Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Ca.

00:18-00:23 Marija Gimbutas: The World of the Goddess. Part One Marija Gimbutas: Az Istenn vilga. Els rsz * 00:26-00:30 Ashley Montagu called her work a benchmark in the history of civilization. Ashley Montague Marija Gimbutas munkjt a civilizci trtnetnek egyik vlasztvonalnak hvta. * 00:31-00:45 Joseph Campbell, in his foreword to The Language of the Goddess, writes of the evident relevance of her work to the universally recognized need in our time for a general transformation of consciousness. Joseph Campbell a The Language of the Goddess c. mhz rt elszavban arrl beszl, hogy Marija Gimbutas munkja egyrtelmen hozzjrul a tudat talakulsnak napjainkban ltalnosan felismert ignyhez. * 00:46-00:59 Numerous writers, scholars and artists have been inspired by her decoding of the symbolic language of the life-affirming, nature-celebrating Earth Goddess religion of the aboriginal Europeans. Azltal, hogy megfejtette az si eurpaiak letszeret, termszetet nnepl Fldistenn vallsnak szimbolikus nyelvt, szmos rt, tudst s mvszt inspirlt. * 01:01-01:10 The findings that Dr. Gimbutas has unearthed and documented with meticulous scholarship have revolutionary implications for our time. Dr. Gimbutas felfedezsei, melyeket alapos tudomnyossggal trt fel s rt le, forradalmi kvetkezmnyekkel jr a korunkra nzve. * 01:10-01.21 Her work gives us hope because she shows that we do not have to learn something new, we only need to remember that which we have tragically forgotten. A munkja remnyt ad, mert megmutatja, hogy nem valami jat kell megtanulnunk, hanem fel kell eleventennk, amit tragikus mdon elfelejtettnk. * 01:22-01:36 Her life and career is a fascinating story in itself. Born in Lithuania in 1921, she absorbed in childhood something of the reverence for life and nature of her Baltic

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) ancestral culture. Marija Gimbutas lete s plyafutsa nmagban egy lenygz trtnet. 1921-ben szletett Litvniban, ahol mr gyermekkorban elsajttotta az let s az si baltikumi kultra irnti mly tiszteletet. * 01:37-01:47 As Europe descended into the nightmare holocaust of fascism and world war, she fled with her family from bomb raids, invasions and total social collapse. Amikor Eurpa a fasizmus s a vilghbor rmlomszer puszttsba sllyedt, Marija s csaldja elmeneklt a bombatmadsok, invzik s a teljes trsadalmi sszeomls ell. * 01:48-01:57 She struggled with enormous financial hardship to pursue her education and her very independent line of research in Europe and in the United States. risi anyagi nehzsgek rn Eurpban s az Egyeslt llamokban folytatta a tanulmnyait s az igen fggetlen kutati tevkenysgt. * 01:58-02:09 Settling down to a professorship at UCLA in 1963, she embarked on her archaeological and prehistorical research, focused on the cultures of the Neolithic Old Europe. 1963-ban professzori sttuszt nyert a Californiai Egyetemen, rgszeti s strtneti kutatsokbe fogott, melyeknek a neolitikumi Rgi Eurpa kultrit lltotta a kzppontba. * 02:10-02:22 She has written over three hundred 1 articles and more than twenty2 books, including studies of The Balts, The Slavs, Bronze Age Cultures in Central and Eastern Europe , and The Goddesses and Gods of Old Europe. Tbb mint 300 cikket s 20 knyvet rt, mint a The Balts, The Slavs, Bronze Age Cultures in Central and Eastern Europe, s a The Goddesses and Gods of Old Europe. * 02:23-02:30 Her magnum opus, The Language of the Goddess appeared in 1989. A f mve, a The Language of the Goddess1989-ben jelent meg. * 02:33-02:43 There is something here of what Carl Jung called synchronicity, an almost uncanny coming together of individual vision and collective destiny. Olyasvalami jtszhatott itt szerepet, amit Carl Jung szinkronicitsnak hvott, az egyni
1 2

Corrected from 200. Corrected from 10.

