Easy to undersand: What were in fact Göbeklitepe pillars ?

March 27, 2021

Scientists hypothesized that at 9.600 B.C. were not worshiped antropomorphic deities, as “Urfa man”, but probably demons or spirits.

sciencepress.mnhn.fr › pdfPDF Animals in the symbolic world of Pre-Pottery Neolithic Göbekli … de J PETERS · Neolithic Göbekli Tepe, south -eastern Turkey: a preliminary … <<Given the anthropomorphic nature of the T-shaped pillars at Göbekli Tepe and the fact thatthese abstract monoliths bear representations of particular (sets of) animal species, it is temptingto interpret these megaliths as three-dimensionalrepresentations of shamans. ….. Some of these mono-liths exhibit arms and hands in bas-relief, sugges-ting that they represent anthropomorphic beings.It is not clear, however, what kind of beings thesestanding stones impersonate : do they representanthropomorphic gods, shamans, ancestors, stone spirits or perhaps even demons ? >>

Ancestor spirits or otherwise. As a term of comparison, despite the enormous temporal distance, IF WE SUPPOSE THAT : – Göblekitepe PEOPLES WERE DISTANT ANCESTORS OF SUMERIANS, AND SOME IMPORTANT ICONS AND THEIR MEANINGS LASTED THOUSEND OF YEARS, we could have had something like that:

PDF) The Transformations of a Goddess: Lillake, Lamashtu, and Lilith.

ResearchGate
PDF) The Transformations of a Goddess: Lillake, Lamasht https://www.researchgate.net/profile/Wendilyn-Emrys/publication/337155280/figure/fig2/AS:823766137442312@1573412560586/figure-fig2_Q320.jpg

Merriam-Webster’s Encyclopedia of World Religionsbooks.google.ro › booksWendy Doniger, ‎MERRIAM-WEBSTER STAFF, ‎Merriam-Webster, Inc · 1999 · ‎Religion\la-‘mash-,tu\ (Akkadian), Sumerian Dimme, in MESOPOTAMIAN RELIGION, most terrible of all female DEMONSdaughter of the sky god ANU (Sumerian: An), .

Usually scientists like John Halloran try to propose the etimologyes of sumerian words. for Dimmme I found nothing, even oposite: www.academia.edu › Kamadme_the… Rezultate de pe web (PDF) Kamadme, the Sumerian Counterpart of the Demon … Wiggermann noted that the name “Dimme” had resisted interpretation, but that the element written ME must be a phonetic indicator

Now see out of Dim-me what is Dim: https://en.m.wiktionary.org/wiki/%F0%92%81%B4?fbclid=IwAR0pgOjTAADZgkfrIP9K4OQ1cD53FngdGjEcrRQq24AfxLwkrutBNw8Kdbs Sumerian Noun (DIM)

  1. postpillarpole
  2. bindingknotbond

And from posts before, Me:”divine power/essence” and “to be/beeing

So, Dim-Me = “PILLARDivine power/BEEING

GIDIM: ” GHOST” :

Ghosts in Mesopotamian religions – Wikipediaen.wikipedia.org › wiki › Ghosts_in_Mesopotamian_rel… The shades or spirits of the deceased were known as gidim (gidim 𒄇) in Sumerian, which was borrowed as eṭemmu in Akkadian. The Sumerian word is analyzed as a compound of either gig “to be sick” and dim3 “a demon”, or gi6 “black” + dim4 “to approach”

is.muni.cz › PAPVB_13 › Ha…PDF Sumerian Lexicon – IS MUNI de JA Halloran · Citat de 102 ori — and through bilingual cuneiform dictionaries of Sumerian and … v., to stand upright; to be straight; to be in order; to become … dìm: n., sickness demon; pole of a water lift.

So, Dimme could be also DemonBeing

Despite pillars exhibit arms and hands in bas-relief, sugges-ting that they represent anthropomorphic beings, and we are on the verge of appearing gods. Gods apperead later, after 2.000 years, 7.500 B.C. as you see at Kilisik:

Jens Notroff@jens2go Is it a human? Is it a #Neolithic T-pillar? Is it a composite figure? – No, it’s the Kilisik sculpture (… and thus maybe all of these). “A rather odd figure: The so-called #Kilisik Sculpture from #Adıyaman, #Turkeyhttps://dainst.blog/the-tepe-telegrams/2019/03/20/a-rather-odd-figure-the-so-called-kilisik-sculpture-from-adiyaman-turkey :

Image
https://twitter.com/jens2go/status/1104066286231973889 https://pbs.twimg.com/media/D1JtyS0XcAAlh5U?format=jpg&name=small

WE HAVE NO TRUE GODS BUT SPIRITS AND DEMONS. THEY INTERTWINE WITH HUMAN’S LIFE, THATS WHY EXHIBIT SLIGHT ANTROPOMORPHIC CHARACTERISTICS. ============== as a term of refference ========

God is Dim-Me-ir: archive.org › stream › 527757_djvu Full text of “Sumerian as a Language” – Internet Archive This dimir is a real ES. form = the more usual dimmer (dimme-ir) ‘god.’ See s. v. digir and dir = AN. Cf. the Semitic loanword dimmerU ‘god,’ .

Note. I limited myself not to extend the No.2 meaning of Dim: 2.”binding, knot,bond” Rom. “legare, nod, legătură”but..

Dimme= binding+ divine powers. This seem to be the meaning of a curse, greek katadesmos, when somebody’s fate is bond to an evil state.

cdli.ucla.edu › pubs › cdlpPDF Elementary Sumerian Glossary – Cuneiform Digital Library Initiative de DA Foxvog · Citat de 15 ori — Pennsylvania Sumerian Dictionary on the. Web. … dím to fashion, form, create, build; to make like, make into (-šč); to act

dimme: to make likebeing / Divine powers (Pillar made like divine power being)

The proto-cuneiform signs for dim are, from https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html

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This image has an empty alt attribute; its file name is 166349437_474408963700800_8638499227121425567_n.jpg

