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THE MOTHER ISTEN

AVAR* BABY ISTEN* ATALHYK* CHRISTIAN CROSS* CROSS OF HEART ISTENS* CROSS OF ISTENS* CROSS OF TURULS* DECORATION* DELIVERING* DUHNY* ETRUSCAN* EVOLUTION* GOLD IDOL* HEART MOTHER ISTEN* HITTITE* INDOEUROPEAN* KRS* LINE* LINZI* MACEDONIA* MALE GOD* NET* PALMETTE* PREGNANT* QUIZ* ROME* ROW* SARMATIA* SASANIA* SILK ROAD* SWISS* TAMGA* VINA* YUEH CHIH* YURT* 6 RAY SUN* Copy and paste one of the above keywords (or any word or sentence) in the search box of the Acrobat search engine and find it in the PDF. If you copy the keyword and the asterisk you shall search only in titles. If you copy only the keyword without the asterisk, or any other word, you shall find it everywhere it appears in the text: in this case it may be better to use the Open Full Reader Search option. Note: the provenance of a find is reported when it is different from the one specified at the top of the column it belongs to, or if I felt that it was useful to be specified (and if there was room in the box!). GLOSSSARY: the difference between Magyar and Hungarian (in my work) is that the first term refers only to Honfoglals time Hungarians and the second one to the people who lived in Pannonia, who moved to Pazyrykia and Arsia, and who came back to Europe: they were Hungarians all along their 10 millennia long history. The difference between Indo-Germanicist and Indo-Germanist is: the former is a scientist, the latter is not. Isten was the name of the ancient Mother Goddess of the Hungarians, before the patriarchal shift.

THE PALAEOLITHIC VENUSES - THE FIGURAL MOTHER GODDESSES

In the Neolithic, the European Paleolithic Venuses were replaced by more symbolic representations of the Mother Isten. The awareness that Isten could not be represented anyhow, generated a taboo against figural representations and even against the naming of the divinity. That taboo was still alive in early Buddhism, early Christianity (Iconoclastia), and it survives still today in the Middle Eastern religions (Islam, Judaism). Finally, with the emergence of the Arya-Semite-Mongols, the Mother Isten shall be replaced by warrior, anthropomorphic, testosteronic, macho Gods. 0 0 1 E a r l y S y m b o l i s m

THE SYMBOLIC MOTHER GODDESSES

See the abstract Pre-Arya-Semite-Mongol rites, Venuses.

Israel, 10.000 B.C. Trypillia 6000 B.C. Cucuteni Pannonia, 3000 B.C. The above images show the most ancient symbolic representations of divinities that I have found. In the Stone Age, some symbolic designs start appearing in Europe: they are usually defined Orantes as they stand their hands up, as they were praying. The abundance of red ochre spread onto some hundred square meters of the Finnish Varikallio rock confirms the sacredness of the representation: delivering Mother Goddesses on the way to become symbolic, together with elks and stags. The decoration of the Cucuteni and of the Pannonia pottery (a supernatural being found in Pannonholmi Ut, Budapest, HU) already contains double spirals, V shape designs, dotted circles, dotted double circles, a heart design, and the symbolic representation of the Mother Isten (left). All those designs, except the Finnish one, are all made with 3 lines: 3 lines shall be associated to femininity. These designs shall evolve in the Pannonico designs that shall remain sacred symbols for the Hungarians up until the time they came back home. Please note that I am not responsible of any dating that you may find in my books: the dating I report is the one attributed by the Museums or by the authors of the books from which I have taken the images. Sofia History Museum, BG . atalhyk (Central Anatolia, 8000-5700 B.C.) was the first polis and it was one of the places where the Paleolithic Venuses evolved into 0 symbolic representations of the Delivering Mother Goddess. The atalhyk civilization (Anatolia, North Mesopotamia, and Levant, 0 including Jericho) faded in 5700 B.C.. At that same time, the symbol of the Delivering Mother Isten starts appearing in Vina, Carpathia, 2 and Old Europe. The atalhyks images are taken from the book atalhyk, the leopards tale, Ian Hodder.

Finland, Palaeolithic

ATALHYK*, THE SYMBOLIC MOTHER GODDESSES

Delivering Goddess Ruling Goddess Not a vibrator, but 2 arms assisted by pregnant Turuls Dotted double circle uteru A birthing Bear? (reconstructed head) The caption that Ian Hodder associates to the second image is: female sexuality. I guess, as Ian is a patriarchalist, that he wants the reader to imagine that the lady is playing with a vibrator. The truth is that the Lady is delivering a baby. In fact, what Ian sees as the image of a vibrator is instead the clear colour of the background. The real image, is the one around the vibrator, with a bl ack engraved contour: the two little arms or legs of the baby. The 4th image is for Ian probably a bear. The rest of this table shows that IAN HODDER IS WRONG.

0 0 3

a t a l h y k

Opposing Leopards

Birthing symbol

Double headed

Stag, no weapons.

4 Spiral Sun

0 0 4

a t a l h y k

Displaced head as in Vina Gold Idols? Sacred Symbols Grave, Eternal Love Old European phenotype ATALHYK IS THE PLACE WHERE SOME OF THE SYMBOLS, DESIGNS, AND RITES OF THE HUNGARIANS WERE BORN. (Mother Isten in the delivering posture (birth symbol), double headed figurines, Stags, opposing leopards, spirals, separation of the head from the body of the dead, death masks, red depiction of skulls, bucrania). If the atalhyk people were those people who are supposed to have brought agriculture to Europe, they landed in Carpathia. A migration from Anatolia to the Balkans did occur in the Neolithic. It is proved by genetics, since Cavalli Sforzas research. How large this migration was and did it bring agriculture to Europe? We now know from the above archaeological evidence that the migration took place in the 6 th Millennium B.C.. At that time, agriculture was already practiced in the Carpathian Basin, according to some scholars, and it was certainly practiced in several Balkan sites. What if that migration was a migration of women, only women? They might have decided to leave when they started feeling that atalhyk was close to the patriarchal shift; when they found out that the faces of the Mother Goddesses had been effaced in the temples; when they started seeing new idols, like the one on the right (Gbekli Tepe). (The Finno-Ugricist linguists may think it is cock! See at the bottom of this table what it was!). In any case, that migration contributed to the cultural ethnogenesis of the Hungarians even if it did not have a strong genetic influence on modern European female lineages (W. Haak), and in general, on the European DNA, which could have not been affected simply because the atalhykians shared with the Europeans the same DNA. The hypothesis that atalhykians migrated to Carpathia is congruent with the current mainstream dating: atalhyk was inhabited until 5700 B.C.; the Old European culture is dated from 5500 to the arrival of the Aryans. THE HUNGARIANS ARE THE ONLY PEOPLE WHOSE HISTORY IS 10.000 YEARS LONG, AND WHOSE HISTORY AND CULTURAL CONTINUITAS HAS BEEN RECONSTRUCTED BY THIS ARCHAEOLOGICAL RESEARCH AND NOT BY AIRY-FAIRY LINGUISTIC SPECULATIONS. On his book, Ian Hodder hypothesizes that the atalhykians brought agriculture also to Sumeria and this hypothesis strengthens my hypothesis of Agglutinia, a large area from Mesopotamia, through Turkey and Etruria, to Central Europe, where agglutinative languages were spoken.