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) meglts s a kollekv sors klns tallkozsa. * 02:44-03:08 This year, in which Marija Gimbutas' work has gained such a wide audience in the West, is also the time in which the people of the same area of Eastern Europe that she has written about, and the peoples of her own country of origin, are throwing off the shackles of totalitarian oppression and peacefully moving toward a more egalitarian political structure. Ugyanabban az vben, amikor Marija Gimbutas munkja eljutott a szles kznsghez, Kelet-Eurpa ugyanazon terletein l npei, akikrl a knyvben rt, s a sajt szlhazjnak a npe lerztk magukrl a totalitrius elnyomst, s bksen elmozdultak egy egalitrinusabb politikai rendszer fel. * 03:08-03:16 Please listen carefully to the words of this wise woman of the Baltic lands; she has a most important message for our time. Hallgassk ennek a baltikumi blcs asszonynak a szavait; a korunk szmra fontos zenetet hordoznak. * 03:18-03:29 Ladies and Gentlemen, the archaeological record shows that the most ancient religion of humankind was goddess religion. Hlgyeim s uraim, a rgszeti leletek azt mutatjk, hogy az emberisg legsibb vallsa ni isten kzpont valls volt. * 03:31-03:39 I'm sorry to tell that we do not find a father image in very early prehistory. Sajnlom, de azt kell mondanom, hogy a legkorbbi strtnetben nem tallunk apakpet. * 03:40-03:58 Erich Neumann, an eminent psychologist, has hypothesized that there has to be a pair, Ur father and Ur mother, in the very beginning but we do not find any material to support that hypothesis. Erich Neumann, az ismert pszicholgus azt a hipotzist tette fel, miszerint a kezdetek kezdetn minden prosval jelent meg, sapa s sanya, de nem talltunk arra utal leletet, ami ezt altmasztan. * 04:00-04:15 And why? I think it's quite natural that the earliest society was a matrilineal, mother's society and not patrilineal. s mirt? Szerintem nagyon is termszetes, hogy a korai trsadalom anyakzpont volt, anyajog trsadalom, s nem apakzpont.

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 04:16-04:35 And for a very long time we do not find evidence for the understanding of the father's role in biological production. Hossz ideig nincs arra nzve bizonytk, hogy az seink ismertk volna az apa szerept a biolgiai reprodukciban. * 04:35-04:37 Copulation was not understood. Nem ismertk a kzsls jelentsgt. * 04:38-04:54 Even surprisingly in the early historic times, we still find evidence that this was a matrilineal society in Old Europe, especially in the areas which were not IndoEuropeanized. De meglep mdon mg a korai trtneti korokban is tallunk bizonytkokat, hogy a Rgi Eurpa is anyajog trsadalom volt, klnsen azokon a terleteken, amiket nem rintett az indo-eurpai bevndorls. * 04:55-05:10 Even Etruscans in Italy still mentioned that boys are mother's sons. On tombstones we have this evidence. A fikat az szak-itliai etruszkoknl is az anyjuk fiainak nevezik. Errl a srkveken tallhat bizonytk. * 05:11-05:32 So here we have matrilineal societies probably during the very long time of the Paleolithic, the Old Stone Age, which continued into the Neolithic, the early agricultural societies. Az anyajog trsadalom valsznleg nagyon rgta ltezett, a paleolitikumban, az skkorban, folytatdott a neolitikumban, a korai fldmvel trsadalmak korszakban. * 05:33-05:42 This continued in some areas in the Bronze Age, especially in the Minoan culture of Crete and other islands. Ez nhny terleten folytatdott a bronzkorban, klnsen a mnoszi kultrban Krtn s a tbbi kis szigeten. * 05:44-05:55 Now we should ask the question: If there was a goddess religion, how old was it? Do we know the beginnings? Teht fel kell tenni a krdst: Ha ltezett egy istenn kzpont valls, milyen ids volt? Ismerjk a kezdeteit?