The proto-cuneiform sign for me is

OF COURSE WE HAVE NO AT GOBEKLITEPE BOTH DIM AND ME ICONS, ONLY ME:”T-shape” AND PILLARS OTHERWISE BOTH PARTS OF DIMME MOST TERRIBLE SUMERIAN FEMALE DEMON

~~~~~~~~~~~~~~~~ even more documentation ~~~~~~~~~~~~~~~~~~~~~

studyres.com › … › Theology Anastas Shuke … the Sumerian terms for God, including AN, diĝir/dingir, dim3-me-er, šar/šaru, il/ilu, where most of them are expressed by the AN sign only.

www.macrothink.org › pdf_31PDF Yet Another Suggestion about the Origins of the Sumerian Language 23 oct. 2013 — Sumerian, the corresponding forms are. {diĝir; dim3-me-er; dim3-me8-er; dim3-mi-ir; di-me2-er} (deity, god, goddess)

https://baixardoc.com/documents/on-the-origins-and-continuity-of-sumerian-term-an-dingir-god–5cd0997012062

https://www.haaretz.com/archaeology/.premium.MAGAZINE-stalking-us-for-9-000-years-the-levantine-origins-of-the-undead-1.7184675

Reversing dim and me to medim , the rezult is a word with other meanings: oracc.museum.upenn.edu › cbd › sux TOC – Oracc emegir [SUMERIAN] N (24x) Old Babylonian wr. eme-gi; eme-gir₁₅ “the Sumerian language” … medim [LIMBS]

vasconica.dreamwidth.org › … ENGLISH – SUMERIAN DICTIONARY – vasconica ENGLISH – SUMERIAN DICTIONARY · Oct. 29th, 2019 02:20 pm … medim, [BOAT] peszesz, [BOAT] te, [BOAT] tugul, [BOAT] umbin, [BOAT]

++++ From https://damienmarieathope.com/2019/06/ritualistic-bird-symbolism-at-gobekli-tepe-and-its-ancestor-cult/?v=32aec8db952d ++++

Ritualistic Bird Symbolism at Gobekli Tepe and its “Ancestor Cult” a Sacred Sky Burial Relationship between Birds and Spirits of the Dead

Myths from several regions’ associate birds with the creation of the world. Sacred ideas of birds range from a creator role, to a symbol of life as well as relating to both death and rebirth. Birds are a common totem or believed spirit and relate to renewal, transformation, and ancestors as well. In this deity, spirit or ancestor role they may be seen as Bird People (people with the characteristics of birds) a common motif in myths. Also, birds are commonly associated with or relate to fertility, longevity, and life itself.

Carved skulls indicate that Gobekli Tepe, known for enigmatic monumental pillars carved with animals and shapes, was ancestor worship site.” 

Ancestor Cult: a ritualistic system of veneration, honor, and propitiation of the spirits of dead ancestors for the purpose of avoiding evil consequences and securing good fortune.”  

Ancestor worship: the custom of venerating deceased ancestors who are considered still a part of the family and whose spirits are believed to have the power to intervene in the affairs of the living.”  

Veneration of the dead, including one’s ancestors, is based on love and respect for the deceased. In some cultures, it is related to beliefs that the dead have a continued existence, and may possess the ability to influence the fortune of the living. Some groups venerate their direct, familial ancestors. In EuropeAsiaOceaniaAfrican and Afro-diasporic cultures, the goal of ancestor veneration is to ensure the ancestors’ continued well-being and positive disposition towards the living, and sometimes to ask for special favors or assistance. The social or non-religious function of ancestor veneration is to cultivate kinship values, such as filial piety, family loyalty, and continuity of the family lineage. Ancestor veneration occurs in societies with every degree of social, political, and technological complexity, and it remains an important component of various religious practices in modern times.”

Ancient Headless Corpses Were Defleshed By Griffon Vultures

Sky burial ( Animal Worship mixed with Ancestor Worship) is a funeral practice where a human corpse is placed on a mountaintop, elevated ground, tree, or constructed perch to decompose while be eaten by scavenging animals, especially birds.

On The Relationship between Birds and Spirits of the Dead ( See On The Relationship between Birds and Spirits of the Dead Christopher Moreman https://www.academia.edu/5112298/On_The_Relationship_between_Birds_and_Spirits_of_the_Dead

<<In a wide range of cultures, birds are symbolically connected with death in a number of ways. They are often considered harbingers or omens of imminent death. Some birds are thought to steal souls from people who are dying
or to act as psychopomps, carrying the souls of the dead to the “next world.” As the story above illustrates, there is also the belief that birds might somehow embody spirits of the dead. Ingersoll (1923) noted that the belief in birds as
“visible spirits of the dead” is “almost universal” ….. The symbolism of birds does not always focus on death, for
instance, but just as often relates to fertility, longevity, and life itself. Birds as Bearers of Divine Wisdom Birds as Psychopomps Birds of Life and Death The dual connection of birds with both death and life is common. Vultures, for instance, play a central role in funerary customs involving exposure of the corpse, such as in the Zoroastrian “tower of silence” and “sky burials” of Tibetan
Buddhism. This great carrion-eater is also mixed with the symbolism of life. Pre-Islamic Arabs recognized the vulture for its longevity, a quality it obtained devouring the life-blood of corpses; perhaps embodying deceased ancestors,
they devoured the sacrificial meals made in their names. In Tibetan folklore, through consuming the corpse, vultures are believed to bear the dead away to a transitory place in the sky before rebirth, and they are thought to be the earthly embodiments of the feminine divine principle, dakini. The Egyptian Mother goddess, Mut, is also associated with the vulture. Walker (1983) suggests that the association between motherhood and the vulture stems from a time before humans understood the role of men in the procreative process, believing that consumption of flesh led to the gestation of new life (p. 751). It was once thought that all vultures were female and were impregnated by the wind.In both China and Japan, cranes are said to carry the souls of those who have achieved immortality to heaven. Storks (deliverers of babies in not only European folklore but also that of the Sioux) and cranes are also among those birds most often symbolizing fertility and longevity. Some researchers have suggested that the stork’s migratory pattern indicating the return of spring may account for its association with fertility, but such a suggestion must surely apply to a wide range of birds. Cranes add to the avian migratory pattern a peculiar circular, hopping mating dance that is readily associated with various cycles of nature, including those of the seasons and of life and death. The dance has also been imitated by humans, being “common to rituals enacted in funerary labyrinth and tumuli in many parts of the world. As late as the eighteenth century the Ostiks of Siberia dressed their dancers in the skin of cranes. Birds Embodying Spirits of the Dead. That birds are often believed to actually embody spirits of the dead themselves “is a widespread and extremely ancient belief”. Friend (1883) describes Buddhist rice offerings made to ancestral “house spirits” that are eaten by birds, while similar rites are performed for crows in parts of India. Crooke (1896) describes how, in Northern India, owls and bats might embody “the malevolent dead” (p. 279). The Mongol Buryats of Siberia believe that their loved ones might return in the form of diving birds, and Aztec soldiers returned as hummingbirds. Some Pima Indians believe that at death the soul inhabits the body of an owl; an owl’s hooting portends death as it calls out for a soul to embody (Russell, 1908, p. 252). Similar beliefs can also be found in cultures not normally associated with reincarnation. Henderson says that in flight “the bird is the most fitting symbol of transcendence”, relating it to the spiritual journeys of shaman-types the world over. Experiences interpreted as “spiritual journeys,” “shamanic flight,” or “astral travel” are relatively common among across cultures. Even if not all cultures locate the world of the dead in a heaven, case studies on reports of out-of-body experiences (OBEs) describe, almost universally, the autoscopic witnessing of one’s body from above. It is likely that this phenomenon accounts for what Eliade (1968) termed “shamanic flight”. The noetic quality inherent in such experience can be strong enough to convince the experient of its objectivity despite empirical evidence to the contrary. Certainly, a relatively common human experience of seeming to fly in a non-physical body draws a personal connection to birds.The question of “transcendence” remains, however, as birds ascend while not necessarily transcending. The OBE offers the sense of transcending the confines of one’s body, and if one equates the sense of transcendent spiritual flight in the OBE to the natural flight of birds, then it is but one more turn to suggest that the latter’s flight might also be “transcendent.” To fully appreciate the connection to birds specifically, we