Klára Friedrich

THE MYSTERY OF TATÁRLAKA

Part 7. 

Some parallels to the signs on the disks.

The circle, which is created by the circumferenc of the disk itself, and the cross in its middle form the letter F of the runic script and it is, at the same time, the pictograph of the Earth, called Föld in Hungarian. We find similar signs on several of Zsófia Torma’s other disks, in the Cretan Linear B script, in the Byblos writing from 1300 B.C. and among the Glozel letters[1].

In the ancient Chinese script, this is also the sign of the Earth. We find this sign on the clay wagon-model, the golden disk, which was worn as a decorative element and was excavated in Somogyom, Transylvania, the bronze pendants of the necklace of Nagyhangos-puszta and on several pieces of the Nagyszentmiklós[2] treasure. 

In my book: Kárpát-medenci birtoklevelünk,(Our Letter of Ownership to the Carpathian Basin), I presented the Glozel sign collection and I am repeating it here because there are many parallels between these and the Tordos-Vinca signs.                                                                                                                                             

I am convinced that the Glozel finds are not forgeries but they are the relics of our Stone Age ancestors, who brought their knowledge of writing to this part of the world. We have to remark that both the Glozel peasant and Doctor Morlet had to suffer much harassment on the part of the representatives of the official sciences.

Researchers do not show the little V sign in the upper left quadrant, on the left side of the horizontal line, even though it is there and it is visible on the more accurate photographs and drawings. We know, from Professor János Makkay, that, at the time of their excavation, the tablets were covered with a lime deposit and, for this reason, the Kolozsvár Museum’s laboratory washed them in hydrochloric acid and, because their material had a trendency to crumble, they covered them with an impregnating material. In my opinion, due to these operations, the V-sign became less visible but it must have had its own significance, if our ancestors wrote it there. Two such V-signs can be found on the rectangular tablet with the hole, and they are located high up on each side of the hole, so they are an important part of the Tatárlaka signs. Géza Varga included these latter ones in his table. (Bronzkori magyar írásbeliség, (Magyar Literacy of the Bronze Age), Budapest 1993, page 147)

Its parallels can be found on the Torma disks, on the bones of a 200 thousand (yes: two hundred thousand) year-old ancient bullock, as a Sun-symbol in Sumer and at the Holdvilág Árok (János Andrássy Kurta: Holtak völgye: Holdvilág-árok – 2003; The Valley of the Dead: Valley of the Moon.) (The later.mentioned signs from the Holdvilág Árok also come from this book), on the 25,000 year-old pebbles of the Mas D’Azil cave (France), on the 6000 year-old seal of Luristan, in Glozel, in the master-seals on ivory carvings, which are from the  Mycenean age, (3000-1100 B.C.) on the seal of the Olt valley, among the five basic signs of the Tordos-Vinca culture, on the Chinese divination bones, on the belt of the Sickle God from Szegvár-Tűzköves, and among the signs of the Chinese cultures of Yangshao and Erliton (5000-1600 B.C.) My thanks to Dr. László Bárdi for this last piece of information.

We can find this little V sign on plates no. 9 and 10 of the Nagyszentmiklós treasure, among the Hun name-signs from Eifischtal, Switzerland, on the walls of the caves of the Pauline order in Paraguay, on the Pomáz-Klissza bronze ring, on the ring of Klárafalva from the Árpád age, and on the brick-signs of the Avar Royal Palace which are called Ancient Bulgarian these days. (Let us remember that the Nagyszentmiklós treasure is displayed in the Cultural History Museum of Vienna as „Ancient Bulgarian”.)

The next sign in the upper left quadrant corresponds with the letter Z of the Székely-Magyar Runic Script. It can be found on Zsófia Torma’s disks, on a Sumerian tablet from the Jamdet Nasr period (circa 3500 B.C.), in the Persepolis Parthian inscription, among the Glozel signs and in the Cretan Linear B script. Two lines can also be found on the rock inscription, which Anna Walter Fehér calls the Smolensk inscription, Géza Radics calls it the Kiev inscription and they appear in the Khumarai (Caucasus) rock inscription, in the helmet inscription of Negaui (Eastern Alps, Avar age) in the rock inscriptions and other objects in the territory of the River Don and on the Avar needle-holder of Jánoshida. . .

