Acoma agyagdoboz a "Magas kövön ragyogó Dana isten" mondattal
Many glyphs from the Native American tribes’ symbol set can be identified with the signs of the Hungarian hieroglyphic writing, as well as the Székely writing derived from it. That is what we experienced in all three Americas and the case of the Acoma clay box from Figure 1 below is not different.
Figure 1/a: A box-shaped Acoma clay pot of particular beauty bearing interesting markings and the “Dana deity shining on a high stone” inscription
About the significance of the
common Native American – Hungarian glyph set
We have been considering the connections of the Native American and Hungarian writing history in many books and papers. But so far we have not emphasized the significance of the fact that in the Native American glyphs no similar characteristics can be found either with the Latin or the Ancient Turkish writing or with the Germanic runes. The Semitic waveforms are also missing. That is because the aforementioned three symbol sets emerged after the Great migration. On these beautiful Native American folk artifacts only the equivalents of Hungarian symbols are present exclusively. Master Hunfalvy may turn in his grave and the hair may stand on the backs of his Hungary hating followers, who are uneducated about the origins of the Székely writing, but this well-documentable literary phenomenon emphasizes the Hungarian prehistory and writing culture’s uniqueness and its Stone Age significance. I am not going to apologize for my statements above because in a normal and sane world one should receive recognition and shoulder tapping for his inventions and not be apologetic for them.
The similarities discussed cannot be attributed to chance. A sane person cannot even start to assume that the resemblance of approximately 30 Native American symbols introduced in our articles to their Hungarian counterparts is purely accidental. Only delusional linguistics, archeology and history “experts”, miseducated (with blindfolds) at universities can do such things (honorable exceptions can be found, of course), but they are mistaken despite all their self-confidence.
Our probability calculus done with the help of mathematician Tibor Nemetz shows that these similarities are consequences of a genetic connection. Historians should now provide us with suitable answers to this genetic connection (or recognize our findings from the book Hungarian hieroglyph writing as a foundation). It is not our job to re-write the history books.
This extraordinary situation in writing genetics means nothing less than the ancestors of the Native Americans moved to the New World with Hungarian symbols in their bags. Since this migration happened twelve thousand years ago at the latest, according to population historians (some of them might say it happened even sooner – thirty or forty thousand years ago), the common Native American – Hungarian symbol set should be at least this old. We lived together with their ancestors in the homeland of Homo sapiens sapiens from the period of 100 000 to 50 000 B.C., then in the Middle East on Eden’s former territory and after that in Siberia. If the writing historians will be able to distinguish between the initial symbol sets created in Eden and the later ones used in Siberia (along with their extra layers enriching and changing over time), then it should be helpful in clarifying the chronological order of these phenomena.
Based on things said so far, it would seem that the Hungarian- or some closely related language-speaking ancestors went to America to form its native population (but discussing this matter would go beyond the scope of this article). This could be supported by the Joma ligature and the occurrence analysis of the “high stone” portraying convention, which were not yet present in Eden, but they were already present in Siberia and America. One of those tasks for the future could be a more precise description of these symbols and their relations, as well as associating their variations to a specific age and geographical area.
The reason behind the aforementioned circumstance (the Native American folk artists using symbols identical to Hungarian ones) being so remarkable is that the characteristics of the common prehistoric writing are more visible through these identical symbols. The source of these Hungary-identical Native American symbols cannot be the Semitic, the Germanic, the Latin or the Ancient Turkish writing system, only and exclusively the Hungarian hieroglyphic writing from the Stone Age. That is why based on the image content we are able to understand these few writing memories left behind by the Native American folk artists (in rare cases we can even read them), using the Hungarian symbols as foundation. Just like the “ornaments” of the Acoma clay box from Figure 1. This understanding and reading happens only through Hungarian symbols, therefore we do not claim it should be considered accurate or definitive. We are curious about the opinion of those researching the Native American languages and symbols on this, because that is what’s required to move forward.