must examine all aspects of their symbolism and not rely simply on an incomplete connection between ascension and transcendence. Henderson offers more details regarding the bird’s transcendent significance, explaining: “It represents the peculiar nature of intuition working through a ‘medium,’ that is, an individual who is capable of obtaining knowledge of distant events—or facts of which he consciously knows nothing” (p. 151). As illustrated above, birds are firmly entrenched as divine messengers. Likewise, shamanic flight largely aims to collect information from obscure sources. Flight, more than making a necessary connection to the afterlife, provides easy access to otherwise unattainable locations, and an elevated vantage point provides a definite informational advantage. Birds emblematize access to locations and knowledge that is difficult if not impossible for humans to access—the mystery of death fits this description. I contend that this last uncertainty is, in fact, the most profound one for all humankind. That birds can know the unknowable might account for the first of the three associations to death described above. If their flight allows them access to information from the unknown worlds, their access to these worlds might lead to the thought that they could bear souls away to these places. Neither the OBE nor the shaman’s flight involves being carried by a bird, however, so the connection remains symbolic. To make the leap of assuming that the soul becomes a bird, one must accept it only as a metaphor for the soul’s own ability to fly, or perhaps the sense that one has a soul that can. On the Symbolic Connection between Birds and Life
A final area of central importance is birds’ connection to birth, fertility, and life more generally. It is exactly this connection that best illuminates the birddeath archetype. Migratory birds are associated with the cycle of seasons. Sometimes they are lamented for causing the winter, as with the Swiss wax-wing above, but more often they are celebrated as bringers of the spring, as with storks, herons, or cuckoos (who so regulated the seasons that they’ve become ubiquitous timekeepers). Migratory patterns, like other naturalistic explanations, cannot explain everything, however, as not all birds have seasonal migrations. The vibrancy of some birds’ colors, the forcefulness of their songs, and the swiftness of their flights are all strongly suggestive of life’s vim and vigor.The greatest sign of birds’ generative character, however, is their eggs. Eggs are often central to creation myths the world over (Leeming, 2010, pp. 313-314). The Egyptian god, Seb, laid an egg that produced the sun; the Indian and Chinese creator-gods (Brahma and P’an lu, respectively) were born from cosmic eggs; and the African Dogon describe how Amma, the creator god, fertilized himself in the form of a great egg. Eggs are also widely considered aphrodisiacs. By extension, birds also influence the language of sex and fertility with various bird-related words sharing a sexual double-meaning across cultures. Birds clearly exemplify the vibrancy of life in many ways, but it remains to be explained why they also share an association with death.The practically universal associations between birds and both life and death stem from a deep-rooted human tendency to deny personal mortality. I do not mean to imply here that the woman with whom I began this paper was engaged in some form of willful self-deception about the death of her father; she was quite aware that her father had died and that the bird was not physically him. Despite this knowledge, however, she (in line with the long global tradition of associating birds with the dead) also felt that the bird was the person. >> Ritualistic Bird Symbolism at Gobekli Tepe and its “Ancestor Cult”  Bird People?

Ce semnificau perechile de stalpi centrali din incintele de la Gobeklitepe ?

March 21, 2021

Dupa cate am putut vedea, se pare ca nici-un cercetator din zecile care au atacat problema, nu s-a putut pronunta de o maniera clara si hotarata. Adica sa spuna clar ce reprezentau pentru locuitorii de la Gobeklitepe.Pentru ca la vechimea si perioada in care au fost construite parerea generala este ca nu aparusera inca zeitati antropomorfe. Cu totul alta ar putea fi situatia doar 600 de ani mai tarziu, (datata circa 9000 BC) cu “Omul din Urfa”. Acela chiar putea fi intr-adevar o zeitate. In plus este si antropomorfa.

Urfa Man: The 11,000 year old... - Origins Conference | فيسبوك
فيسبوك – Facebook Urfa Man: The 11,000 year old… – Origins Conference | ف https://www.facebook.com/OriginsConferenceLondon/posts/1044849728981197

Apoi daca erau spirite parerea generala este ca puteau fi spirite ale stramosilor. Chiar cu o seara inainte nu am putut adormi si vre-o doua ore in sir tin minte ca am avut o serie de idei valoroase din care sper ca incet-incet sa-mi reamintesc o parte.In orice caz, parerea mea este ca e vorba de spirit. La pilonul/monumentul tot de data mai tarzie, neolitic B, PPNB dupa neolitic A, PPNA tot in forma de T descoperit in Turcia la Adiyaman-Kilisik, se vede mai bine silueta umanoida (Din The First Adam, Androgyny, and the ‘Ain Ghazal Two-headed Busts “Neolithic B stone statue from Kilisik at the foot of the Taurus Mountains “) :

A rather odd figure: The so-called Kilisik Sculpture from Adıyaman, Turkey  – DAI Blogs

DAI Blogs
https://www.dainst.blog/a-rather-odd-figure-the-so-called-kilisik-sculpture-from-adiyaman-turkey/

https://www.dainst.blog/a-rather-odd-figure-the-so-called-kilisik-sculpture-from-adiyaman-turkey/ <<În acest caz, exemplul Kilisik ar reprezenta prima descriere feminină asociată cu sculpturile în formă de T. Deoarece descrierea nu are caracteristici sexuale clare, aceasta rămâne o posibilitate destul de vagă și ambivalentă, care cere cercetări suplimentare.>> IN SCHIMB PILONII CENTRALI DIN STRATUL III/PPNA DE LA GOBEKLITEPE dupa parerea mea REPREZINTA SPIRITE ! Imaginea, din https://voyageturkey.net/wp-content/uploads/sanliurfa_1-678×381.jpg

Gobekli Tepe: Zero Point of the Time and World's First Temple |  VoyageTurkey.Net

Dupa ipoteza mea, este vorba de un spirit care preceda cu mii de ani conceptul complex sumerian reprezentat de ME. Semnul/icoana in forma de “T” s-a pastrat si perpetuat mii de ani, reaparand mai apoi ca semn proto-cuneiform pe la 4.000-3.500B.C.. https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html Sign https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns/ME~a.jpg

Nota toate semnele proto-cuneiforme sumeriene au suferit in decursul timpului o rotatie de 90 de grade, asa incat sa nu ne necajim ca nu avem direct forma T.

Este adevarat, ca https://www.smithsonianmag.com/history/gobekli-tepe-the-worlds-first-temple-83613665/ <<Prapastia care ne separă de constructorii lui Gobekli Tepe este aproape de neimaginat. Într-adevăr, deși stăteam printre megalitii care se apropiau dornici să-și înțeleagă sensul, ei nu mi-au vorbit. Erau cu totul străini, așezați acolo de oameni care vedeau lumea într-un mod pe care nu-l voi înțelege niciodată. Nu există surse care să explice ce ar putea însemna simbolurile. Schmidt este de acord. „Suntem cu 6.000 de ani înainte de invenția scrisului aici”, spune el. „Există mai mult timp între Gobekli Tepe și tăblițele de lut sumeriene [gravate în 3300 î.Hr.] decât de la Sumer până astăzi”, spune Gary Rollefson, un arheolog de la Whitman College din Walla Walla, Washington, care este familiarizat cu opera lui Schmidt. „Încercarea de a scoate simbolismul din contextul preistoric este un exercițiu de inutilitate”.>>

Este conceptul oarecum mai rudimentar sau mai degraba incipient al acestui Me, pentru ca se va vedea ca inca din 9.600 B.C. avea o semnificatie complexa.La sumerieni, Me este esenta oricarui lucru,fapt sau fenomen care tine de viata practica,sociala si religioasa care guverneaza alcatuirea si desfasurarea lor si este de origine divina.

Din https://en.wikipedia.org/wiki/Me_(mythology) << În mitologia sumeriană, un Me (𒈨; sumerian: me; akkadian: paršu) este unul dintre decretele/hotararile divinitatii care este fundamental pentru acele instituții sociale, practici religioase, tehnologii, comportamente, moravuri și condiții umane care fac posibila civilizația, asa cum Sumerienii au înțeles-o posibila. Ele sunt fundamentale pentru înțelegerea sumerienilor a relației dintre umanitate și zei.>>