V i n a H u n g a r i a n

THE VINA* SIGNS... A HUNGARIAN RELIGIOUS SCRIPT

0 0 5

0 0 6
3

0 0 7 Lituus Delivering I Baby Isten Tree of life 6 ray Sun 3 V shape Spiral Delivering I. Delivering I Cross of Istens The Vina signs were a religious script. The symbolic representations of the Mother Isten, which remained unchanged throughout 8 Millennia, existed already in the Carpathian Basin when the Vina signs were written. The Mother Isten representations became visual communication signs in Carpathia, tamgas in Arsia, and came back to Hungary as palmettes and tulips at the Honfoglals time. As it was for the rovs, the most ancient Vina signs were angular; the most recent ones were curved. Source for the Vina signs: prehistory.it (other foreigners, who write the Hungarian history that the Hungarian intelligentsia is unable to write!). The symbols of Vina formed a kind of proto-writing: they conveyed a message but did not encode a language (visual communication). The process of visual communication had started in Pannonia in 40.000 B.P. (See Venuses, in the abstract Pre-Arya-Semite-Mongol rites). Source of the tamgas*: Bakay Kornl, strtnetnk rgszeti forrsai. III. Spiral Idols, angular profile of vases, Trypillian breast cauldrons, 3, 4, and 6 circle designs, cones, fangs, hearts, biconical shapes,... and 0 Gold Idols appeared in the Krs Valley (KRAP, Krs Regional Archaeological Project) in the 6th millennium B.C. and they accompanied the 0 Hungarians throughout the next 8 Millennia. The website of KRAP has been visited in the years by about 1600 Hungarians, who have 8 spent each about... 2 minutes (2009)! Archaeologists? No! Some Hungarian archaeologists do not have time for it, they are too busy reading obsolete Soviet books of archaeology!

THE KRAP KRS* EXCAVATIONS

K R A P

0 0 9

KRAP has found a large number of artifacts that they have labeled loom weights and spindle whorls. The size of the hole of some of the whorls appears to be too small, hence unpractical for the purpose. (A small diameter spindle would easily break in correspondence of the whorl, when it would hit the floor, as it often did). Furthermore, a traditional shape of whorls was conical, not bucolical, because the flat side would help retain the coil of yarns. Bucolical spindle whorls are not the most effective: spindle whorls effectiveness increases with the distance K (momentum) of the weight from its axis. Ideally, they should be large diameter toroidal shapes linked to the central hole by spokes, as the flywheels are). Biconical spindle whorls could instead be beads, as biconical beads were a r Hungarian marker. However, fabric could be good evidence that these artifacts are correctly labeled by KRAP, but s these artifacts cannot be evidence that in Lepinski Vir and in Krs they used to weave fabric. A hole too small on a loom weight would also be unpractical: antique yarns were not as thin as to-day threads! Thus, the hypothesis that the above loom weights were sacred symbols would not be blasphemous or parochial. Antique spindle whorls and loom weights often were or were decorated with sacred symbols or inscriptions guarding and purifying the spinner as she worked (Vina, right, non biconical). Almost all the loom weights found by KRAP share the same design; that design must have had a special meaning for those people: you do not need a special design to make a loom weight. Furthermore, the last 2 (or even 3) above loom weights show bulges that could well make breasts. If those loom weights were symbols, they represented a pregnant belly and the hole was the vulva or the uterus, as it was in the Gold Idol. I also doubt that the people of atalhyk were leaving loom weights in the grave of a child (right) unless they were symbols of sacredness. Even if the Krs and the atalhyk loom weights were not sacred symbols, their similarity is another clue that the atalhykians arrived in Carpathia, or belonged to the same ethnos of the Old Europeans.

The images of the above artifacts have also been inserted in the abstract and in the lines they belong to. See below how the design of the loom weight evolved in Lepinski Vir: it became a Gold Idol.

IN ANY CASE, MOST ARTIFACTS OF KRAP ARE CONGRUENT WITH THE 10,000 YEARS CONTINUITY OF THE HUNGARIAN ART THAT WILLIAM A. PARKINSON DOES NOT SEE YET.

THE TRAIL OF DESIGNS AND SYMBOLS OF SACREDNESS FROM PANNONIA TO PAZYRYKIA AND ARSIA, AND BACK TO HUNGARY IS THE BEST EVIDENCE OF THE MIGRATIONS OF THE HUNGARIANS. PANNONIA > > > > CENTRAL ASIA > > > > HUNGARY -1500 -1500... -500 -900... -200 -900 +895 Gold Idol, Magna Pannonia, Pazyrykia: Arsia: Agglutinia, Cimmeria Pazyryk, Tagar, Honfoglals Tarim B., Kashmir, Pannonia Berel, Aran, Esik West Tien Shan

G o l d I d o l

THE GOLD IDOL* - A PREGNANT* MOTHER ISTEN

While in atalhyk the figural Venus (Pregnant Mother Goddess) was evolving into the Delivering Mother Goddess, in Carpathia the Venus was being replaced by such symbolic representations of the Pregnant Mother Goddess that it has taken almost 10.000 years to recognize them. Both the atalhyk and the Carpathian Goddesses were adopted by the Pannonici and they followed the Magyars along their migrations, and they survive today in Hungarian art. The atalhyk Mother Goddess became the Delivering Mother Isten (left, 1934) and the Pregnant Mother Isten the Gold Idol - became a tulip (right). In the symbolic representation of the Pregnant Mother Isten, the circle was the uterus or the womb, and the holes represented the uterus or the vulva and/or the breast and the eyes. Some Gold Idols were appliqus: it would justify the excess of holes in some artifacts. Lepenski Vir x3. Krs, end of Mesolithic. Sesklo. Aravissos Yannitsa (Macedonia) 4th M. B.C.. Magnesia, Macedonia, lekythos, 7th c. B.C.. Honfoglals

0 1 0

S t o n e A g e

0 1 1

0 1 2

Pannonia

Merv, Oxiana Pannonia Pannonia Cucuteni Trypillia, Wideiko 2 Trypillian Idols show 3 holes, where the breast and the vulva should be (3 circles design?)