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 05:57-06:20 Yes, I would guess it is not 10,000 years, not 20,000, not 30,000; it's much more! We actually cannot answer today the question When is the beginning? Maybe it is one million years, but this we shall leave for the future. Igen, ltezett. S azt gyantom, hogy nem 10.000, nem 20.000, nem is 30.000 ves volt akkoriban; sokkal tbb! Ma nem tudjuk megvlaszolni a krdst, hogy mikor kezddtt. Lehet, hogy egymilli vvel ezeltt, de ezt a jv kutatira hagyom. * 06:21-06:44 But we can see already today that the Acheulean culturethe Lower Paleolithic culture, which goes down to 500,000 BC and morehas produced many flint figurines, tiny figurines, which are already symbols, triangles and mother images holding babies and also animal figures. Ma mr ltjuk, hogy az Acheulen kultra, egy als paleolitikumi kultra, aminek a kezdete Kr. e. 500.000 krlre datlhat, rengeteg kis szobrocskt lltott el, amelyek mr szimblumnak tekinthetk: hromszggel dsztett kpeket, gyermeket tart anyabrzolsokat, llatbrzolsokat. * 06:45-06:53 And this is already a hope that we shall be able to decipher these early objects. s ez remnyt ad, hogy igenis kpesek vagyunk megfejteni a korai leletek jelentst. * 06:54-07:23 But today we shall focus on the period which is the Neolithic, the early agricultural period, which started in Europe in the 7th millennium BC and continued throughout the 7th, 6th, 5th, even the 4th and 3rd millennia in some areas like Western Europe, where the Neolithic started later than in the southeast. Ma a neolitikumot rgyalom, a korai fldmves korszakot, amely Kr. e. 7. vezredben kezdttt, az 5. vezredig tartott, st, nhny terleten, mint Nyugat-Eurpban a 4-3. vezredig, ahol a neolitikum ksbb kezddtt, mint Dlkeleten. * 07:25-07:44 This period is so rich, full of finds of especially sculptures and tiny figurines between 2 or 3 centimetres and 20 centimetres high. A korszak rendkvl gazdag, klnsen sok szoborlelet kerlt el, szobrocskk 2-3 cmtl egszen 20 cm-es magassgig. * 07:45-07:57 There certainly were life-size sculptures of animals and even human beings but they rarely survived. Termszetesen voltak letnagysg szobrok is, llatokrl, emberekrl, de ezekbl szinte semmi nem maradt fenn.

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 07:59-08:03 Then in addition, in the Neolithic there is pottery. Tovbb, a neolitikum gazdag volt a kermiban. * 08:04-08:24 The discovery of pottery is very important for the study of symbolism because vases were decorated, incised or painted and these decorations are not just geometric motifs, they are meaningful, they are symbols. They're extended symbols. A kermialeletek igen jelentsek a szimblumok tanulmnyozshoz, mert a vzkat dsztettk, karcolssal vagy festssel. A mintzatok nem csak geometrikus motvumok, hanem jelentssel brnak, szimblumok. Kiterjesztett szimblumok. * 08:25-08:31 In the beginning there was a symbol and then it was extended and the vase was decorated around. Kezdetben csak a szimblumot karcoltk vagy festettk, de aztn kiterjesztettk, s telerajzoltk a vzt. * 08:32-08:40 And there are temples, and temple models. There are all sorts of cult objects found in temples. Ezek templomok, templomok modelljei. A templomokban mindenfle kultikus trgyakat tallnak. * 08:40-08:48 So all this is our basic material for the interpretation of the early religion. A korai valls rtelmezshez ez az alapvet rgszeti anyag. * 08:52-09:11 I would like to say that it's not only the object that is of importance, and we do not just look at the object with the eyes of an art historian. Azt szeretnm mondani, hogy nem csak maga a trgy fontos, s nem csak a mvszettrtnsz szemvel nzzk. * 09:12-09:29 It is of utmost importance to know how the object was found. Was the sculpture or figurine found in a temple? Was it found in a courtyard? Was it found in a grave? Or in a cave? Igen lnyeges tudni, hol talltk meg a trgyat. Egy szobor vagy egy ni szobrocska, amit egy templomban talltak? Az udvaron? Egy srban? Egy barlangban? * 09:30-09:35

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) All that counts; this cannot be omitted from our study. Mindez szmt, nem lehet tnzni fltte. * 09:36-09:57 However, even that would not explain the functions of the Goddess. To a certain degree, yes, but we need something else to add to be sure that our interpretation is right. De mg ez sem ad elg magyarzatot az Istenn funkciira. Egy bizonyos mrtkig igen, de a helyes interpretci rdekben mg ki kell egszteni valamivel.