Pilonii nu reprezinta o zeitate anume si ca atare nu aveau un nume, cu atat mai putin unul concret. Nefiind o zeitate antropomorfa nici nu are aspect omenesc, ci reprezinta o entitate ceva mai abstracta fara o forma anume, cel putin fara o forma cunoscuta. Inchipuitiva ca putea sa reprezinte idea si spiritul vietii.Atunci au facut ca sa fie vizibil ca spiritul are legatura, tangenta cu fiintele si oamenii si de aceea au figurat asa foarte pe departe niste brate.La alti piloni si ideea de feminitate,procreere, totusi pilonii nereprezentand o zeitate ci “spiritul Vietii”.dupa unii cercetatori, Me inseamna dupa unii “legile divine”;”puterile divine”,iar dupa altii se traduce “Vointa de a trai” sau “Fiinta”. Este cumva firesc ca in mod periodic sa se adune sute de oameni la monumente, ei referintuse la pilon “a fi”, “fiinta”. Se pune problema daca chiar a existat semnul, inainte reprezenta tot sunetul me, apoi in ce limba, ce insemna me !? Dupa unii civilizatia imediat precedenta celei de la Gobekli Tepe a fost cea natufiana. A se vedea:NATUFIAN ORIGIN FOR AFROASIATIC?http://languagehat.com/natufian-origin-for-afroasiatic/?fbclid=IwAR10OppBacQvPe65bWDvy2iZQKQCwgKBiUxgvhtylqdzNjJSRQIVs8qtXjY <<The possibility of Natufians speaking proto-Afro-Asiatic, and that the language was introduced into Africa from the Levant, is approved by Colin Renfrew with caution, as a possible hypothesis for proto-Afro-Asiatic dispersal. Posibilitatea natatuenilor de a vorbi proto-afro-asiatică și de a introduce limba în Africa din Levant este aprobată de Colin Renfrew cu prudență, ca o posibilă ipoteză pentru dispersia proto-afro-asiatică. >> Altii zic si presupun Anatolia ca fiind locul de origine al familiei Indo-Europene. Oricum la baza tuturor sta presupusa limba nostratica. Toate cautarile si cercetarile mele in mare parte de natura lingvistica conduc la: ME = “esenta”; “puteri divine”; “a fi”;”fiinta” ;”eu, mie,meu,pe mine” ;”ai nostri”

is.muni.cz › PAPVB_13 › Mi…PDF Sumerian – IS MUNI have tried to include Sumerian within the hypothetical Nostratic … The Sumerian verb me “to be” can be used independently, but is most ..

www.jolr.ru › files › (5)jlr20…PDF Once Again on the Comparison of Personal Pronouns in Proto … de K Babaev · 2009 · Citat de 6 ori — person singular nominative *egHo(m) vs. oblique *me-. … coincidences, like Indo- European *me ‘me’ = Sumerian (Eme-sal) me ‘ id.’.

Talk:Sumerian language/Archive 1 – Wikiwand http://www.wikiwand.com › Talk:Sumerian_language › Arch.. <<Me – I, me; nostratic “ME, MI, -M” – I, me, 1st person; turkic “Men” – I.>>

books.google.ro › books The Nostratic Macrofamily: A Study in Distant Linguistic Relationship Allan R. Bomhard, John C. Kerns — 2011 · Language Arts & Disciplines *mé—/*mo— ‘more, abundant, considerable’: Old Irish mar ‘great’; Oscan mais ‘more’; Gothic mais … Sumerian me ‘abundance, plenty’.

Same sign 日 in three great ancient civilisations

March 16, 2021

In Sumer there are two similar signs : https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns/GA2~a1.jpg

..with the meaning https://www.sumerian.org/prot-sum.htm ga: n., milk (chamber + water).and https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns/KU~a.jpg

With meanings (between others): luminous, sacred/pure ==================================

In chinese there are also twoo similar signs:

Chinese character classification – Wikipediaen.wikipedia.org › wiki › Chinese_character_classificati… All Chinese characters are logograms, but several different types can be identified, based on … The earliest significant, extant corpus of Chinese characters is found on turtle shells and the bones of livestock, chiefly the … For example, the character 明; ‘bright’ is often presented as a compound of ; ‘sun’ and 月; ‘moon

For the sun/ri gliph

gw u65e5-g.svg

origin, see https://en.wiktionary.org/wiki/%E6%97%A5#Glyph_origin ================================

Gobekli Tepe, Anatolia/Turkey 9.600 B.C. :

Portals at Gobekli Tepe | Göbekli tepe, Ancient civilizations, Ancient  aliens
https://ro.pinterest.com/pin/353251164495504746/

Meaning : UNKNOWN =================================== This sign spread in entire World, as : Aegean (Cretan Hieroglyphic, Linear A and B) syllabogram and sign PA3, Old Canaanite/ Proto-Sinaitic sign Chet/Het/Heth, Phoenician and Old hebrew Chet, Etruscan /Ancient latin letter H, South-Iberian (turdetan) sign Ba, Venetic sign H, Archaic greek Heta/Eta, “Modern” latin letter H. ~~~~~~~ Hypothesis ~~~~ Possible explanations ~~~~~~~~~~~~ From https://en.wikipedia.org/wiki/Orion_(constellation) The earliest known depiction linked to the constellation of Orion is a prehistoric (Aurignacianmammoth ivory carving found in a cave in the Ach valley in West Germany in 1979. Archaeologists estimate that it is 32,000 to 38,000 years old. The distinctive pattern of Orion is recognized in numerous cultures around the world, and many myths are associated with it.

Theoretically I should start with the place and the sign attested as the oldest, Gobekli Tepe. Just a small problem: this does not help me at all as long as we do not know what it was used for and what interpretation it had. One of the very few supporting elements would be that in both Sumerians and Chinese the sign seems to be related to the notion of bright, luminous. This fact results from the Sumerian dictionary and from the fact that the Chinese symbols for sun and moon used together give meaning of bright. Now I have no choice but to intuit that for the pick-hunters from Gobekli spikes sign means still bright. But not necessarily obligatory. Because it could represent for them a part or portal of entry into the world beyond the sky. That gateway could be like in the Egyptian lore, constellation Orion.

Orion: The Hunter of the Night Sky - Night Sky Gaze

Night Sky Gaze
Orion: The Hunter of the Night Sky – Night Sky Gaze

It is natural that in the hunter-gatherer populations, the constellation Orion is associated exactly with a hunter, so in the Sumerians, with Gilgamesh. From The Ancient Epic of Gilgamesh and the Precession of the Equinox https://www.ancient-origins.net/opinion-guest-authors/ancient-epic-gilgamesh-and-precession-equinox-003957

The Ancient Epic of Gilgamesh and the Precession of the Equinox | Ancient  Origins

From https://www.andrewcollins.com/page/articles/Gobekli.htm Nota. The same Orion constellation could be depicted at Gobekli Tepe by signs H si I.

Göbekli Tepe – the Stone Age Sanctuaries. New results of ongoing  excavations with a special focus on sculptures and high reli
Image from CORE [PDF]Göbekli Tepe – the Stone Age Sanctuaries. New results ofhttps://core.ac.uk/download/pdf/294839319.pdf
Wayne Herschel - Author - The Hidden Records - discovered 35 ancient star  map cases around the world showing human origins from one of three sun  stars near the Pleiades
Image, from http://thehiddenrecords.com/gobekli-tepe-taurus-bull
Gobekli Tepe's Cosmic Blueprint Revealed
Image, from https://www.andrewcollins.com/page/articles/Gobekli.htm

Du-Ku = Hur-sarkmadaki E-Kur kompleksi arasında kutsal yer. E-kur kompleksi arasında kutsal yer (sütun bölgesi). Göbeklitepe tapınak kompleksi arasındaki sütun bölgesi.

March 16, 2021

Sümer tanrılarının çıkış yeri Göbeklitepe gibi görünüyor. Https://en.wikipedia.org/wiki/Du-Ku Du-Ku veya dul-kug [du6-ku3] ‘den kutsal bir yer için Sümerce bir kelimedir İlahi Yer, aksi takdirde kutsal metinlerde özel olarak tanımlanmış bir Tepe, Sümer tanrılarına ritüel tekliflerin yeriydi. Nungal ve Anunna, Gılgamış’tan yazılan bir metinde kutsal tepede ikamet ediyor.

Schmidt, https://en.wikipedia.org/wiki/G%C3%B6bekli_Tepe’den << Göbekli Tepe’yi oluşturan grupların inanç sistemleri hakkında diğer türbeler ve yerleşim yerleri ile karşılaştırmalara dayalı spekülasyonlar da yaptı. Şamani uygulamaları varsaydı ve T şeklindeki sütunların insan formlarını, belki de ataları temsil ettiğini öne sürdü, oysa Mezopotamya’da geniş tapınaklar ve saraylarla ilişkilendirilen tanrılara daha sonraya kadar gelişmeyen tamamen ifade edilmiş bir inancı gördü. Bu, tarım, hayvancılık ve dokumanın insanlara, Annuna tanrılarının, bireysel isimleri olmayan çok eski tanrıların yaşadığı kutsal dağ Du-ku / Ekur’dan getirildiğine dair eski bir Sümer inancına çok iyi karşılık gelir. Schmidt, bu hikayeyi, ortaya çıkan Neolitik dönemin kısmi bir belleğini koruyan ilkel bir doğu efsanesi olarak tanımladı. >>