The following paragraphs are devoted to the Acoma clay box, its symbols and ligatures, their meaning and parallels demonstrated on self-made photographs.
The “Shining on a high stone”
part
Figure 2: The “Shining
on a high stone” sentence from the Acoma pot (on the left) has a
relative on a Hunnish clasp from Apahida
(on the right), saying “Dana deity on a
high stone”
On the Native American and Hunnish symbol assembly from Figure 2 the Sun God’s different symbols are sitting on the top of a stair-shaped tower temple. The compositions created from these symbols are expressing the notion that the way we can get to God Himself leads through these stairs. Since these stairs are actually made of mountains it is obvious that the tower temple is just a model of the path to God. The Székelys, boasting with Hunnish ancestry, know it like this even nowadays, claiming the road to Heaven leads through the peaks of snowy mountains.
The Native American recorded this sentence using three elementary hieroglyphs. Two of those are forming the stair-shaped tower temple symbolizing the “high stone” portraying convention. The third glyph on the tower temple’s top symbolizes the Sun God. We are introducing these symbols in the paragraphs below.
The “High stone” portraying
convention
A natural cliff or mountain, named “high stone”, served as a venue for the ancient religion’s worshipping rituals and this cliff or mountain was substituted for a stair-shaped tower temple whenever needed or an opportunity presented itself (Figure 3/a-b). Nevertheless, these were still called “high stones”. From the left side of their drawings (Figure 3/c) the “high” hieroglyph was made, while the drawings’ right hand side served as a base for the “stone” hieroglyph (Figure 3/d).
Figure 3/b: A title deed from the Ethnographic Lexicon symbolizing the „high stone” (top left); a helmet from Pécs from the conquering period (top right); a symbol-like version of the “high stone” from an Acoma vase (middle left) and from a Corundian earthenware (middle right); the letter “M” (meaning: magas = high) from the Székely writing (bottom left) and the “stone” symbol from the Hungarian hieroglyph writing (bottom right)
Figure 3/c: Symbols meaning “high”: the Acoma clay box (top), the Chinese rune for “path leading to the heights” (Karlgren 1108d, bottom left), a Hungarian Easter egg marking (bottom middle) and the letter “M” (magas = high) from the Székely writing system (bottom right)
Figure 3/d: Symbols for “stone”:
a Hunnish badge from Aluchaideng with the “High
Stone of Lyukó the Kind” inscription; on the verge of the front
panel’s left edge there is the “stone”
hieroglyph made of three stair-shaped mountains (top); the “stone” symbol from the Hunnish belt end
of Csorna (middle left) and the linear “stone” symbol on a clasp from Karcag (middle right); the Acoma clay box’s “stone” symbol (bottom left) and the “stone” symbol from a Hungarian Easter
egg (bottom right)
The “Ra” or “Shining”
hieroglyph
The names of deities from the ancient high cultures
occasionally correspond to some Hungarian common words. For instance, the
ancient Egyptian Sun god Ra can be found, among others, in the base of the
Hungarian word “ragyogó” meaning “shining”. Although this is in stark contrast to today’s popular
linguistic dogmas, but we should not lose any sleep over it. It is common
knowledge that linguistics does not have the means to clarify linguistic
contexts older than six thousand years, they even lack the scientific
foundation of the means at their disposal (for example, the idea of regular
sound changes). In case this unfoundedness does not limit the linguistics experts’ confidence, then it just
emphasizes the unscientific nature of their depicted worldview. Compared to
them we are able to dig twice or thrice as deep and find readable comprehensive
linguistic material, thanks to the Székely
symbols and the Hungarian hieroglyphic writing.
This Acoma symbol of the Sun also raises some exciting questions, because this Native American (and its relative Hunnish, Székely and Chinese) symbol system is identical to the Ancient Egyptian Sun god Ra’s symbol (Figure 4). It would be misleading to assume that the Huns, the Székelys, the Chinese and the Native Americans have learnt the name of the Ancient Egyptian god. Only the common usage of the symbol is certain and not the Egyptian origin.