0 1 3

M e t a l

Tarim Basin, + 3 circles 0 1 4

A g e

Celtic, DE

Tagar 0 1 5 Saka

Abashevo, Volga/Kama

Sintashta, South Ural

Varna, BG

Tuva (Aran)

M e t a l

Sarmatian Sarmatian 6+6. 0 1 +breast 6

Tagar

Troades Altai Tarim Basin Cimmeria Ostrogothic Note how the Cimmerian Gold Idol is the trait dunion between European and Asian Gold Idols. A Source of the black and white images of Central Asia: Hermitage State Museum, Sankt Petersburg, RU. A written report, exhibited th rd The Tagar, Tuva, Pazyryk cultures died out at the g together with the artifacts, dates these finds from the 8 c. B.C. to the 3 c. B.C.. rd e end of the 3 century B.C., with the Hunnish raids. Only the Tagar culture survived: after the Huns and the Hungarians had mixed in the Minusinsk Basin: it became the Tastyk culture. The Hungarian Khanty/Mansy were Hungarians of Aran, Pazyryk, Minusinsk, who fled the Huns and moved northwards. The Kets, who were earlier supposed to be Ostyaks (Khanty), whose language appears to be linked also to the Hunnish language, could be descendents of the Tastyk culture (see the book The Huns). The competence of the Russian archaeologists appears to be limited to Russia and to the former territory of the Soviet Empire: they did compare those artifacts with other artifacts from the Empire, but they did not make any effort to look for their origin out of the borders of the Empire.

! OPEN THE IRON CURTAIN AND LOOK OUTSIDE, TO THE WORLD, OUT OF THE EMPIRE!

DAVID W. ANTHONY, AN AMERICAN HORSE DENTIST, HAS LOCATED THE URHEIMAT OF THE INDOEUROPEANS IN THE ABASHEVO/SINTASHTA AREA!!!

The Russians consider the ancient Eurasian cultures Russian. Some Indo-Germanists even hypothesize that those cultures spoke an Indo-European language!

In order to prove his theory, David has published on The Horse, The Wheel, and Languages, (Princeton University Press) the above images of Hungarian artifacts from Abashevo and Sintashta and other images that you find in Sacred symbols.

EVOLUTION* OF THE PREGNANT* GOLD IDOL* DESIGN

S t y l i z e d

Britannia

Tagar

0 1 I hope that the linguists shall 7 not insist maintaining that these artifacts were Yugran beer bottle openers!

Flintstones

Finnish

Aran

Tarim Basin 0 1 8

H e a r t S h a p e d

Starevo, Neolithic, + wave (double symbol)

Pannonia

Mosuo Museum, S. CN

Siberia, transitional 0 1 9 Avar

Pazyryk Tarim Tagar Crete and Mycenae Cimmeria The spirals are in the same place they were on the Paleolithic Venuses: at the place of the vulva.

Honfoglals

Neolithic Jade Bi, China Canaanite, 1650 B.C., BM Ukraine (Sarmatian) Italy Sarmatian, Britannia Anglo-Saxon, 525 A.D., BM Many unusual artefacts in archaeology could be Gold Idols representing females or female genitals. As early as the fifth millennium BC stone rings were being made by the peoples of eastern China. Jade rings were carefully laid on the bodies of the dead in tombs of the Hongshan culture (3800-2700 BC). These rings must have had an important ritual function as part of the burial rite. Somebody hypothesises that they represented the uterus and they would have speeded up resurrection. The copper alloy brooch (with an unusual decorative fan-tail design, Dorset, Britannia, Wessex Archaeology, UK) could well be a Hungarian Gold Idol, as the Anglo-Saxon one could also be: the position of the breast and of the vulva is correct in both artefacts.

THE MOTHER ISTEN IN THE DELIVERING* POSTURE

0 2 0

a t a l h y k

atalhyk

Pannonia>Bayern, +1811

Pannoniberia

Pannoniberia?

Szeged, 1934, Shell Ferenc 0 2 1

Vina

atalhyk, delivery CZ, Pannonia, Pregnant Balkans, MNM Baekie, Korea, 0-500 A.D. Gan Su, CN, -2100 Map of Old Europe (Gimbutas), identical to the map 0 2 of the spread of the Vina signs (www.prehistory.it), 2 and very similar to my map of the Gold Idol D Civilization. e I am convinced that the pre-Indo-Europeans of Europe l (Old Europeans) and the other populations of northern i Eurasia were a single ethnos. (Most of them were v blond or red-haired. The oldest red haired mummy found in the Tarim e Basin, (a female, who wears a conical hat with a feather, like other r mummies will a millennium later) has been dated 1800 B.C, "Beauty of i Xaiohe" ). The DNA from both Y and X chromosomes, of those mummies was n g essentially European. The ancient Eurasians shared the same civilization (Megalithic Menhirs, Cromlechs and Dolmens have been found from Eire to Korea); or, in the minimalist case, they were in touch with each other (cultural exchange and trade: 18 characters, out of 22, of the Bampo (Xian, CN) script were identical to Vina signs, in 5000 B.C. (for more about Bampo, see page 38 of The Ugaritic Abjad...). The Balkans and Gan Su images of the above line belong respectively to a Neolithic vase found in the Balkans (Magyar Nemzeti Mzeum) and to a vase found in north west China (maybe in Gan Su, the passage between Europe and China). The latter is in the Metropolitan Museum of Art, New York, USA. Both have a design on them, which represents a Mother Goddess in the delivering posture (similar to a Vina sign). The Pannonico one is lacking the head: many Vina statuettes were lacking the head, maybe for ritual purposes, according to Gimbutas. (In my opinion they could even have been made like that on purpose, in order to be as symbolic as possible, and in order to make that the linguists of the Hungarian Academy of Sciences be unable to recognize them). M Furthermore, in atalhyk, the faces of the delivering Mother Goddess appear to have been effaced before the town was left by the o population (or at the time a new people took control of the city). Instead, the design on the Chinese vase is not t lacking the head, but the face is not anthropomorphic either: it is a Pannonico sacred symbol (Mller-Karpe). h Moreover, the two vases share an engineering feature which is peculiar to the Pannonico pottery: the bodies of e both vases have an angular profile (the Chinese profile is upside down if compared to the Balkan one (See r angular, in the Art designs abstract): they are more resistant to lateral loads than round profiles. For a similar reason the Gothic, or rather Sasanian arches [I am sorry, but I have not yet found clear evidence that those arches were Hungarian! Ogival arches were built in pre-Greco-Roman times in Europe.] are more stable than the Roman arches. Silla, 8th century A.D., National Museum of Korea: Delivering Mother Isten + the same crown of spirals as on Etruscan stones + frame of dotted circles + 3 circles + breast made of two spirals as in Greek geometric art. 0 2 3 I s t e n s