Https://enenuru.proboards.com/thread/176/du-ku-cosmology << ‘den Sonra, Black ḫursag̃ ve Kutsal Höyük’e (dul) hitap ediyor ve bu mükemmel tartışmada yeni bir şey ortaya çıkıyor: “Şimdi ḫursag̃ terimleri” tepe “ve dul” höyük “, bu terimlerin günlük konuşma sözlüğünün bir parçası olarak kullanılmasını uygun bir şekilde gösteren ve tamamen edebi bir sözlükle sınırlı olmayan Üçüncü Ur Hanedanlığı’ndan kalma idari saha planlarından bilinmektedir. ḫursag̃ tarlaların ekilmesi zor olan “tepelik” kısımları için (bu nedenle ḫursag̃ “tepe (ler)” olarak çevrilebilir) ve verimsiz olan alanlar için dul (yani, tahrip edilemeyen zemin, çünkü burası harap yerleşim yeridir. Burada “höyük” olarak çevrilen kelime Sümerce dul, Akadca tillu’dur (tabii ki Arapça söylenir). Öyleyse Kutsal Höyük olarak bilinen bir tepe, gök ile yerin ayrılmasından önce Anuna ve diğer tanrıların doğum yeriydi. Onun üzerinde yaşadılar ve insanlık aşağıda yaşadı. Tek bir Kutsal Höyük fikrinin hayal gücü uyarıcısı – bir dul ya da anlat – Mezopotamya ovasının yüzeyinde eski yerleşim kanıtı bulunan sayısız harabe höyük olmalı. Onlarda kimse yaşamadı, ancak onları sadece imleçle araştırmanız gerekiyor – köyünüz bir tanesinin yanındaysa ve bir akşam orada dolaşıyorsanız – seramik kalıntılardan ve ara sıra bulunan kafatası ve kemiklerden, onların yaşadıklarını anlamak için geçmiş. Ama kim tarafından? Efsanevi hayal gücü bize, tanrıların en uzak geçmişte ayakları yerde ama gökyüzüne yakın bir yerde yaşadıklarını söyler. Öyleyse Kutsal Höyük gibi efsanevi bir görüntü veya metafor, çok sayıda ve her yerde bulunan ıssız harabe höyükleri gibi peyzajın genelleştirilmiş unsurlarından türetilebilen tek bir kozmik konumdur. “Özetleme: Farklı kozmolojik materyallerin incelenmesinden, du-ku’nun yaratılışla ilgili Sümer hayallerinde büyük ölçüde yokmuş gibi göründüğünü görebiliriz. …….. Cohen on Sheep and Grain / Yazar, kozmolojik du-ku örneğinin yukarıda olduğu gibi Sheep and Grain münazara şiirinde ortaya çıkışına dikkat çekiyor – diğer bilim adamlarının görüşlerini kısaca özetliyor, yani van Dijk’in du- ku (kutsal höyük), tanrıların geldiği bir tür dünya dağında yer alır (Black’in dediği gibi, hursag). Jacobsen’in n’den bahseder. 27. sayfadan 371. sayfadan “Harplar ….” adlı eserinden. Bu, Jacobsen’ın katkıda bulunduğu önemli bir ipucudur: “Duku,” kutsal höyük “kutsal bir yerdi. Başlangıçta ve temelde terim, üzerine sıvanmış hasat edilmiş tahıl yığınını belirtiyordu, ancak genel olarak yer altı depolamasına genişletildi. Enlil’in ataları-güçleri Dünyadaki doğurganlık için – Duku’da bulunuyordu. ” ….. En-me-šar2-ra “Tüm Özlerin Efendisi” OB’de ve daha sonraki listelerde [Enmešara], Enlil’in ataları bağlamında ele alınır, ancak onlardan biri olarak değerlendirilmez. Onun hakkında diğer üçüncü binyılın sonları ve ikinci binyılın başlarındaki kaynaklardan çok az şey bilinmektedir ve buradaki birkaç gerçek, Enūma Eliš’in mitolojisinden büyük ölçüde etkilenen geç kült yorumlarından ve teolojik metinlerden dağınık bilgilerle zenginleştirilmelidir. …..Kozmogoni için bu çatışmanın anlamı, özler, ben ve kutsal hükümet olan nam-tar, “kaderleri belirleyen” arasındaki gerilimde yatmaktadır. Özler doğası gereği varoluşun bir parçasıdır, yaratılanla birlikte var olurlar, ancak kendileri yaratılmazlar. Enlil, An ve Enkig aktif hükümdarlığı temsil ederler, özleri tanrılara dağıtırlar ve her birine kendi görevi olan nam-tar’ı atarlar. Özler, adil kuralın amaçlarına hizmet eder hale getirilmiştir. Beyinsiz, eski özler kozmosu gitmek zorundaydı, ama mücadele etmeden vazgeçmedi, isyan etti: Enmešara, “Tüm Özlerin Efendisi”, Enlil gibi isim-tar ve yönetmeye çalıştı, ama başarısız oldu ve mağlup oldu. Orada olan şey, sonsuza dek ilahi hükümete tabi oldu.……. Ayrıca, bir ilahiden İnanna’ya bir satır, du-ku’nun E-kur tapınak kompleksinin binaları arasındaki fiziksel varlığını da anlatır: “Leydi ……! Geri dönen kahraman gençlik, Inana … …. Nibru’daki E-du-kug’daki tapınakta …… ”1993 tarihli Antik Yakın Doğu’nun Kült Takvimleri adlı eseri aşağıda esas olarak değineceğim M. Cohen, du-ku’nun E-kur kompleksi 2 ağıtta ve ayrıca ona du6-kù ki-kù “Kutsal höyük, kutsal yer” olarak veren “Dilmun” adlı bir eršemma-ilahide. Du-ku’yu Tummal kompleksi olarak bilinen – E-kur’un kendisine yakın bir yapı olarak konumlandırılmış olarak daha da izole ediyor, >>

From https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html Sign ME

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Sümer proto-çivi yazısı işareti KU: “kutsal” https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html

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Sümer proto-çivi yazısı işareti Du: “höyük”

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İlk Sümer Sözlüğü’nden – Çivi Yazılı Dijital Kütüphane … cdli.ucla.edu ›pubs› cdlp ›cdlp0003_20160104 · Pennsylvania Sümer Sözlüğü … agrun-ků tanrıça Ninlil’in Ur’daki kutsal alanı (LU 16) … ků (g ) (kug) kutsal, kutsal olmak; kutsallaştırmak Göbeklitepe burcu ?? kutsal mı?

Portals at Gobekli Tepe | Göbekli tepe, Ancient civilizations, Ancient  mysteries
Guarded by beasts: a porthole stone from Göbekli Tepe | The Tepe Telegrams
https://tepetelegrams.wordpress.com/2017/03/20/guarded-by-beasts-a-porthole-stone-from-gobekli-tepe/

Nereden https://www.facebook.com/TempleofSumer/posts/blessed-du-ku-from-temple-of-sumer-the-month-of-the-sacred-moundholy-hills-and-s/833633270129967/ << Blessed adresinden Sümer Tapınağı’ndan Du-ku! “Kutsal Höyük Ayı” Kutsal Tepeler ve Kutsal Dağlar – Duku Festivalinin Temelleri Kutsal tepeler ve kutsal dağlar, en eski çivi yazılı tabletlerden İncil kutsal metinlerindeki merkezi yerlerine kadar, Eski Yakın Doğu Edebiyatının çoğuna nüfuz eder. Musa’nın Sina Dağı’nın tepesinde duran, Tanrı’dan kutsal çivi yazılı tabletler alan, insanlığa tanrılaştırılmış Hammurbian yasaları veren Musa’nın görüntüsünden; İlyas Peygamber’in Karmel Dağı’nda duran ve Tanrısından kendisini Baal’den daha güçlü olduğunu kanıtlamasını isteyen imajına; ve dağda vaaz veren İsa’nın imajına kadar. Dağlar, Göklerin gökyüzüyle buluştuğu yerde yaşayan “Tanrı’ya daha yakın” olarak görüldüklerinden, hem Yahudi hem de Hıristiyan literatüründe her zaman büyük bir öneme sahip olmuştur. Bu fikrin bir sonucu olarak, Tanrı’nın ilahi bilgeliğini bir dağın tepesinden kutsal yazılarda bahşettiğini sık sık görüyoruz. Bunlar, en eski zamanlara, İncil’in parşömen haline getirilmesinden çok öncesine ve Patrik İbrahim’in Sümer Şehri Ur’dan yolculuğuna başlamasından çok önce, medeniyetin olduğu bir zamana kadar uzanan kavramlar ve ana motiflerdir. daha yeni başlıyordu.Çünkü bu Korkmuş Höyüğün üzerinde, Cennet ve Yeryüzünün “Ursag̃” (tepe) üzerinde, atalara ait Tanrıların yaratıldığı söylendi. En eski literatürde, MÖ 3. binyıla tarihlenen ‘Koyun ve Tahıl Arasındaki Tartışma’ adlı Sümer şiiri, Anunna’nın bulunduğu yer olan ‘bozkır’ anlamına gelen Sümer ‘Edin’i anlatan yaratılış efsanesine verilir. Tanrılar ilk yaratıldı. Bu tepe, Göklerin yeryüzüne oturduğu ve insanlığa ilk yaşam alanlarının verildiği noktada bulunuyordu. Bu altmış bir satır mit, İncil daha yazılmadan ve “Cennet Bahçesi” bir kavram bile olmadan iki bin yıldan fazla bir süre önce taşa tutulmuştu. Daha sonra, Ur döneminin Üçüncü hanedanından (MÖ 2200) itibaren, ‘Edin’ teriminin ‘tepe’ anlamına gelen ‘Hurşag’ veya bazı durumlarda Akadca’da ’tillu’ olarak yeniden ifade edildiğini gördük. Tarih öncesi höyükleri betimler. Ünlü Asurolog Jeremy Black, “Gizli Yerlerde Saklanan Zenginler” de, günümüz bilim adamlarının aksine, Sümerlerin insanlarının nereden geldiklerine ilgi duymadıklarını ve literatürlerinde nadiren yazdıklarını belirtti. Tanrıları, evrene düzen ve hizmet ettikleri topluma uygarlık getirmeye niyetlenen medeniyet tanrılarıydı. Bu nedenle, Sümerler inanılmaz derecede ileriye bakan, yaratıcılığa ve icatlara odaklanmış ve geçmişlerine bakmaktan ziyade daha iyi bir yarın için çalışan insanlardı. Öte yandan, Sümerler, zamanın başlangıcından beri yeryüzünde yaşamadıklarını ve ilk insanların, hayvanlar gibi medeniyetsiz bir durumda yaşadıkları, medeniyetten önce bir zaman olduğunu biliyorlardı. Gılgamış’ın Enkidu’su için ilham.Sümerler, medeniyetin çok daha sonraki bir gelişme olduğunu anladılar ve dünyanın nasıl ortaya çıktığı ve zamanın başlangıcında olayların nasıl olduğu hakkında spekülasyon yapmak onları büyüledi. “Koyun ve Tahıl Arasındaki Tartışma” da Kutsal Höyüğün, gökyüzü ve dünya ayrılmadan önce Anuna Tanrılarının doğum yeri olarak belirlendiğinden, merkez sahneyi aldığını görüyoruz. Anuna Tanrıları, kayıtlı tarih öncesinden kalma kadim Tanrılardı. Onlar, Sümer döneminde ve Akad döneminin sonlarında, Yeraltı Dünyasında Ereşkigal’in tahtının önünde oturan yedi yargıç olarak tasvir edilen Tanrılardı, birincil işlevleri insanlığın kaderini belirlemektir. Eski Babil döneminde, Anuna’nın Netherworld’ün chthonik tanrıları olduğuna inanılıyordu. ‘Akad’ın Laneti’nde Kutsal Höyük, Büyük Tanrı Enlil’in, Kutsal Höyüğün Efendisi En-duku-ga ve Kutsal Höyüğün Leydisi Nin-duku-ga’nın büyük atalarının bulunduğu dinlenme yeri olarak da tanımlanmaktadır. . Bu ilkel tanrılar, Enlil’in kendisinden bile önce gelmişti ve Enlil, An ve Ki’nin ilk doğan oğludur. Enlil’in ebeveynlerinden birinin ebeveynleri olabilirler veya daha da geriye gidebilirler. Jeremy Black, bu efsaneyi yazarken, Sümerlerin bu höyüklerle çevrili bir topraklarda yaşadıklarını ve onların en eski atalarının ve hatta efsanevi hayal güçlerini besleyen muhtemelen Tanrıların kendilerinin atalarının mahvolmuş yerleşimleri olduklarını bildiklerini teorileştirdi. . Sümer, MÖ 5500 ile MÖ 4500 arasında karmaşık bir medeniyet olarak ortaya çıkmış olsa da, nehirler arasındaki topraklarda, bundan çok daha önce Neolitik çağlara kadar uzanan bir yerde yaşayanların olduğu açıktır.Bu ilk sakinlere ilk Fıratlılar veya Ubeyyalılar diyoruz ve arkalarında birçok işaret bırakmışlardı. Bu ilk sakinlerin çoğu, muhtemelen Sümerlerin kendilerinin çok eski atalarıydı, ancak o zamandan önce “medeniyetler” olarak sınıflandırılmamışlardı. ‘Medeniyet’ terimi yalnızca ‘kaydedilmiş tarih’ ile devreye girer ve bunlardan kentsel gelişim, kültürel seçkinler tarafından empoze edilen sosyal tabakalaşma, doğal çevreden algılanan bir ayrılık ve tahakküm içeren bir dizi işaretleyici ile karakterize edildiğinde, ve karmaşık yazı sistemleri gibi sembolik iletişim sistemleri. Yani, Sümerler tüm bu kriterlere uyan ilk gerçek medeniyet olsa da, ataları muhtemelen bu noktadan önce bin yıl boyunca bu bölgede ve çevresinde yaşamışlardı. Jeremy Black şöyle devam etti: “Tek bir Kutsal Höyük fikrinin hayal gücü uyarıcısı – bir dul ya da anlatım – Mezopotamya ovasının yüzeyinde antik yerleşim kanıtı bulunan sayısız harabe höyük olmalıydı. Onlarda kimse yaşamadı, ancak onları sadece imleçle araştırmanız gerekiyor – köyünüz bir tanesinin yanındaysa ve bir akşam orada dolaşıyorsanız – seramik kalıntılardan ve ara sıra bulunan kafatası ve kemiklerden, onların yaşadıklarını anlamak için geçmiş. Ama kim tarafından?Efsanevi hayal gücü bize, tanrıların en uzak geçmişte ayakları yerde ama gökyüzüne yakın bir yerde yaşadıklarını söyler. Öyleyse Kutsal Höyük gibi efsanevi bir imge veya metafor, çok sayıda ve her yerde bulunan ıssız harabe höyükleri gibi manzaranın genelleştirilmiş unsurlarından türetilebilen tek bir kozmik konumdur. “Ünlü Alman arkeolog ve ön ve proto-tarihçi Klaus Schmidt, ‘Koyun ve Tahıl arasındaki Tartışma’da yazılan orijinal’ Duku’nun M.