.htm

eugenrau: ?? !! ?? !!

From The World of the Sumerian Mother Goddess An Interpretation of Her Myths Therese Rodin http://www.diva-portal.org/smash/get/diva2:735198/FULLTEXT01.pdf <<4.13.2. The decreeing of destinies
When I discussed the concept “mother goddess” in the introductory chapter, I maintained that one of the tasks of the mother goddess was to decree fates at Enki because he is trying to usurp her role. However, other deities had the right to decree fates. If this is correct, one can suspect that Ninhursaga is angry at Enki because he is trying tu usurp her role. I shall use my method of investigating the constellation of ideas surrounding the concept of “decreeing destinies” to try to reach an understanding of Enki’s and Ninhursaga’s relations to this task. I will investigate who usually decrees destiny in the mythical world of the Mesopotamians. If this differs from case to case, I also have to discuss who is expected to decree on this occasion. In “Enki and Ninhuesaga” the word of decreeing destiny, nam—tar, occurs when the Anuna gods are the subjects of the verb. The object of the verb is not clear. Perhaps they decree the destiny that Enlil has promised the fox if it make Ninhursaga change her mind about the “death-sentence” on Enki. 4.14. The role of the fox 4.14.1. Contextualization of the fox
Although the part played by the fox in our myth is not a lengthy one, it is very important; it is the fox that succeds in apeasing Ninhursag so that she brings Enki back to life. …. The fox entering its lair could have been thought of as an ability to go to the netherworld, and this may be the explanation of why it was chosen by the mythographer for the role it has in “Enki and Ninhursag”. The reletaion to the netherworld is also found in several incantations where it is said of the lamented city that “Its lord … has gone to the netherworld. Its lady … has gone with him to the netherworld. The fox drags his tail there”. I suppose that the city is seen as abandoned and almost a parallel to the netherworld. The connection to the netherworld may also be seen in the above passage from “Ninurta’s exploits a šir-sud (?) to Ninurta”, where the cultic functionaries corresponding to the kurgarra and the galatura/the assinnu seem to be related to the cult of the dead. (To be noted though is that this reading is built upon a couple of restored signs; [ezen gidi]m”) In any case we already saw that they were related to the netherworld, and that suggests that the mistress of these creatures was also related to the realm of the dead. This assumption accords well with our findings on Ninhursaga; she is a mother goddess giving birth, but at the same time she is able to bring death. …..There is not only a similarity between the kurgarrû and assinnu and the fox, or Inana and the fox, but also between the fox and Enki. The cunning of the fox is according to Lambert “proverbial everywhere”, and cunning is an ability that is typical of Enki. That the fox resembles Enki is also seen when the fox is called “the wise one, the sorcerer” in the fable, which relates to Enki as magician. Further, just as kurgarra and galatura the assinnu, and perhaps also the fox travelled to the netherworld, Enki travels to the netherworld in “Gilgameš, Enkidu and the nether world”. A correspondence between the kurgarrû, the assinnu and Enki is that they all worked to heal people and thus tried to ward off death. This makes me believe that Enki is a deified shaman (the lord of the earth – en-ki) and originally had the same relation to the mistress of death and life as the kurgarrû, the assinnu and the fox. Regarding the fox, the same theme so many times referred to in this chapter is seen also in its role; at the same time as it is related to the netherworld it is also related to life, since it intervenes to bring Enki back to life. >> From https://en.wikipedia.org/wiki/Tablet_of_Destinies_(mythic_item) In Mesopotamian mythology, the Tablet of Destinies (Sumerian: 𒁾𒉆𒋻𒊏 dub namtarra; was envisaged as a clay tablet inscribed with cuneiform writing, also impressed with cylinder seals, which, as a permanent legal document, conferred upon the god Enlil his supreme authority as ruler of the universe. ===================== Intrarea vulpii in bârlogul său ar fi putut fi gândita ca o abilitate de a merge în lumea inferioară și aceasta poate fi explicația de ce a fost aleasă de mitograf pentru rolul pe care îl are în Enki și Ninhursag. Relația cu lumea inferioară este găsita și în mai multe descântece unde se spune despre orașul  deplâns că „Domnul său … a plecat în lumea inferioară. Doamna sa … a mers cu el in lumea de dincolo. Vulpea își târăște coada acolo ” …….Nu există doar o asemănare între kurgarrû și assinnu și vulpe, sau Inana și vulpe, dar și între vulpe și Enki. Viclenia vulpii este conform lui Lambert „proverbial, peste tot”, iar viclenia este o abilitate tipică lui Enki. De asemenea, se vede că vulpea seamănă cu Enki când vulpea este numită „înțeleapta, vrăjitoarea” din fabulă, care se referă la Enki ca magician. Mai departe, la fel cum kurgara și galatura / as-sinnu, și poate și vulpea au călătorit în lumea inferioară, Enki călătorește în lumea inferioară din „Gilgameš, Enkidu și lumea inferioară” și galatura as-sinnu, și poate și vulpea a călătorit în lumea inferioară, Enki călătorește în lumea inferioară din „Gilgameš, Enkidu și lumea inferioară”. O corespondență între kurgarrû, assinnu și Enki este că ei toți au lucrat pentru a vindeca oamenii și au încercat astfel să alunge moartea. Asta mă face cred că Enki este un șaman divinizat (stăpânul pământului – en-ki) și inițial avea aceeași relație cu amanta morții și a vieții ca si kurgarrû, assinnu și vulpea. În ceea ce privește vulpea, aceeași temă este așa de multe ori menționata în acest capitol este văzuta și în rolul său; în același timp deoarece este legat de lumea inferioară, este legat și de viață, deoarece intervine pentru a-l readuce la viață pe Enki.