atalhyk + Pregnant assisting Turuls

Pannonia

Tarim Basin

Avar

Baby Isten ready to come out

0 2 4

Egadi, Sicily

atalhyk

Camuni

Ristiina, FI

Tagar

Sarmatia

Coat of arms HU 14th

Hunnish (4 arm Isten!) 0 2 5

T a m g a s YOU CAN RECONSTRUCT THE MIGRATIONS OF TRIBES THROUGH THE MIGRATIONS OF THEIR TAMGAS: THIS IS WHAT THE SCHOLARS SAY, BUT THEY NEVER HAD TIME TO DO IT. About 70% of the tamgas found in Arsia and published by Bakay are identical or similar to Hungarian sacred symbols that existed in Europe in the Bronze Age and started being used in Asia in the Iron Age. The Sarmatians, the Avars and the Hungarians came back home with the same symbols that their ancestors had used throughout several Millennia in Europe. All the drawn images of tamgas on this table are taken from the book strtnetnk rgszeti forrsai. III.

D e l i v e r i n g

BAKAY KORNL WAS UNABLE TO RECOGNIZE THE EUROPEAN ORIGIN OF THOSE TAMGAS BECAUSE HE ENDORSED THE SOVIET THEORY THAT THE SHYTHYANS HAD COME TO EUROPE FROM RUSSIAN SIBERIA.

0 2 6

Varga Geza

Varga Geza 0 2 7

B i r t h i n g Gimbutas, Old Europe, +3 Elam, See line below Arsia, tamga, Bakay Malyan (Fars, Iran) was one of the capital cities of Elam in 1300-1100 B.C. (C14 dating) close to where the Persians shall establish their capitals Persepolis and Pasargad. The Elamites are supposed to have spoken an agglutinative E language (Mc Alpine) as the Sumerians did. The Malyan l artifacts in the picture (right, British Museum) are all a Hungarian sacred symbols: Crosses of Istens, 9 ray Sun, m Cross, which is reminiscent of having earlier been encircled, 4 spiral Sun (on the way to become a swastika), double headed Turul, Mother Isten, duck, and a circular decoration which reminds one of a crown of spirals. An astonishing similarity: Inner Mongolia, Genghis Khan time. South China, Mingei M. Singapore, syncretic

0 2 8

S i n g a p o r e

0 2 9

Cser Ferenc has published some images of Hindu temples of Singapore (Antisze.PDF). Some of the Hindu Gods have on their breasts or in their hands the symbols of above line. The first three images could be representations of the Mother Isten: nothing is lacking. The fourth one is not a trident: it would be ineffective, as the Etruscan and Hungarian tulips would have been (as the one in the hand of the bronze statue at the entrance of the MTA is, as the tulips on top of Magyar spears were! Right: an effective trident); hence, it is a Baby Isten! It resembles the Trishul of Shiva (left image, which is a perfect Mother Isten with her rhombus uterus, on top of a 3 lines symbol of femininity). The last image is not a double trident or tulip, but a symbol that has accompanied the Hungarians during the last 8 millennia. (See line 027). How did She arrive in Singapore!? A. She arrived there with the Dong Son culture from Kunming, capital of Yunnan, South China, which Ptolemy listed as a Silk Road town (See Yunnan in Honfoglalas). B. She arrived there with those Elamites that McAlpine supposed to have migrated along the Persian shores of Iran up until Dravidian south India (The Lakshadweep islands, in front of Dravidian Kerala, could be a refugium of the Easternmost blonds). The Singapore temple, in which that symbol has been found, is a Dravidian/Tamil temple. (See Elam in Honfoglalas) C. She was born in Singapore: She would add to all the other similar artifacts, found all over the globe, that belonged to the Vulva civilization, before the Penis civilization would prevail. W Gavrinis, Armorica, FR 0 e 3 s Malta 0 t Stelvio, IT S (pregnant belly, p also in Piceno, IT) r Stara Zagora, BG, e 6th M. B.C. a d Mother and Baby Isten 0 together, Preslav, BG 3 1 V e g e t Disputed a l Tarim Basin Cimmeria Uyghur HU embroidery Etruria 0 M 3 o 2 t h e r I s t e n Decebalus shield, I Holy crown Trajan column Seal, wife of Shapur III Varese, IT, Via Cavallotti S. Denis, Paris, FR s t These designs could be vegetal designs, but also symbolic representations of the Mother Isten. The Cimmerian design shows a deep hole e representing a wide open vulva. (The same hole appears on the first two artifacts of line 35, (Trypillia and Pannoniberia). In Saint Denis at n the place of the vulva there is a dotted double circle, which represented the uterus in atalhyk and in Celtic art). The Cimmerian design is part of a lunula, in which two opposing leopards worship the divinity (the vegetal design), as the two birds do in the Insubria artifact, and as peacocks do on other Italian Avar artifacts. The Etruscan vegetal design was on top of a temple, where later on, the Etruscans will place their anthropomorphic Mother Goddess. Moreover, this design must have had a sacred meaning if it survived throughout 3 millennia. See line 65. 0 3 3

Daunia, IT

China, Bird script

3-lobed spout oinochoe Sicily 0 3 4

D e l i v e r i n g

atalhyk

Trypillia

Bactria

Chudia 0 3 5

Trypillia, lacking head

Aegean. Mosuo, Yunnan, CN. Note 2 holes Pannoniberia Avar, VA, IT. Terramare, IT (1300 - 800 B.C.) C o m b s 0 3 6

Celtic Saint-Germain-en-Laye Museum, FR 9 7 6 6 The first 2 above combs belong to the Terramare culture, but the stone mould (in a nearby museum) for casting similar combs i s dated to the Calcholithic (!?). The 2nd and 3rd combs have 6 teeth; the last one has 9 teeth and makes clear to Indo-Germanists what it meant!

0 3 D 7 e l i v e r i n Triangles or Mother Istens between the circles (see also 6 petal rosette in Notre Dame, Paris, FR). g Egypt (Tillia Tepe!), Tokyo Archaeological Museum, cyan and magenta. Tillia Tepe, heart = head and offspring of Isten Tillia Tepe, + triskelion and Isten. Byzantium, Istanbul Museum; Pavia, IT, Avar. Holy Crown, Saint Paul; Honfoglals.

TOKYO MUSEUM SAN!

THAT ARTIFACT IS NOT EGIPTIAN, AND IT IS NOT TO BE DATED 1500 B.C.!