Because the symbol of the circled dot, along with the Székely writing’s other 20 to 50 signs, has spread through the Pyrenees to South America already in the Stone Age, we have to think that even the names belonging to these symbols are much older than the first Egyptian dynasties. This is one of mankind’s first ever developed writing systems dating back approximately 50 thousand years to the territory of Eden described in the Old Testament.
But occasionally there can be found seemingly different meanings related to this common symbol. The encircled dot symbolizes the “Sun god Ra” or the “Sun” in Ancient Egyptian and Chinese, respectively, while in Sumerian it means “well, spring, source” and in Székely writing it means “hole, Lyukó”. However, from the research of Katalin Kőhalmi we know that the Siberian shamans looked at the Sun as the source of the River of Life, therefore the Sun, the hole, the well and the source are meanings describing different viewpoints of the same Sun god.
The split of the symbol started presumably due to changes of the writing medium and the introduction of runic technology. This resulted in the emergence of such symbol set, in which to any particular form many different meanings describing God corresponded. Neither the seemingly original “Rá” sound form nor the “Sun” meaning have disappeared, they were just more-or-less corresponding to a different form/shape. The “ornaments” of the Acoma clay box are interesting to the Hungarian writing history research for this very reason. Because they help us understand the changes of this Sun symbol.
Figure 4/a: The more archaic version of the “Ra/Shining” symbol from the Acoma clay
box (top left), another version on a golden Hunnish clasp from Apahida (top right), the symbol of Ra from the Egyptian
hieroglyphs (bottom left) and the letter “ly”
(found in words like lyuk, Lyukó) from the Székely writing (bottom right)
The encircled dot symbol corresponds to a different
sound form and meaning in the Székely writing (Figure
4). This change is an ethnic marker or ethnically specific because only here in
our writing corresponds the lyuk =
hole meaning to this
symbol.
At the same time the old Rá sound form has prevailed in the Székely writing as well, but it corresponds to formal derivatives developed from angular symbols (Figure 5).
The Native Americans could take the original name of the symbol with them to the New World and we can assume that this is how the Sun symbol on the Acoma pottery should be read. The Miwok Indians’ rá „ragyogó/shining“ word brings us one step closer to understanding the history of the common Native American – Hungarian symbol set. The Miwoks use this word in both the „Shining Eye“ and the „Shining Sun“ meanings (according to reports of István Tóth, our compatriot living in Brazil, to whom I am giving my sincere thanks from this place as well).
Of course, there can be legitimate objections, too. The circular and angular Sun symbols may record a different sound form on the Acoma pottery and it is also uncertain whether the Acoma language knows/recognizes this rá „ragyogó/shining“ word that has been discovered in the Miwok language by István Tóth.
Figure 4/b: The symbol is splitting and getting angular: the Sarmatian Sun symbol (top), the Acoma clay pot’s Sun symbol and its abridgement (middle) and the “lowercase r” and “uppercase R” letters from the Székely writing (bottom).
Figure 4/c: The 12 thousand-year-old carvings of Göbekli's paste already contain a Sun symbol similar to letter H.
The "Dana deity" part
The other side of the Acoma pottery shows us a symbol
assembly resembling to an eight-pointed star, reminding us of a Sumerian deity
symbol. Not by accident, obviously. When developing the composition, the Native
American artist only wanted to nuance and enrich the meaning and beauty of the
widespread octagonal symbol, when he also recorded the name and dignity of the
god in the ligature.
The “God”
ligature has been fixed in the Hungarian hieroglyphic writing for a long time (just
as the composition of God came together in the Hungarian language thousands of
years ago). In contrast to this, the order of symbols for the “God” ligature is reversed on the Acoma
pottery (Figure 5/c), as well as in the Komi-Zyryan word Tenocs “God” or in Tenoch at the beginning of the Aztec
name Tenochtitlán.
The understandable “ornaments” of the Acoma pottery discussed above are an extremely important written record and along with its peers they represent a source of indispensable information about our prehistory.
Varga Géza
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