O sa impart lucrarea in doua sectiuni: abordarea clasica si ipotezele mele. ABORDAREA CLASICA CURENTA In general se face legatura semnelor H cu semnul luvian/hitit pentru usa, poarta (de intrare) pe de o parte si cu constelatia Orion pe de alta parte. Din World’s First Known Written Word at Göbekli Tepe on T-Shaped Pillar 18 Means God Manu Seyfzadeh, Robert Schoch https://m.scirp.org/papers/90367?fbclid=IwAR3NaxYxX7x8YwwExdwp_ybzTX11VdD7oXsqpkBjPOzhzjhp6LE_mGFCIPE << The “H”-shaped Luwian symbol is the logogram for PORTA (“gate”; Petra Goedegebuure, personal communication) and is seen in detail for example in an inscription from Arslan Tepe (Figure 10).

1) the “H” symbols occur both as part of the belt bracketed by semi-circles on Pillar 18 of Enclosure D, as a part of an apparently purely symbolic element on the front of Pillar 18 along with a disk inside a crescent, alone on the front of Pillar 28 in Enclosure C bracketed by two semi-circles (Figure 3(i)), and as a focal point for the direction of where animals are heading as shown on Pillars 43 and 33 in Enclosure D (Figure 3(j), Figure 3(m) & Figure 3(n)), and 2) that this idea of a focal point is consistent with the concept of a gate, the meaning given to the “H”-shaped symbol in Luwian. Therefore, it is possible that the original meaning behind Göbekli Tepe’s iconography was verbally preserved in Anatolia’s prehistoric and ancient legends and myths until a written script was made incorporating those prehistoric symbols along with their archetypal meaning. >>

Sunt total de acord cu urmatoarele opinii ale altor cercetatori: – lumea de dincolo (a mortilor) “Kur”, a sumerienilor este legata de templul E-Kur – semnul H are legatura cu Orion – semnul H este legat de “poarta, intrare”