0 3 8

D e l i v e r i n g

+ Crown of spirals

Pannoniberia

Kapu 0 3 9

Avar, Venice, bible Scania + Crown of spirals + crown of spirals + hat

Tarim Basin, silk

Dodo Kot, Kalash, Arsia

Hmvhely, Post Office, HU 0 4 0

B i r t h

atalhyk

Zutu-Garla Mare,Pannonia

Halstatt, Celtic

Istanbul

Eurasian

Honfoglals 0 4 1

S y m b o l

Zutu-Garla Mare,Pannonia

Kalash, PK

Cyan Church, Poszony

Avar, Varese, IT 0 4 2

Lemnos The Madonna of the Saint Stephen cathedral is a Cividale, Friuli, IT, Avar syncretic Mother Isten. When the church was Dodo Kot x2, Arsia erected, M. A. Stein, who D found the Dodo Kot Saint Stephen, Budapest: e building, was still a child. Isten and Crosses of l That design of the Mother Istens i Isten is in the DNA of the (Haraszti Zs.) v Hungarians. e r i n g

Tamga

Sasanian Avar

Sarmatian: Berel, East Kazakhstan Stara Zagora BG; Vinnitza UA 0 4 3

0 4 4

C a m u n i, I T

Serbia

Celtic, DE. Pannoniberia The Camuni were Pannonici that used a Pannonico alphabet. The Ugaritics transliterated a Pannonico alphabet in order to make theirs. Aran

Tarim B.

Sogdian/Avar Breast, umbil, uter, vulva 16th c. Camuni flag Altai 0 4 5

Shared cultural DNA 0 4 6

D e l i v e r i n g

Troades; BM: flying Turul?

Stelvio, IT, transitional

Terramare

Bactria, Arsia

Avar 0 4 7

Elamite Arsia, Tamga Gimbutas, +3lines=female SE Asia

Hungarian

Pakistan today

Vina sign

Roman Pannonia (+8)

Illiria (5, transitional) + 6 0 4 8

Aegean Pannoniberia Cucuteni Delphian epsilon Avar Longobard, UD, IT Scythia, Britannia, Pannoniberia, Avar, Celtic. Kalash, Arsia

Kingdom of Morocco flag

(When the king was a queen!)

Matriarchal Berber flag 0 4 9

D e l i v e r i n g Gimbutas Ordos, Stockolm Museum

The Celtic design is on the way to become figural and is the less symbolic: the breast and the offspring are clearly shown.

Filippovka, South Ural

Ainu 0 5 0

Varese, IT Avar Szreg, HU

Alexandropol, Scythia

Pazyryk, delivery of a Turul

Tillia Tepe

First box: Gimbutas, The living Goddesses, 5000 BC > 1811 AD, Bayern church, DE, Ordos, CN, Ostasiatiska Museet, Stockholm, SE, lacking head. A symbol similar to those in the above lines, found in Nimrod, was also associated to a Mesopotamian Goddess (Inanna/Ishtar). I lost the image. Help! The Avar Nagyszentmikls treasure (left, Wien 0 Historisches Museum) and the Holy Crown (Parliament, 5 A Budapest) are parallel steps of the same transition of 1 v the Hungarian art into Indo-European art. Both mix a Indo-European, figural, anthropomorphic divinities and r kings with Hungarian sacred symbols (See the abstract Transitional Art). The Avar Mother Istens had arms longer than legs in Italy too. Vrap M India: 0 a Uttar Pradesh: 5 Tokyo A. M.; 2 g y a Bihar, Metropolitan r

Note the similarity of the 6 petal rosette of Bihar and those on an Arpadian crown . Bihar is a town and a state, south of Nepal, in India, crossed by the Ganges river. The Buddha spent his early time in Bihar and the Heftalites are supposed to have arrived there (Timo Stickler). (Bihar [today Oradea] is also one of the oldest counties of the Kingdom of Hungary, formed before the twelfth century). If you look in dating sites for images of people of Bihar and Patna (the capital of the Bihar state), you feel that some of those people do not look like Mongols (or Huna, as Eva Aradi calls them!) and not even like Indians: I feel I have seen that girl while shopping in Vci utca! (www.datanta.in, for young single M Hungarians!). Her eyes are also typical of the most beautiful Ukrainian girls. Gyula Lszl was in India and he denied a any possible linguistic connections with this people, so what!? They cannot descend from Hungarians because they speak another g language now? Was Gyula Lszl a linguist? Funny Country, a Country that allows artists, linguists, philosophers, indologists, y anthropologists, mongolists, astronomers, musicians, doctors, nurses and, worst of all, engineers to write the history of the Country, a while the historians and the archaeologists sleep, or write fairy tales! r The Magyar Mother Istens preferably held Their hands down . The different postures of the arms could correspond to different delivering postures at different times. Again the Ainu could help. Until recently, the houses of the Ainu were provided with an easy delivering device: a rod was hung to the ceiling by 2 ropes; the pregnant women would hang from it while other women of the family would help her delivery. In the Avar Hospital of Cittiglio, Insubria, IT, (formerly Magna Pannonia), women still have the choice to deliver in a modern way or in the traditional way: in the latter case no doctors are allowed in the delivering room and women can hang to a rope secured to the ceiling. It could be an Avar legacy: Insubria was repopulated by Avars in the Middle Age.

MOST OF THE IMAGES OF THIS ABSTRACT WERE TAMGAS, I.E. RELIGIOUS AND IDENTITY SYMBOLS. THE CHRISTIAN CROSS ALSO COULD HAVE BEEN CONSIDERED A MODERN TAMGA, UNTIL THE LAST CENTURY. T a r i m B a s i n 0 5 4 M a c e d o Alexander Great, Ptolemy, n Lysimachos, Mitridates (coins) Hormizd, Afghan., Sasania Kushan i The blond Macedonia*ns were not Greeks, as I did hypothesize in Honfoglals, and as the above image of the early Iron Age hoard in a the Thessaloniki Archaeological Museum and other artifacts clearly show: all the symbols on that image of the hoard are Pannonico. Demosthenes said it quite clearly in his Philippics: " , " (Would a Macedonian [non Greek] rule the Greeks!? [Sorry, no ancient Greek fonts in my computer!]). The Mother Isten tamga of Alexander survived the Diadochi, the Kushans and the Sasanids. 0 5 3 ?

THE TAMGA*S THAT BAKAY KORNL COULD NOT FIND, BECAUSE THEY WERE OUT OF THE SOVIET EMPIRE.