Ö. 9130’a kadar uzanan eski Neolitik dağ kutsal Göbekli Tepe’den başkası olmadığına inanıyordu. Şiirin kendisinin antik sitenin kültürel bir hafızası ve insanlığın ağırlıklı olarak avcı toplayıcılardan kalıcı bir yerleşim zamanına geçtiği zamandan kalma mito-tarihsel bir anlatı olduğuna inanıyordu. Göbekli Tepe’nin bir gün Kuzey Mezopotamya olarak sınıflandırılacak bir yerde yer aldığını ve bölgenin kendisinin bir gün Güney Mezopotamya’daki Sümer Şehri Ur olacak yerden sadece yedi günlük yürüme mesafesinde olduğunu ve hatta eşek ya da Fırat Nehri’nde tekne ile seyahat ederken bundan daha yakın. Muhtemelen bu gömülü ve terk edilmiş “antik kent” in tıpkı Sümer mitinde olduğu gibi engebeli ve dağlık bir çevrede yer alması tesadüf değildir ve arkeolojik kanıtlara göre birçok kişinin hayvancılığın doğum yeri olduğuna inanılan yer olması efsaneye uymaktadır. mükemmel de.Ancak daha da zorlayıcı olan şey, efsanede yer alan tahılın yaratılmasıdır, özellikle Göbekli Tepe’yi çevreleyen tepelerde bulunan antik einkorn buğdayını düşündüğünüzde, yetiştirilen her tür buğdayın tek genetik atasıdır. ve bugün dünyanın her yerinde yenildi. Üçüncü Ur Hanedanlığı döneminde ve yedi bin yıldan fazla bir süre sonra, Kutsal Höyük Duku Festivali sırasında sembolik bir temsiliyet üstlenmişti, çünkü dini bayram öncesinde hasat edilmiş tahılda inşa edilmişti. ‘Duku’ teriminin bu yeni anlamı, bilim adamları arasında kafa karışıklığına neden olmuş gibi görünüyor, çünkü çoğu akademisyen Kutsal Höyük’ü tarihi bir yer olarak kabul ederken, bu sembolik tasvirin yapısını detaylandıran metinleri okuyan Thorkild Jacobsen gibi diğerleri onun kökenini gördü. “harmanlanmış tahıl yığını” olarak ve Duku’nun bir tür yer altı deposu olması gerektiği sonucuna vardı. Bununla birlikte, Sümer dininin uygulayıcıları olarak, bazen akademisyenlerin metindeki edebi tasvirlere fazla odaklandıkları ve sempatik büyü kavramları konusunda bilgili olanların da onaylayacağı gibi, bazen gizli anlamlar görme lüksüne sahibiz. Görünüşlerinde benzerlik yasaları açıktır. Bu tahılın duvarlarının inşa edilme yönteminden, ‘Duku’nun’ içerdiği hasatla birlikte, verilen süt sunuları ve hazırlanan düzinelerce kuzunun sunuları ile birlikte, ataların anlattığına inanılmaz derecede benzediğini görebiliriz. hepsi ‘Koyun ve Tahıl Tartışması’ mitiyle yakından bağlantılıdır ve bu, Tanrılara hayat verilen efsanevi Kutsal Höyük ile bağlantılıdır.Bu nedenle, bu tahıl Duku’nun daha sonra geldiğini ve başlangıçta kült faaliyetlerinin bir parçası olarak yaratılan sembolik bir yapının gelişimi olduğunu ve daha sonra buradan tahıl siloları fikrine dönüştüğünü söyleyebilirim. Duku’nun 20 Eylül’de yeni ayın görülmesiyle doğru bir şekilde başlar, ayın ilk günü 21’inde doğru bir şekilde başlar. Bu sırada, aslında ayın sonlarına kadar gerçekleşmeyen Duku festivali için hazırlıklar yeni şekillenmeye başlayacaktı. Bu süre zarfında, Şuruppak ve Nippur arasındaki kanalın ortasında yer alan “kutsal bir şehir” olan Tummal’da sembolik bir Kutsal Höyük inşa edilir ve bu da Tell Dlihim bölgesiyle olası bir özdeşleşmeyi düşündürür. Tummal’ın kült merkezi bazen metinlerde, tıpkı Eridu gibi, sazlık ve bereketle bağlantılı ilkel bir şehir olarak tanımlanır. Duku Festivalinin kendisi aslında ayın 27. ve 28. gününde veya 17 ve 18 Ekim’de karanlık ay zamanında gerçekleşir. Kutsal Höyük Festivali başladığında, Kral’ın eşlik ettiği Enlil ve Ninlil kült heykelleri, diğer Nippurian tanrılarının kült heykelleri ile birlikte Nippur’daki Ekur Tapınağı’ndan alınıp tekneyle Tummal’a götürüldü. seçkinler töreni başlatmak için toplanmıştı. Festival süresince ritüel ve kurbanların ardından halka büyük miktarlarda yiyecek ve içecek dağıtıldı. Festival, 19 Ekim’de yeni ayın görünmesinden sadece birkaç gün önce gerçekleşir.Yeni ayın ortaya çıkışı hiç şüphesiz festivalin sonunu işaret ediyor ve Apin Du-a ayının başlamak üzere olduğunu gösteriyor. Bu gün okumak için iyi bir efsane, çoğu için ‘Koyun ve Tahıl arasındaki Tartışma’ olurdu. Bu parçada ele aldığımız nedenler, çünkü efsane Duku ile yakından bağlantılıdır. Bu bayram için uygun adaklar süt ve tahıllardır ve birçok Sümer Yeniden Yapılanma Uzmanı onları küçük kekler halinde pişirecektir. Ekmek yapımı, medeniyetin temel bir yapı taşıdır ve tahılın ekilmesini ve inceltildiğini gösterir. Bir kek haline getirmek ve dondurmak, sembolik olarak üzerine sıvanmış bir tahıl yığınını gösterir. Top kek tarifi süt içermelidir, çünkü bu höyüğün en yaygın sunumlarından biridir. Kutsal Höyük Bayramı genellikle harika bir kutlama ve ziyafet zamanı olarak görülse de, aynı zamanda kasvetli alt tonları olan dikkatli olmalıyız. aynı zamanda yeraltı dünyasının Tanrılarına saygı duyulduğu ve ataların hatırlandığı bir dönem olduğu için, geçmişte kaybettiklerimize saygılarımızı sunmayı ve bunu yaparken onların başarılarını takdir etmeyi de unutmamalıyız. O anılar, kaybettiklerimiz asla bizi terk etmeyecek. >>

Du-Ku = Hur-sarkmadaki E-Kur kompleksi arasında kutsal yer. E-kur kompleksi arasında kutsal yer (sütun bölgesi). Göbeklitepe tapınak kompleksi arasında sütun bölgesi (dairesel alan). Toros dağlarında Göbeklitepe tapınak kompleksi arasında sütun bölgesi (dairesel alan)

Du-Ku=Sacred place, among E-Kur complex in Hur-sag. Sacred place(pillar precinct), among E-kur complex. Pillar precinct among Göbeklitepe temple complex.

March 15, 2021

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 agricultureanimal 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:”sacredhttps://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- the goddess Ninlil’s sanctuary at Ur (LU 16) … (g) (kug) to be sacred, holy; to sanctify

Gobeklitepe sign ?? “sacred” ??

Portals at Gobekli Tepe | Göbekli tepe, Ancient civilizations, Ancient  mysteries
https://ro.pinterest.com/pin/353251164495504746/
Guarded by beasts: a porthole stone from Göbekli Tepe | The Tepe Telegrams
https://tepetelegrams.wordpress.com/2017/03/20/guarded-by-beasts-a-porthole-stone-from-gobekli-tepe/

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.

The mysterious H and I signs on Gobeklitepe pillars.

March 14, 2021

On independent ways and not much different reasoning I came to the close and same conclusions ..... as regarding these above mentioned signs.I am stressing that the signs are far from animal-related pictograms, I am shocked to have at that remote time so HIGH STILISED IDEOGRAMS.

From Cosmic Power of the Shaman and Symbols at Göbekli Tepe – Part II by OZGUR ETLI https://www.ancient-origins.net/opinion-guest-authors/cosmic-power-shaman-and-symbols-g-bekli-tepe-part-ii-005194?fbclid=IwAR3su5G7VhU0T8iOqxKp9Lmk5XTpsaiFG-nOMch3cE52vHClRWhahVkhge8 <<The H Symbol

The pillars at Göbeklitepe depict the “H” sign
Pillar-18, 

One of the highly disputed symbols is the H-like symbol (and also “( H )” symbol) which is seen carved on  Enclosure D pillars. Some say this symbol emblematizes the Orion constellation. I think this is not true. Because, besides the “H “symbol, there is an “I-like” symbol, which can define as slanted “H”. Both of them are not related to Orion. To provide some intriguing and factual meanings based on cultural and archaeological datas:“H” symbol is not only a monolith symbol itself. It consists of two parts, which we can define as Tau. We encounter the same “H” symbol in Utah petroglyphs which are made by Anasazis. Indeed, we see the complete “( H )” symbol. Here the “H” symbol is not alone. On both sides there are other symbols.

Utah petroglyphs
Utah petroglyphs