The third sign in the upper left quadrant is the same as the NY letter of the Székely-Magyar Runic Script. We find it also on the discs of Zsófia Torma and on the Jamdet Nasr tables. Mathematician, György Mandics, explains this sign as a numeral, based on Sumerian clay tablets. A similar sign can be found on Sumerian tables in Johannes Friedrich’s afore-mentioned book.  He believes these to be accounting lists. It also appears on a 5000 year-old dish-fragment at Tepe Yahya (in today’s Iran). It is the sign of the moon on the Chinese divination bones. We also find it on the Nagyszentmiklós Treasure, the Carinthian rock-writing, on Uighur grave inscriptions, among the „Etruscan” brick signs near the city of Hatvan at Gombospuszta, Hungary and on the walls of the Murfatlar Avar cave-monastery (today in Rumania).

The bow and arrow-like sign in the lower left quadrant can be found among the signs of the Tordos-Vinca culture, on Hittite, Hurrite, Jamdet Nasr and Glozel inscriptions, on Mas d’Azil pebbles, in the Cretan Linear B writing, among the brick-signs of the „Ancient Bulgarian” Royal Palace of the Avar Age, in the Holdvilág Árok (Moon-Valley) with a 45 degree rotation, on the silver cup of Chorezm (3rd cent. B.C.), on the stones of Tászoktető, among the Hun name-signs of Eifischtal in Switzerland (not in a bow form, but a triangular shape) and on the walls of the  Murfatlar (today Rumania) Avar cave-monastery. It is similar to the Sumerian cuneiform sign meaning BA (present, to give), which can be found in Veronika Marton’s book: A sumir kultúra története (The History of the Sumerian Culture), page 53. (Privately published in 2000).

A sign resembling a wedge or arrow can be found on the Tordos disks, on one of the Knossos disks, on the Glozel and Mas d’Azil artifacts, on the Phaistos disk, on the silver cup of Khorezm (3rd cent. B.C.), in the Nagyszentmiklós Treasure and among the Hun signs of Eifischtal Switzerland. In Sumer it was the sign for ten.

The sign at the  bottom of the lower left quadrant corresponds with the letter GY of the runic script. It can be found on the disks of Zsófia Torma, in Glozel, Mas d’Azil, on Hurrian inscriptions, in the Ugarit writing, the Egyptian pre-dynastic letters, among the Gradesnica (today Bulgaria) runic signs, in the Cretan Linear B writing, on the frescoes of Catal Hülyük (today within the borders of Turkey) from the 6^th.-5^th. centuries B.C. and among the Eifischtal Hun name-signs in Switzerland.

The comb-like signs of the right upper quadrant can be found on Zsófia Torma’s disks, in the territories of the Vinca culture, in the Jamdet Nasr table, on the Mas d’Azil pebbles, in the Ugarit writing, on a 6000 year-old vessel fragment from Székely land in Transylvania, on a five-thousand year old Elamite plate, and the inscription concerning the coronation of the Egyptian King, Hor-Udimu. They can be found in several places among the Eifischtal Hun inscriptions in Switzerland and several times on the walls of the Murfatlár (today Rumania) Avar cave monastery.

This drawing reminds us also of the pictograph dealing with the yearly journey of the Sun, on the façade of a house in Szentsimon, Hungary. I found a similar sign in Gábor Pap’s book: Hazatalálás (Homecoming) on page 81.  The „international” meaning of the comb-like sign is “rain”; even the Bushmen use it.