TAMGA*S

S i l k R o a d T a m g a s

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Heftalite, coin

Sarmatian

Sasanian Avar

Avar Long., faded tulip, Beneventum, IT

Szeged, 1934, Shell Ferenc 0 5 6

P o l a n d

Hungarian Academy of S., an Etruscan tamga? China, bird script Linzi, China Silk Road tribal carpets Elam, British Mus., -2000 0 The Occult Meanings 5 Behind Polish Heraldic 7 Devices, Rafal T. Prinke, Adam Mickiewicz University, Poznan, Poland. The names of the Polish symbols have no meaning in Polish. The Crosses are an alien addition or they replace Polish Heraldry tulips of ancient tamgas. Sarmatian tamgas Geneticists say that the Poles are the closest kin of the Hungarians. Unfortunately the Poles do not speak Hungarian, hence, according to the linguists, no kinship is possible between Hungarians and Poles! A joint Polish Universities research has found out that 84% of the Bronze Age bronzes found in Poland had come from the Carpathian Basin. The Bronze Age archaeology of Poland is Hungarian and they did use conical hats. The ancient Heraldry of the Poles did not include weapons, lions, snakes or figural images. The Supreme Divinity of the Poles is a Mother Goddess the Virgin Mary of Czstochowa, Who was brought there by the Hungarian King of Poland Hedvig. Zamo, PL, Hermitage: dotted circles, 6 Ray Sun, twined design, curved squares, and twined design .

A v a r T a 1: Vina and Cucuteni m (rare curved signs). g 2: Tamga a 3: Ostrogothic, 425 A.D., Kerch, UA C a s t e l l a n i

THE TAMGA*S OF THE ITALIAN AVAR*S

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Meroving. Avar, Romans dIsonzo, IT

Collezione Castellani, Villa Giulia M. Rome, IT

Lituus, Delemont, Jura CH Avar Graves in HU: the holes Fiorano, MO, IT. (Female) are the Turuls eyes 0 5 9

Sarmatian, Tomoikins Museum, UA. Avar Avar, Gemonio, Insubria, IT T Castellani was an art collector who bought here and there: all we know about the artifacts of the above h e line (Museo di Villa Giulia, Rome) is that some of them could come from Barete, LAquila, IT. They are supposed to be Gothic, because THE GOTHS WOULD HAVE APPREHENDED THE STYLE FROM A BARBARIC POPULATIONS THAT HAD MIGRATED FROM THE EAST TO THE NORTHERN SHORES rt OF THE BLACK SEA AND TO THE LOWER DANUBE AREA! (A. M. Sgubini, Soprintendenza if Archeologica, Etruria). The Italians have been taught that the Goths came to Italy, not yet that the Avars a also did! No doubt, those barbaric populations from the East were Hungarians: crosses of Istens, c palmettes (very similar to an Ainu one), dotted circles in the vacuum of the Cross, of the horse and of the t hornid, a ring with spiral finials similar to the finials of the Honfoglals time bracelets, a Gold Idol, a transitional cross of mushrooms (Heart Istens), and the four petal rosettes all these symbols travelled with the Hungarians from Bronze Age Europe to Central Asia and back home. C For accuracy sake, those artifacts are Avar, because they are congruent with the Avar art and with the a Hungarian cultural DNA, and because Avar S-shape double headed Turul tamgas have been found with r them. r An artifact may have been in the legal (or illegal!) possession of an Indo-German speaker, may have i been brought to Italy during a migration or a holiday by a carrier with a Ukrainian DNA, who may have e anthropologically resembled to an Iranian and the artifact is Hungarian! I.e.: it belongs to the r Hungarian cultural DNA. Most archaeologists connect archaeological finds to the genes of the carrier, or to the language they suppose he spoke, or to the dating of a similar artifact, or to the nationality of the people, who, pro tempore, live in the place and they are unable to imagine that an artifact must instead be connected to the culture T that originated it. Moreover, if a carrier was carrying as many Hungarian designs and sacred symbols (you bring an Idol wi th you only if h you believe in its power) as the above one did, the probability that also the carrier was Hungarian (or at e least culturally Hungarian) is very high. o I would not be surprised if the treasure of the Avars was scientifically looted by the Army of Charlemagne, r who later on would have gifted his allies, his generals and the western European Nobility with it: Avar y jewelry appears to be everywhere in Central Europe, but not much in Hungary. (I have not yet visited the Gyor Museum, where, I have been told, there is quite much. If you live in Gyor, help me with the photos you may take in the Museum!). Honfoglals time. Hungary, 1837, Nprajzi Muzeum, Budapest. The five images in this box make and show a design that has accompanied the Hungarians from the Trypillia to the modern time. 0 6 0 T u l i p Budapest M.N.M. Beneventum, IT, Avar Pavia, Avar Longobard Syncretic: Cross + Isten The German Longobards were acculturated in Hungary: in fact, nobody knows from where they came because they left no archaeological or cultural trace along the route of their migration from somewhere in Sweden/Northern Germany/Poland to Hungary. They later came to Italy with some Avar tribes, who brought with them their symbols of sacredness that the Avars had brought from Central Asia: (1-3): tulips, 3 circles, tree of life, Crosses of Istens, Baby Istens G (4-5): Honfoglals time, Magyar Nemzeti Mzeum. o Those people, who believe that the Baby Isten was a tulip, should be aware of the fact that sceptres, crowns, coins and... stamps, have d always been decorated with sacred symbols, until the time the Romans replaced the image of the Goddess with the one of the Emperor. Only recently they have started being decorated with flowers and other amenities! Recently, an African stamp has been issued with the image of Berlusconi shaking hands with Obama! (Il Giornale, 02.01.10). A The following images are a small percentage of the Hungarian sacred symbols that I have collected from images of Avar churches in Italy: v 0 a 6 r, 1 I t a l y

Cross of Istens Note usual asymmetry The sequence of alternate upright and upside down Istens is a marker of the Avars. The 4 th image contains 10 Hungarian sacred symbols. All the above churches are labelled Longobardic by the Indo-Germanists, as all the images that I have labelled Italian Avar, are.

THE TAMGA*S

(Source of images: CAIS, Iran).