Din The World of the Sumerian Mother Goddess An Interpretation of Her Myths Therese Rodin << 5.4.1. The concept “door” as part of a constellation of ideas in Mesopotamian myths ….Table 11. Constellation of ideas associated with the concept “door”
door > netherworld > destiny > the first human being ….In this myth the gate belongs to the city of Nippur. We have the reference to the netherworld (kur) when we think of the name of Enlil’s temple: Ekur (é-kur) ….. In “Gilgameš, Enkidu and the nether world” we also meet the door of the netherworld. …… Regarding the idea “door”, the AHw and the CAD tell us that an Akkadian synonym list equals Harali with daltu, door, and as was pointed to earlier, the word is said to be Subaraic.1340 Komoróczy instead interprets the list as “Harali: Tür von Subartu”.1341 If the latter understanding is correct, the word seems to be a word for a place that was seen as an entrance to Subartu. As we saw Komoróczy saw Harali in the far east of Mesopotamia. Is this compatible with the statements that Harali is the “door of Subartu/a “Subaraic word for door”? to answer this question I shall try to locate the area of Subartu.The designation “Subaraic” corresponds to the region called Subartu.
There have been discussions among the scholars as to the location of this region. Some sources indicate that Subartu was located somewhere from the upper reaches of Tigris, stretching toward the west into the area later called Assyria, and perhaps further up to Syria,1343 whereas others locate it more to the east of the upper Tigris. …We saw that Komoróczy understood ېDUDOL as a mountain, being the “door of Subartu”, and that it was sometimes called “Gold Mountain” …. Archaeologists Cyril Smith and William Young have analyzed 125 of these gold objects, and they found that they had inclusions of platiniridium (PGE), similar to the gold of the Pactolus river in western Anatolia. Smith and Young concluded that the gold of Ur was derived from Anatolia.1350 Thus, the article of Smith and young states that there was gold in Anatolia, and it also points to a relationship between Mesopotamia and Anatolia regarding gold. The Fertile Crescent of northern Mesopotamia also stretches into the western parts of
Anatolia, i.e. towards the area of the Pactolus river. , Harali was seen as a door of Subartu one expects that it was situated somewhere on its border, and it might well have been in the western parts of Anatolia. ….To conclude, my understanding of the word Harali, the place where the minor gods work, is that it seems to refer to an area on the border of the Fertile Crescent, since it is called “the door of Subartu”. Further, since Harali was an origin of gold, it is more probable, as I see it, that it was situated somewhere in the area of Anatolia where gold came from, than, as Komoróczy argues, in the Far East.>>

Am aratat cum mai tarziu au aparut semnele proto-cuneiforme Ga2 si Ku

care reflecta posibil forma constelatiei Orion. Pe de alta parte, Orion este legat de vanatoare/vanator iar in Egipt este legat si de viata de apoi. Semnul Ga2 inseamna casa iar Ku inseamna stralucirea metalului.
www.constellation-guide.com › constellation-list › orion-c… Orion Constellation (the Hunter): Stars, Facts, Myth, Location … << Sumerienii l-au asociat cu povestea eroului lor luptând cu taurul cerului, reprezentat de Taur. L-au numit pe Orion URU AN-NA, adică „lumina cerului”. Numele lor pentru constelația Taur era GUD AN-NA, sau „taurul cerului”.>> Sumerian Lexicon (2500 – 1800 BCE)www.naturepagan.com › …  KU: bases, foundation (SUS 10.3) · KUG, Kù: to purify

In scrierea Linear A semnul inseamna “bronz”. Fereastra de vitraliu de pe lespedea de mai jos are exact forma semnului Ku. Imagine, Porthole stone= piatra de HUBLOU

ABORDAREA MEA. IPOTEZA

Din https://www.researchgate.net/figure/Goebekli-Tepe-2006-pillar-18-in-enclosure-D-foto-Berthold-Steinhilber_fig3_270030960

Din The Proto-Sumerian Language Invention Process by John A. Halloran https://www.sumerian.org/prot-sum.htm ka:  mouth [KA archaic frequency: 108; concatenates 2 sign variants]. gura ká:  gate [? KA₂ archaic frequency: 11; concatenates 4 sign variants]. poarta ka₅-(a): fox. vulpe