Underneath this comb-like drawing is a sign resembling the runic NY sign (parallel is the NY sign in the upper left quadrant) and two little circles. The parallels of the circles can be found among the Tordos, Mesopotamian, Tepe-Yahya signs, on a Hurrite inscription, in Glozel, on the Knossos disks, in the Ancient Greek and Latin alphabets and in the wall-inscriptions of the Murfatlar cave-monastery of the Avar Age. Signs can be found among the Sumerian and Elamite numerals, which are similar to the NY sign and the circles of the Székely-Magyar runic script.

The pictograph in the middle of the lower right quadrant can be found in the Jamdet-Nasr, and Uruk tablets and the Sumerian seal roll. The representation of a fire-place is found on an Assyrian relief from before the 9th century BC, on the stone-carving of Holdvilág-árok, carved into the walls of the Murfatlar cave-monastery from the Avar Age, and in the afore-mentioned book of Veronika Marton, also on page 53 as the cuneiform sign of the Sumerian BUR (vessel), although the four lines start here from a triangle in an upward direction.

At the right side of the right lower quadrant, the creator of the disk represented a Sun and Moon altar.  Similar representations can be seen in Lizett Kabay’s book:  Kulcsképekhez kulcsszavak (Key Words to Key Pictures) and in Veronika Marton’s book: A sumir kultúra története (The History of the Sumerian Culture) on page 40, where on a seal-roll, not only are goats represented, rearing against the Tree, but also a crescent Moon as it cradles the Sun.

On the three meter high stele of the Sumerian King, Ur Nammu, (who reigned between 2112-2095 B.C.), one also finds the crescent Moon embracing the Sun. On the cover of Sinclair Hood’s book: The Minoan Crete, is a picture of a Moon altar in the Knossos palace, which forms a bull-horn.

In József Huszka’s book, we can see, on a Hittite seal, two winged beings are guarding the Moon and the Earth, resting on the top of a column.  At the foot are two little goats.

Finally I present my own theory and conclusions.

I collected approximately fifty interpretations of the Tatárlaka find.  With the exception of two or three of these, they add valuable thoughts toward lifting the fog of the past. However, I cannot align myself with any of these theories, since most of the researchers examined the disk, apart from its natural environment, as an independent object and not as a part of a 7-8000 year-old burial. Only a few researchers have connected it to the other two tablets and even fewer to the person of our ancestor in that grave.

The grave and, within it, the earthly remains of our Hungarian ancestor and his/her objects form a holy unity, according to the ancient ritual of that funeral. If we take this object out of its environment and express our opinion, independently of the other objects, thus disturbing this holy unity, then the order is disrupted and a mistaken or fragmented message reaches us, instead of the true message, which the community, which loved our Ancient Mother Goddess, sent on the road of rebirth.

At the time when the tablets were made, 7-8000 years ago, the ancestors of the Hungarians in the Carpathian Basin were the only people on Earth who were able to read and write.  We cannot know for sure through how many Ice-Ages and natural catastrophies our ancestors preserved this writing, throughout the many tens or hundreds of thousands of years. However, it is certain that this is a perfect collection of letters, which correspond to every sound of the Hungarian language and it is easily learned.  It can also be written onto any kind of material, under any circumstances. This collection of letters consists of the following 30 or 32 letters. (The ancient alphabetical order was surely different!).

There was not a clear J and, according to the teachings of the Great Carved Staff[3], this sign came from the sign of the letter for I. The J is an unnecessary sound, from a phonetic point of view, since both the I and the J sounds are formed with the help of the upper palate and represent a spirant sound. The proof of this is the subject of another study. The majority of researchers are of the opinion that alphabetical writing developed from pictographs. In the case of the Székely-Magyar Runic Script, this is not so. The ancestors of the Magyars from the far, far distant past, at least for 25,000 years, have possessed an alphabet, where every runic sign had an independent sound value. This 25,000 year demarcation is the approximate age of the inscribed painted stones of Mas d’Azil in France. The Venus of Lausell (a limestone relief in France) comes from this same time-frame. On her right hip, there is a letter T of the runic script. With some daring imagination, we may discover some runic characters on the bull-horn, which she holds in her hand (It can be seen in John Waechter’s book: The Ancient History of Man – Helicon publ. 1988).