OF THE SASANIA*N AVAR*S

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Badshahi S mosque, a Lahore s Notre Dame a Tamga and a collar of Istens similar to the collar of the Domagnano Ostrogothic Lady: vegetal Istens. vegetal Birth symbol, n vine leaves, grapes, and birds. Two Sasanian trees of life (3+3+1 +hearts) Avar tamgas on oinochoe. Hit and run i (killing a lion) and Avar/Magyar hilt Avar/Magyar hilt, Pleiades, Avar crown of S shape spirals, and tree of life from the umbilicus. a 0 n 6 3 A v a r s Avar, Komarno Museum Above line images: Encircled 6+6 ray Sun (or Mother Isten) and tree of life from the umbilicus. Hungarian spherical body cauldron, rhombuses, Hungarian boots. The Sasanian horse and the Avar Turul are decorated both with crowns of spirals; the unusual design of the ears is similar in both animals and it is the same as in the Nagyszentmikls oinochoe (right) and in the Pazyryk swastika shaped Cross of Turuls. The Sasanian horse bit is an Avar S shape tamga. The Turul is still associated to a female and is flanked by 2 Hungarian trees of life (3+3 branches and a tulip). The Nagyszentmikls Turul has much in common with the Sasanian Turul, but it is more Hungarian: in fact, the lady appears to be turning to the right just after an intercourse and she has already become pregnant! She looks like celebrating the event, happily dancing, and holding high with her hands two Tarim Basin shape Mother Istens. A 3 circle design decorates her collar. The circular decoration around the Nagyszentmikls Turul is the same as the one around the Sasanian bird of prey of the next line, and on Scythian (Ukraine) kaftans. Somebody said that I am a sex addict, but it is not my fault if a Mother Isten delivered a Turul in Pazyryk, if Turuls in Strasbourg, in Hungary and in Italy delivered Avar Mother Istens or Pregnant Mother Istens, if a Mother Isten delivered a Turul in China, and if a Turul impregnated Emese, mother of lmos! Still today, in Irish festivals, an intercourse between a man and a (maybe totemic) animal (usually an ass) is mimed: it is a reminiscence of the time in which the king was consecrated by a coitus with a sacred animal, as in the case of Emese, maybe. As the Celts separated from the Pannonici 2500 years ago, that Celtic rite is at least 2500 years old. The Nagyszentmikls treasure belongs to the Sasanian transitional art, but, as it happened with the Holy Crown, it was designed with the contribution of a Hungarian, who made so that Hungarian sacred symbols be added to the Sasanid figural motifs (See Transitional Art).

S a s a n i a n A v a r s

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Parthian The Parthians had started being Indo-Iranianized (their Turul had become a bird of prey) quite early. When they were subdued by the Sasanids (250 A.D.), the process of Indo-Iranianization speeded up: see the above images of griffins and lions attacking sacred Hungarian Hornids. At that time, the ethnic Hungarian Avars moved from East Iran and Afganistan to Hungary, following the route of the Sarmatians. The Hungarian art of the Sasanids was the art of the ethnic Hungarians smiths who had not left and that would finally be assimilated by the Iranians. The Hungarian 6 ray spiral Sun became a 7 ray Sun (first box), Who decorated a lion, instead of the hornid, Who is instead succumbing. The Indo-Iranian lion is the same one that tore to pieces the Scythian Stags in Ukraine, and it is parallel to the Hunnish Tiger that shred sacred Hungarian Hornids and Horses. The design, posture, and perspective of the last Turul are similar to the ones of Turuls in the Isten temple of Rome and in the Avar Churches of Italy.

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V Cimmeria. e Decebalus g shield, S. e Trajan Seal of wife of Shapur III Bitonto, IT, Avar Saint Denis, Paris, FR t column. a On the line 032 I hypothesized that the 3 vine leaves on the Holy Crown (usually defined vegetal motif) could be a l symbolic representation of the Mother Isten. Some of you laughed at me! Here is the evidence: in Sasania (second box) the two lower lobes of the leaf became spirals and, in Bitonto, Italy, a griffin is holding the final vegetal Isten with its beak. A line of the original Cimmerian motif makes a circle of Istens around the Bitonto image. The Bitonto artifact contains 10 (ten) Hungarian markers e.g.: from the Pazyryk (and maybe the Piceno, IT) time to the Holy Crown time the tails of the sacred Hungarian animals were designed in the same way as in Bitonto; the Istens are alternate upright and upside down Istens as in Sasania and in Varese; they are 18 = 3x6. Five upside down Istens are placed on a dark magenta background: I do not know why, but I bet that there was a reason for it. The last image, from Varese, IT, shows how that Cimmerian design had evolved in Insubria some decades ago: two birds (maybe peacocks: peacocks are frequently depicted in Insubria as they were in Hungary. A peacock is the emblem of Punjab), instead of two I leopards are worshipping the vegetal Isten! In 3,000 years the shapes had modified, but the rite was still the same. s IN THE HISTORY OF THE EMPIRES THE PARTHIANS HAD BECOME SASANIANS OVERNIGHT. IN MY HISTORY OF THE t PEOPLES THE SASANIANS WERE TRANSITIONAL PARTHIANS (AVARS): SASANID WAS THE WARRING INDO-IRANIAN e LITARIAN DYNASTY; PARTHO-AVARS (HUNGARIANS) WERE THE SUBDUED PEOPLE. WHEN THE AVARS LEFT TO EUROPE n FROM EASTERN SASANIA, THE SASANIANS BECAME TRUE SASANIANS AND THEY STOPPED MAKING GOLD JEWELS, BECAUSE THEY COULD ONLY AFFORD SILVER! The Sasanian dynasty was founded by the Indo-Iranian Ardeshir, whose wife, Lady Myrd according to legend was an Arsacid (Parthian) princess. If it was not true, it still shows how important it was for Ardeshir to be associated to the Dynasty he had replaced. The Avars could have migrated to Europe around 330 A.D., when the Sasanids were consolidating their power and the Chinese had withdrawn their troops from the Tarim Basin thus making the Silk Road unsafe.