Posibil icoana vulpii sa faca trimitere la poarta ? …daca si vulpea si poarta se numeau la fel (KA sau altfel) si cu mii de ani inainte. Altfel lingvistii afirma ca dupa 1.000 de ani o limba sufera transformari majore si nu mai este recunoscuta; aici avem chiar mai mult de 2.000 de ani de la Gobekli Tepe 9.000 IEN si inceputurile scrierii sumeriene 3.500 IEN (diferenta 6.000 de ani)

Din http://www.foxesfromthegods.net/foxes.html?fbclid=IwAR1xYBZD9fcU3kN9R862ak5t4pWVe3gjEw0kj0Be8NTkGQ5g3lFTjlm7zQo << Vulpile sunt animale comune în zone întinse din Europa, Orientul Mijlociu și Asia și au interacționat cu rasa umană de mai multe milenii, în măsura în care imaginile și poveștile lor despre comportamentul lor reputat au devenit pe scară largă încorporate în cultura umană. Primele dovezi în acest sens provin de la Gobekli Tepe din sud-estul Turciei, unde reliefurile sculptate ale unei vulpi de câine sunt frecvente pe megalitii în formă de T datând de la 9000 până la 7500 î.Hr. Vulpea apare în literatura de înțelepciune sumeriană, dintre care o mare parte poate fi datată cel puțin în mileniul trei î.Hr. Este un jucător de frunte în mitul lui Enki și Ninchursag, unde salvează lumea de secetă și distrugere după o dispută între Dumnezeu și Zeiță cu privire la pierderea a opt plante speciale. Vulpea este cel mai des menționat animal sălbatic din Proverbele sumeriene unde apare de treizeci și șapte de ori. În literatura ulterioară akkadiană, acesta are un rol principal în Seria Vulpii, unde este implicat în dispute cu Lupul, Leul și Câinele.Analiza detaliată a acestor proverbe și a altor ziceri sumeriene și akkadiene despre vulpi duce la concluzia fermă că Vulpea a fost recunoscută ca o constelație de stele pe cerul nopții. Această constelație conținea cea mai strălucitoare stea variabilă pe perioadă lungă, Mira, a cărei luminozitate contrară a dus la acordarea vulpei de o personalitate incontestabilă.>> ATENTIE ! Din Gobekli Tepe’s Pillars http://martinsweatman.blogspot.com/2020/10/gobekli-tepes-pillars.html << Stâlpii 9 și 10: Stâlpii centrali ai incintei B, fiecare are câte o vulpe sculptată pe suprafața sa interioară. Pilonul 9 are un bol mic sculptat în piatră la piciorul său.Vulpea, reprezentând probabil constelația Vărsător, este unul dintre cele mai comune animale sculptate la Gobekli Tepe. Fluxul de meteori Taurizi a fost probabil centrat peste Vărsător în jurul anului 9.000 î.Hr., când această incintă era în uz. Eventual, simbolul vulpii de la GT este legat de setul zeității AE, zeul haosului și al furtunilor de deșert, care este adesea descris cu ceea ce pare a fi un cap de vulpe.

http://www.foxesfromthegods.net/proverbs.html?fbclid=IwAR0TlVs5gGgE_iRwr3Ty4snypgqgHZL1pg47oceNI7VjeBg_LUbSyobbAeY

<< Multe proverbe sumeriene au fost recuperate și traduse din seturi de tăblițe cuneiforme datând din mileniul III î.Hr. În aceste colecții vulpea este cel mai comun animal sălbatic menționat. Dintre cele treizeci și șapte de proverbe cu vulpi din literatura sumeriană, câteva se remarcă prin descrierea unei relații între două forme animale. Cele mai ușor de înțeles dintre acestea implică Vulpea și Taurul sălbatic. Constelația Vulpea are o regiune distinctivă a capului care conține steaua Menkar, care se află chiar în spatele și sub colecția de stele, care a fost aproape universal cunoscută în cultura vest-asiatică sub numele de Taur >> http://www.foxesfromthegods.net/images/Fox%20and%20Bull.jpg