Ray Urbaniak interprets the “H” symbol to mean double T shapes. Two T shapes butted together form a double T. He also says that Tau represents half of which is in the spiritual world. So, we can imagine that the “H” symbol consists of two Tau symbols. In my opinion, both of the side symbols next to “H” symbol represent the rising and setting sun. This tripartite character matches a verbal expression of mythological ideas about the three states of sun throughout the day (or moon throughout the night). The Ancient Egyptian god says: I am Khepra in the morning, I am Ra at noon, I am Atum in the evening—the names of deities that represent the sun in its various states. The I Symbol The “I” symbol of ancient Mexican mythology not only exhibits a single Tau of two forms, but in different positions, as well as two double-headed figures joined in one, which illustrates the duality, above and below, or heaven and earth.Turkish rug motifs also contain “H” and “I” symbols. The meanings of these symbols are “marriage”, “unity of family” and “faithfulness of lovers”. Sometimes it represents “motherhood”, “fecundity” and “birth”. Among these rug motifs an important one, the so-called “Eli Belinde (Hand on belly)”, seems quite like Göbekli Tepe’s central pillars, upon which we see both hands on omphalos.In Proto-Turkish culture the “I” symbol was called as the “ON: Cosmos”. Interestingly, In Chinese culture “I” symbol represents the shaman or spirit intermediary, so-called Wu. The widespread usage amongst indigenous American peoples of the inverted and upright Tau shape as emblems of the above and below is abundantly proven and doubtlessly arose as naturally as the Chinese characters “Shang: Above”, employed as a symbol for heaven, and “Lea: Below or Beneath”, employed as a symbol for earth. The connection between Heaven and Earth represents the creation of innocence and this is reflected by the central line.

The Chinese characters “Shang: Above”, employed as a symbol for heaven, and “Lea: Below or Beneath”, employed as a symbol for earth

The Chinese characters “Shang: Above”, employed as a symbol for heaven, and “Lea: Below or Beneath”, employed as a symbol for earth. So, I can suggest that the mysterious “I” symbol is about a “Heaven (Sky) – Earth connection: so the life could exist”. In shamanic belief, Earth takes its life force from the sky via the navel cord. Göbekli Tepe should be seen as an important site for this reason. (Interestingly, In Turkish “Göbek” means “The Navel”). In this, creative powers unite for birth or rebirth. Therefore, some specific days are vital for taking life energy from the sky or heaven. Life force is believed to be always there, but not always visible. It is believed to be visible on specific days of year. These days are the equinox and solstice days. On the other hand, the “H” or slanted “I” symbol may be about East-West, Woman-Man or God-Goddess connections. The earth and sky motifs, and the rituals represented by these motifs, were probably linked together as a ritual duality. In a duality, neither earth nor sky can exist without the other, and both earth and sky-related rituals were necessary elements in the lives of people, such as seen in the Ho’e’ga; The Osage (Great Plains Native American) ritual name for earth: an enclosure in which all life takes on bodily form. Why can it not be the same in Göbekli Tepe? It is possible that the placement of the shaman is a reminder of the shaman’s roles as a ritual functionary and mediator between the natural and supernatural worlds. In this case, the shaman may have also served as a ritual bridge between earth and sky. >>

I found another opinion where T=below and upside T= above: From Gobekli Tepe: The Navel, The Center of the Earth Cliff Richey https://www.academia.edu/35934540/Gobekli_Tepe_The_Navel_The_Center_of_the_Earth

In order to understand, the Gobekli Tepe, Pillar 56 that is composed of, mostly, Birds and Serpents we need to understand what the (black) Pillar Form represents. The Large Size indicates, the great one,The Pillar is in the overall Form of a “T” shaped stone, that is based on the gesture sign for, below.6 In the gesture sign the two hands together indicate by a Straight Line, the surface, usually indicating, the land’s surface. Illustration 10: Composition of the “T” Form As a Form the “T” simply indicates, below. Additional meaning is obtained by dividing the Form into it
component, Gesture Sign, parts: The Top surface, The Horizontal Bar as the gesture sign for, a
horizontal-place, and the Stem, that means, a vertical-place. The Great Kiva in New Mexico is a below the surface structure like the one in Gobekli Tepe. The “T” shaped doorway has steps leading down into the circular excavation. The Kiva was probably, cosmological, and considered as within the underworld. The Kivs is a chamber, built wholly or partly underground, used by male Pueblo Indians for religious rites. …….. The Feet are in the Form of the upside-down the “T” Form (the opposite of the upright “T” Form) meaning,
above, on, the surface.
>>

My opinions: – H and I signs, beeing highly stilised signs, must represent rather complex abstract notions. – I was the first one wich associated Tau-shaped pillars with sumerian proto-cuneiform sign “Me”, where Me beeing a sign related to the divine/divinity, where that divine would be, on Earth or in the Sky. If somebody asking why such distant in time relation, I am remembering you that some signs as cross, swastica has a multiple thousend years long life. Some signs were used thousend years before the advent of writing ! – Double Tau=H/I=MeMe could be Ur-Meme

From Download PDF – Brillbrill.com › book › Bej.9789004173811.i-768_007.xmlNippur exemplars of the Sumerian King List32 begin with the first post- diluvian … Ur-Meme,” the aristocratic family which held some of the highest polit- ical and ..

From Dispute Resolution in the Provincial Courts of the … – Deep Bluedeepblue.lib.umich.edu › handle › leculber_1PDFby LE Culbertson · 2009 · Cited by 14 — Selected Neo-Sumerian Administrative Texts from the British Museum … and subordinates of a wealthy landholder, Ur-meme

From https://en.wikipedia.org/wiki/List_of_Mesopotamian_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. – Or represented <ALL/WHOLE World, “Universe”>

  • The H sign-Orion relation is old, consistent and very strong, as Orion beeing most visible constellation on sky. Orion would be in afterlife a GATE TO THE SKY/UNIVERSE ! I found separately the same chinese signs: EVOLUTION OF CHINESE CHARACTERS漢字發展 https://www.ocf.berkeley.edu/~wwu/chinese/handout.html
Do I need to learn Mandarin in order to start a business in Taiwan? - How  to Start a Business in Taiwan
https://startabusinessintaiwan.tw/book/faqs/language/do-i-need-to-learn-mandarin-in-order-to-start-a-business-in-taiwan/

NOTE Upon chinese rendering, T-shaped pillars are related to “down” ,Earth. This is according to old stages of religion developement when lower (place, chtonic) gods preceded later high (Sky) gods. https://hraf.yale.edu/ehc/summaries/religion#gods-and-spirits << Animism was the first form, followed by belief in an afterlife, which, in turn, was followed by shamanism and ancestor worship. They found that ancestor spirits and/or high gods thought to be active in human affairs were probably absent among early humans perhaps reflecting a deep history of egalitarianism in hunter-gatherer groups.>> Out of Utah, such signs were used later in Corsica:

Gobekli tepe: A Proto-Turkish Temple?
Gobekli tepe: A Proto-Turkish Temple? https://pt.slideshare.net/zgrBarEtli/gobekli-tepe-a-prototurkish-temple/20?smtNoRedir=1

Göbekli Tepe’deki o kurnaz tilkiler …

March 6, 2021

Itibaren https://azariablog.com/2015/06/05/is-there-evidence-of-domesticated-dogs-at-gobekli-tepe/

site_1327_3941

Itibaren http://isida-project.org/turkey_2018/gt_en.htm << Temel olarak, sütun üzerindeki kabartmalar, nadiren insan figürlerinin bölümlerinin yanı sıra çeşitli semboller ve ikonlar gibi hayvanların resimlerini içerir. Klaus Schmidt ve Joris Peters makalelerinde Animals in the symbolic world of Pre-Pottery Neolithic Göbekli Tepe, south-eastern Turkey: a preliminary assessment” Tapınakların kısmalarındaki (A-D) resimler hakkında istatistiksel veriler sağlar:

-Göbekli Tepe. Animal depictions on the T-shaped pillars in enclosures A to D. Caveat : enclosures A to D not completely excavated.

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

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<< Portalın kuzey tarafındaki B bölmesindeki girişinde bir çift tilki ile çevrili bir boğa başı (bucraniu) vardır. Yine, bu muhtemelen Oğlak ve Kova takımyıldızlarını ve dolayısıyla Taurid göktaşlarının akışını gösterir. Bu yüzden tilkiler ve boğalar açıkça dini ikonografilerinde yer alırken, tilki ve boğa hakkında daha fazla Mezopotamya atasözü bulmak şaşırtıcı değil..>>

Itibaren The fox in Sumerian Proverbs – Foxes from the Gods /Sümer Atasözlerinde Tilki – Tanrılardan Gelen Tilkiler <<İlgili atasözleri şunlardır: Koleksiyon 2:65 Tilki vahşi boğanın toynağına bastı. Acıtmadı, dedi. Koleksiyon 8:21 Bir tilki vahşi bir boğanın testislerini açlıktan ölüyormuş gibi izledi >>