THE ETRUSCAN* TAMGA*S OF THE DESERT KING OF NIYA, TARIM BASIN

E tr u s c a n The tulip tamga of the King of Niya (Han Dynasty, 206 B.C. 220 A.D.) was on the above fragment of cloth, on a large carpet, and, in its stylized form, on the above oinochoe, together with the Chinese character Wang (king). The Etruscans as well used the same tamga as a religious symbol (left) and as a trade mark (right, bronze ingot). The oinochoe, with the three-lobed spout (above; a technologic innovation, not an art design), is similar to Etruscan and Thracian ones, which would become popular on the Silk Road, in China, and still today in Italian folk art. On the bottom of the oinochoe, a 4 ray Sun (influenced by the Buddhist swastika) was maybe hastily carved just before inhumation. On its left, a shade of another symbol, maybe a dotted Mother Isten. The bag is decorated with a Hungarian wave, which is still one of the most popular Ainu decorative designs. Source: The legacy of the desert king, Feng Zhao and Zhiyong Yu. That King could have been a br, elected by the Hungarians of Niya as a local civil servant: the only luxurious ware of the king was his silk robe, but it was a gift of the Chinese emperor. (O tempora, o mores! (Cicero): at that time, a civil servant king was not at his post with the aim of becoming rich or of raiding his neighbors, but with the responsibility of leading and protecting his people: if he failed, his people would expect he to commit suicide (See Honfoglals page 94, 232, 233). Today, politicians and leaders do not commit suicide, and they do not even resign!). See how the desert king was dressed up in Art designs, Fashion. Read more about Niya in the book The Huns. THE ETRUSCANS, AFTER THE DEPARTURE OF THE PANNONICI, WHILE THE SCYTHIANS WERE BEING INDO-EUROPEANIZED, AND THE CELTS HAD NOT YET EMERGED, BECAME THE LAST LEADING COMMUNITY OF THE PANNONICI IN EUROPE, UNTIL 509 B.C., WHEN THE ETRUSCAN LAUUME (ELECTED KING) OF ROME WAS KILLED AND REPLACED BY AN INDO-EUROPEAN KING. THREE DECADES EARLIER, THE LAST ELAMITE PRIEST KING OF ANSAN, HAD BEEN KILLED BY AN INDO-IRANIAN DARIUS - WHO TOOK HIS PLACE AND ALSO USED HIS CONICAL HAT. THE INDO-GERMANS AND THE INDO-SLAVS HAD NOT KILLED ANY KING YET; THEY HAD NOT YET SHOWN UP IN HISTORY.

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D e s e rt

K i n g

LINZI*, STATE OF QI, SHAN DONG, CHINA, ZHOU DYNASTY

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L i n zi Bronze mirror: triskelion of Istens (silver and gold) Pleiades Horses and cart burial: Linzi and North Caucasus (12)

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L i n z i

3 What for did the Linzis use camels, as they lived Double headed Turuls, double spiral, and 3 lines of Sword with Isten and Chinese spirals far from deserts? conical spirals or circles. double headed Turul The Linzi [today Zibo] District remained the capital of the State of Qi [Shan Dong, which is also the name of a type of silk] for as long as 638 years, and was the biggest city in the Orient. As a result of textual research, the Shandong area, with Linzi as its centre, was the major place of silk supply at the time of the Han and Tang Dynasties, and was one of the origins of the Silk Road". The shortest and safest route between Linzi and Europe in 500 B.C. would have been through AranPazyryk-South Ural, to Tanas: the existence of this route would be the only way to justify the large amount of gold found along that route in the middle of the first millennium B.C.: the Hungarians exchanged bronze and jade against gold, which, for the Chinese, was not a valuable metal - very lucrative! My opinion is that the blond people that contributed to the development of the Chinese civilization (Chinese texts, Viktor Mair) lived in Linzi. The state of Qi was the only warring state that refused military confrontation with Qin (in the best Old European tradition). 121,000 archaeological artifacts have been found in Linzi: where are they? (The above metal artifacts have not been unearthed in Linzi but in Shandong or East China). Bird script, China, Warring States, a mother Isten delivers a Turul. READ THE FASCINATING STORY OF THE HUNGARIAN LINZIS ON HONFOGLALS..., PAGES 182-188, AND PAGE 199 FOR THE POSSIBLE CONNECTION OF THE LINZIS WITH THE WUSUNS.

THE LINZIS WERE GENETICALLY EUROPEANS IN 500 B.C..

THE YUEH CHIH* SHAJING CULTURE, GANSU, CHINA

S h Budapest History Museum a j i n g

Shajing, Gan Su, CN

Shajing, Gan Su, CN

Linzi, Shan Dong, China

Cr

Y u e h

C h i h

THE F GURA B OODY TESTOSTERON C V AGRA EMPOWERED GODS OF THE H TT TE*

TES

AND THE SYMBO C MATR ARCHA MOTHER GODDESS OF THE O D EUROPEAN H TT TE* /ETRUSCAN* S AVES

THE OR G N OF THE ETRUSCAN*S

W W

W W

W W

W W W

THE

NDO EUROPEAN* MOTHER STENS

THE HEART MOTHER ISTEN* IN THE DELIVERING* POSTURE

THE TAMGA*S OF THE HUNGAR AN AVAR*S

THE B RTH NG PA METTE*S

BABY ISTEN*S OR PREGNANT* TULIPS WITH A UTERUS ?

EVOLUTION*S OF THE MOTHER ISTEN SYMBOL

WHY SOME SACRED SYMBO S WERE UPS DE DOWN

HOW AFTER K SZE Y

STEN HAS BECOME A SW SS* HUNN SH GOD

W W

W W W W

W W

W W

HOW AFTER THE HERM TAGE SARMAT A*N HORN DS

STENS HAVE BECOME

HOW WHERE AND WHEN THE MOTHER STEN BECAME AN ANTHROPOMORPH C MA E GOD*

HOW THE MOTHER STEN BECAME THE MAGYAR CHR ST AN CROSS*

HUNGAR AN CHR ST AN GODDESSES N EUROPE

HOW THE MOTHER STEN BECAME AN ETRUSCAN* CE T C GREEK AND SCYTH AN DECORAT ON* NEVER A MAGYAR ONE

CROSS OF ISTENS*

CROSS OF HEART STENS*

THE CROSS OF STENS*

OR CROSSES OF TU

PS

THE SARMAT A*N

AND AVAR*

CROSS OF STENS*

THE ARS AN AND MODERN HUNGAR AN CROSS OF STENS*

W W

W W

W W

W W

HOW AFTER THE HERM TAGE A CROSS OF TURU S* HAS BECOME AN NDO EUROPEAN* SWAST KA SHAPED GR FF N

THE CHR ST AN CROSS* OF STENS

THE

NE OF STENS* AND THE CROSS OF STENS* OF THE AVAR*S OF NSUBR A WEST OMBARDY T AND T C NO CH

THE LINE OF ISTENS*

NE OF

STENS*

THE DUHNY* SYNAGOGUE BUDAPEST HUNGARY

THE ROW OF ISTENS* AND THE NET OF ISTENS*

THE NET OF STENS* ON TARSO YS OTHER PA METTE*S

LEGACY FAIRY TALES AND AMENITIES

THE EGACY OF THE HUNGAR AN CU TURA DNA A ONG THE S K ROAD*

QU Z*

ROME* STEN TEMP E

6 RAY SUN*/ STEN

THE MACEDON A*N 6 RAY SUN*

THE STENS OF THE ARS A YURT*S

CONT NUES FROM NE 002 ATA HYK*

NE 179 QU Z* NE* OF CROSSES OF STENS

WHAT D D
W

WORK FOR

OM BOD

N HUNGAR

MU

AK

ON

O BURN BOOK

T S T ME FOR THE HUNGAR ANS AND THE EUROPEANS TO CE EBRATE BETTER ANCESTORS