From The Secret of Gobekli Tepe: Cosmic Equinox and Sacred Marriage – Part II https://www.ancient-origins.net/opinion/secret-gobekli-tepe-cosmic-equinox-and-sacred-marriage-part-ii-002862

<< Sun and moon iconography can be found on the impressive standing pillars of Göbeklitepe, the Neolithic temples that are among the most important archaeological sites of our time. Guest author Özgür Etli examines what messages the ancient builders might have been trying to impart to the people who used the temples, and what they might have also been trying to communicate to all of humanity.

Read Part I

It can be speculated that the “H” sign located above the sun-moon motif symbolizes male and female togetherness, or a god-goddess marriage in spring. Archaeologist Klaus Schmidt believes this motif symbolizes male and female. The standing position of the pillar also symbolizes “birth” or “rebirth”, as mentioned previously.

>>

Further the author make approaches to Inanna and Dumuzi/Tamuz sacred marriage and further to fertility cult of Cybele. << In archaeological research, numerous double-headed figurines have been found belonging to various periods in Anatolia. These figurines are called twin-goddesses. According to scholar and scientist Cevat Şakir, ( Halikarnas Balıkçısı ), these figures symbolize the goddess and her husband [5]. Seemingly, earth mothers have been venerated since the first eras of civilization. Fertility of soil had vital importance for the steadiness of life. For that matter, death, birth and rebirth concepts should have been be the most important at the initial periods of our human civilization. Therefore, we can consider that Sumerian sacred marriage ceremonies were also performed in Göbeklitepe temples, the starting point for our human civilization. According to Klaus Schmidt’s opinion, Göbeklitepe culture could have affected the Sumerian and Egyptian civilizations. In that case, by turning the clock back, we should see established cultural Sumerian elements in Göbeklitepe neolithic culture as well. Can we speculate that the sun-moon symbol, or the sacred meeting of sun and moon, depicted on center pillar of Temple D represents equinox time and the beginning of spring? With various findings and proof we can. >>

In another post I advanced that sign H is composed of twoo Tau’s (one to left left+ one on right); So as sign T=”Me”, H= Me-Me.

Now you see how Ur-Bau =Ur-MeMe (Bau, ancient Goddess older than Cybele, (in fact from wich come) https://en.wikipedia.org/wiki/List_of_Mesopotamian_deities Other major deities Gula, also known as Nintinugga, Ninkarrak, Meme, Bau, and Ninisina, is the Mesopotamian goddess of healing and the divine patroness of doctors and medicine-workers. …..Deities in ancient Mesopotamia were almost exclusively anthropomorphic. They were thought to possess extraordinary powers and were often envisioned as being of tremendous physical size. The deities typically wore melam, an ambiguous substance which “covered them in terrifying splendor” and which could also be worn by heroes, kings, giants, and even demons. The effect that seeing a deity’s melam has on a human is described as ni, a word for the “physical creeping of the flesh“. Both the Sumerian and Akkadian languages contain many words to express the sensation of ni,^[4] including the word puluhtu, meaning “fear”

!! “melam” was in fact “Me” !!

Sumerian Language — In an anime (fate series), a chatacter …sumerianlanguage.tumblr.com › post › in-an-anime-fat… Melam (also spelled melem or melim) is a noun meaning “splendor, …

Sumerian Dictionary – bulgari-istoria-2010.comwww.bulgari-istoria-2010.com › Rechnici › Sumerian_… … EMEURANNA = House of the ME’s of ANU’s Hero … Nimbus = MELAM.

MAYBE WE ASSIST ON PILLAR 18 in enclosure D , THAT H SIGNS ARE INDICATING AN EARLY FEMALE SPIRIT-DIVINITY