Itibaren http://martinsweatman.blogspot.com/2020/10/gobekli-tepes-pillars.html << Elbette pek çok kişi ilgilendi ve tilkilerin anıtlar üzerindeki motivasyon ve açıklamalarının neler olabileceğini araştırdı.Alanın en eski uygarlığı olan Sümer’de kaydedilen öykülere ve referanslara daha önce yaptığım gibi atıfta bulunacağım. atasözleri, boğayla (ısırmak istediği!?) ve daha sonra ana tanrıça Ninhursag’ın kutsal hayvanı olarak ilişkili göründüğü yer. Fox Mitolojisi | Mitoloji ve Kültürler Amino << Erken Mezopotamya mitolojisinde tilki, tanrıça Ninhursag’ın kutsal hayvanlarından biridir. Tilki, onun habercisi gibi davranır. >> Bu son olayda, tanrı Enki’nin hastalığı vesilesiyle, onu iyileştirebilecek tek kişi Ninhursag’dı. Ama bu bulunamadı, bir ödül karşılığında tilki onu ölüler dünyasından (kız kardeşi Ereskigal’e gittiği yer) getirmeyi teklif etti. Ereshkigal’den – Wikipediaen.wikipedia.org ›wiki› Ereshkigal << Mezopotamya mitolojisinde Ereshkigal (Sümer: 𒀭𒊩𒌆𒆠𒃲 EREŠ. KI. GAL, lafzen “Büyük Dünya Kraliçesi”), ölüler diyarı Kur’un tanrıçasıydı. ya da mitolojide yeraltı dünyası. Sümer. . >> Görünüşe göre tilki ölülerin dünyasına nasıl girip geri döneceğini biliyordu, bu nedenle ölülerin ve büyücülerin dünyasıyla ilgili rollere ve yeteneklere (tam olarak açıklığa kavuşmadı) sahipti.

Itibaren Www.diva-portal.org sitesinden ›getPDF Sümer Ana Tanrıçası Dünyası – DiVA << Anahtar Kelimeler: Sümer ana tanrıçası, Mezopotamya, mit,… tilkiye” bilge, büyücü “denildiğinde SÜMERLERDE TILKI’UN KADIN BİR TANRI İLE İLİŞKİLİ OLDUĞUNU UNUTMAYIN. GÖBEKLİ TEPE’DEN D TEMSİLCİLERİNİN MERKEZİNDE 2 DİREK; BİRİNİ BİR ERKEK TANRIMLA (P31, TOKA KOLYE OLAN) BAĞLIYORUM

Itibaren http://martinsweatman.blogspot.com/2020/10/gobekli-tepes-pillars.html

<< Sütun 31: Muhafazanın ikinci merkezi ayağı D, ‘erkek kardeş’ olan Sütun 18’e çok benziyor, ancak daha az süslü. Kemerdeki veya tokanın yanındaki H ve hilal sembolleri geride kaldı. Ve ‘tutulma’ broşu, bir bucranyum sembolü gibi görünen bir şeyle değiştirilir. >>

DİĞER PİLON (P18 DAHA ZENGİN SÖZLEŞMİŞSE),

Itibaren http://a9414495.eu5.org/origin/gobekli adresinden BİR KADIN ÖLÜMÜ İLE BAĞLANTILIYORUM .html? fbclid = IwAR0yYfLgecEbBFmu-aSKrPETQA3cdiOCc7dBV7ToeQsOwlTHREBxSX7pjAk

This image has an empty alt attribute; its file name is pfeiler-18-mit-podest-2.jpg

Bölge D’nin 18. Sütunu, tüm tapınak kompleksinin en önemlisi. Bu, cinsel ilişkiyi ve çocukların doğumunu simgeleyen bir kadındır. Gelecekteki aşk, seks, aile ve doğurganlık tanrıçalarının prototipi İnanna, İştar, İsis, Afrodit ve diğerleri. Ona tanrıça N diyelim. Sütunun altında yedi kanatsız kuş var. Bunlar onun çocukları. Kemerde, alternatif semboller C ve H, yeni ayın görüntüsüdür, H, cinsel ilişkinin sembolüdür (dikey çubuklar erkek ve dişidir, yatay stigma erkek organıdır ve H, erkeğin sembolüdür ve cinsel ilişkiye giren kadın). Kadının elleri karnının altına bastırılır ve dikkatinin yoğunlaştığı yeri gösterir. Hamilelik sırasında – rahimdeki bir çocuktur ve cinsel ilişki sırasında ona değer verir – duygusallık ve dikkatin merkezi. Kemerin önünde normal konumda 2 H sembolü ve döndürülmüş (yatık) konumda 3 H sembolü vardır. Sıradan H, ayakta pozisyonda cinsel ilişkiyi sembolize eder, yatar pozisyonda H – cinsel aktin yatar Tilki görüntüsü cinsel organları kapatır. Tilki, cinsel ilişkinin sembolüdür. Eski avcılar genellikle bir delikte saklanan bir tilki gözlemlediler. Bu eylem, cinsel ilişki görünümüne benzer bir forma sahiptir. Bu nedenle tilki, cinsel ilişkiyi sembolize ediyor (astronomların yazdığı gibi bir kuyruklu yıldız değil. Üzgünüz, bilim adamları, astronomlar da astronomiyi severler, ancak gerçek daha değerlidir)). Beş katlı bir tilkinin başı vajinayı, iki ayaklı kuyruk ise erkek cinsel organını tanımlar. Vajina ve erkek organın tek bir hayvanda tarif edilmiş olması, cinsel ilişkide birleşmelerini simgelemektedir. Bir kadının gövdesinde bir tilki resmi. Bu vücuttaki cinsel ilişkinin sembolüdür. Bu kadına ve bu mekana hâkim olan ana eylem olarak seks sembolüdür. Bu, verilen tanrıça H’nin gücü ve kabilelerinde cinsel olarak en yetenekli olan, ilk önce tanrıça H ve sütun 18 için bir imaj olarak hizmet eden ve daha sonra bu tanrıçanın rahibeleri ve hizmetkarları olan bazı Neolitik kadınların gücüdür. . Sütun 18, kadın cinsiyetini, doğumu temsil eder ve genel olarak onun sembolüdür. H sembolü, bir kadının boynundaki bir kolyede bulunan bir kolye gibidir. Bu kadının hayatının anlamı olarak seks sembolüdür. Kolyedeki bu H, bir yerine iki bağlantı çubuğuna sahip olması nedeniyle diğer H’den farklıdır. Üst çubuk bir öpücük, alt çubuk cinsel ilişki veya bağlı ellerdir. Bu zaten sadece cinsiyetin değil, aynı zamanda sosyal ve duygusal bir fenomen olarak sevginin de bir sembolü. Bir kadının boynundaki ikinci kolyede Ay üzerinde İnel. Adet döngüsünün sembolü ve bir kadının vücudunun aylık döngüye tabi olduğu gerçeği. Dolayısıyla, 18. sütunun sembolizmi açıkça ve açıkça kanıtlanmıştır. Tapınak kompleksindeki ana figür aşk tanrıçasıydı. Avcıların ve toplayıcıların göçebe kabilelerini çeken oydu, Taş Devri vahşilerine 20 ton megalitleri işlemek ve taşımak için ilham veren oydu. . O bir seks profesyoneliydi ve seks kültürü, iletişim kültürü, aile kültürünü vahşi avcılara ve toplayıcılara aktarıyordu. Medeniyetin başlangıcıydı. Bu bilgi ve beceriler tanrıça H’ye nereden geldi? Bu daha da karmaşık bir sorudur ve cevabı, Newton’un yerçekimi yasasını nasıl keşfettiği sorusuyla kabaca aynıdır. Yaradan Tanrı onu doğruya verdi,

EĞER TILKI ANA TANRIÇA NINHURSAG’IN KUTSAL HAYVANI OLDUĞUNDA, HANGİ PİLON TILKI, PİLON-TANRI VEYA PİLON-TANRI OLDUĞUNU merak ediyordum! Zirvedeki TILKI, SÜMERLERDE GİBİ “KADIN FATURASI” PİLONUNDA!

Acele vulpi hotomane de la Gobekli Tepe…

March 6, 2021

Göbekli Tepe

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

-Göbekli Tepe. Animal depictions on the T-shaped pillars in enclosures A to D. Caveat : enclosures A to D not completely excavated.

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.>>

=======================

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 !

Gobekli Tepe’s fox has a special role.

March 4, 2021

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

Göbekli Tepe - Who Built It, When, and Why? - A Preview to Genesis of the  Gods
Fig. 10. Leaping fox bas-relief on the inner face of Enclosure B’s Pillar 10 (Pic credit: Andrew Collins). Astronomically, this turning mechanism of the heavens is identified with the seven stars of the Plough constellation, also known as the Big Dipper, or Ursa Major, the great bear, which is forever seen to turn about the celestial pole. One of its stars, the tiny Alcor, which lies close to a larger star named Mizar, is identified with the cosmic trickster, and even bears the name Fox Star or Wolf Star in various ancient astronomies (see Fig. 12).It was seen as a visible reminder of the sky-wolf or sky-fox who constantly tries to attack and bring down the sky-pole holding up the heavens.The only way of countering the baleful influence of the trickster was through the actions of the shaman. It was their duty to enter the sky-world, where the sky-fox or sky-wolf roamed freely, and here either appease it, or outwit it in some manner.So to find similar evidence emerging from Göbekli Tepe of ritual activity involving the fox should not be ignored.Is it possible that its stone temples were utilized by shamans entering the sky-world, via the Milky Way’s Great Rift sky-portal, to ensure that the sky-fox, or indeed the sky-wolf (3D carvings of wolves have been found at Göbekli Tepe), did not bring destruction to the world?

eugenrau: ?? !! ?? !!

https://www.pinterest.co.uk/pin/443815738277541972/
Pinterest
23 – left- fox, Nergal, Ninurta, Anu, Enlil, & Nuska; right- Ningishzidda, Enlil, Ishara, Bau,

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.

https://en.wikipedia.org/wiki/Tablet_of_Destinies_(mythic_item) In Mesopotamian mythology, the Tablet of Destinies[1] (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.

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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.

Nu li se poate da de capat semnelor H de la Gbekli Tepe !?

February 28, 2021

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 SeyfzadehRobert 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).

Figure 11. Laroche #239, 261, 263, and 457. #457 (1) has the phonetic value of “li”. #239 translates into “Gate” and #263 and #457 (2) are unknown (Petra Goedegebuure, personal communication). #261 is uncertain. From Laroche (1960: pp. 129, 137, 237); modified.

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

https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns.html
https://cdli.ucla.edu/tools/SignLists/protocuneiform/archsigns/KU~a.jpg

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, : 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

Portals at Gobekli Tepe | Göbekli tepe, Ancient mysteries, Ancient aliens
https://ro.pinterest.com/pin/353251164495504746/

ABORDAREA MEA. IPOTEZA

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

Göbekli Tepe 2006, pillar 18 in enclosure D (foto Berthold Steinhilber). |  Download Scientific Diagram

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.

Intrarea portalului în incinta B de pe partea sa nordică prezintă un cap de taur (bucraniul) 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 pregnant în iconografia lor religioasă.>>

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

The Fox and Bull Constellations