* 10:00-10:18 We have to see what kind of goddess is portrayed. Is she nude or is she dressed? Is she stiff, or is she with breasts and belly and buttocks? Milyen istennbrzolssal van dolgunk? Meztelen vagy fel van ltzve? Merev testtarts, vagy vannak mellei, hasa, nagy fara? * 10:19-10:30 And there are, of course, a tremendous variety of images. The types are numerous. Rendkvl sokfle brzols, szmos tpus ltezik. * 10:31-10:43 There is not just one goddess that we can describe and say she portrays something. No, there are hundreds of images. Nem csak egy istenn ltezik, akit le tudunk rni, aki brzol valamit. Nem, tbb szz brzols van. * 10:43-10:58 But we can classify them according to their postures. Are they sitting on a throne? Are they standing? Are they found in a grave in a very stiff position? De a testtarts alapjn osztlyozni tudjuk ket. Trnuson lve brzoljk? llva? Egy srban talltk, s nagyon merev testtarts * 11:00-11:21 And then, one more thing is decisive for the decipherment of their meanings and functions. These are the incisions or paintings of symbols. Mg valami nagyon lnyeges a jelents s a funkci megfejtshez. Ezek a szimblumok, amiket vagy rkarcoltak, vagy rfestettek a szobrocskra.

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 11:23-11:26 And what are the symbols? Mik ezek a szimblumok? * 11:28-11:46 I should classify them into at least three major groups. They are abstract or hieroglyphic, such symbols like a V, an M, X, Y and others. Legalbb hrom nagy csoportba tudnm ket osztani. Absztrakt vagy hierografikus szimblumok, mint a V-, M-, X-, Y-betk s hasonlk. * 11:48-12:18 The second group are representational and they appear on some tombs or ceramic objects as separate symbols, like eyes or breasts or buttocks or vulvas. A msodik csoport a reprezentatv szimblumokat tartalmazza, srokon s kermin tnnek fel elklnlve, mint a szem, mellek, far s a vulva.

* 12:19-12:41 And then the last category are animals. The Goddess appeared as a human being and she also appeared as an animal: a bear or deer or pig, or any other animal like a dog or fox or boar. Az utols kategria az llatok. Az Istenn megjelent emberknt, de llatknt is: medve, szarvas, diszn, vagy ppen kutya, rka vagy vaddiszn formjban. * 12:45-12:55 And all these categories are intertwined. We cannot have borderlines between them, they're all interrelated. Ezek a kategrik tfedik egymst. Nincsen kzttk hatrvonal, klcsns kapcsolatban llnak egymssal. * 12:56-13:30 And this is because in ancient times it was a completely different world of ideology, of thinking, when there was a very close tie between human beings and animals and inanimate objects and the Goddess could be a tree, a stone, an animal, and a human being. Ez azrt van, mert az si idkben teljesen ms ideolgia uralkodott, ms gondolkods, nagyon szoros ktelk volt az emberek, llatok s az lettelen dolgok kztt. Az Istenn lehetett egy fa, egy k, llat vagy ember. * 13:31-13:43 So we are dealing with holistic thinking. This was a period when we were not separated from nature.

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Teht egy holisztikus gondolkodssal van dolgunk. Ebben a korszakban nem voltunk elklnlve a termszettl. * 13:45-13:55 Now I would like to start with the slides, because then I can show you the categories of symbols, which are many. Most szeretnm levetteni a flikat, s bemutatni az emltett, szmos szimblumot. * 13:57-14:01 We shall begin with the goddess whom I call the Bird Goddess. Kezdjk az istensggel, akit n a Madristennnek nevezek. * 14:02-14:24 This is a sculpture, about maybe 25 centimetres high, and she is a hybrid between a woman and a bird. She's definitely a woman with developed breasts and a very long cylindrical neck. Kb. 25 cm magas szobor, egy n s egy madr keverke. Egyrtelmen egy ni figura, fejlett mellekkel s nagyon megnylt nyakkal.

* 14:26-14:36 Her head is particularly interesting here because she has a beaka protruding nose but no mouth. A fej klnsen rdekes, mert csre is van elrenylt orral, szj nlkl. * 14:38-14:57 She has eyes, she has a headdress, a turban maybe or just her hair, neatly combed. Then on her right arm there are some incisions and they are chevrons, multiple V's. Van szeme s egy fejdsze, egy turbn, vagy csak a haj, gondosan fslve. A jobb karjn karcolt vonalak, sevronok, sok V-bet egyms mellett. * 14:58-15:08 So here is one of the typical sculptures around 6,000 BC or 5,800 BC from Greece. Ez egy tipikus szobrocska a Kr. e. 6000-5800 krli idbl, Grgorszgbl. * 15:10-15:29 I myself discovered a series of such images, and if you are hesitant to admit that this is a Bird Goddess, maybe this would convince you that this is a beaked creature, not a simple woman. n magam egy sor hasonl brzolst fedeztem fel, s ha valaki habozna felismerni benne a Madristennt, taln meggyz az az rv, hogy ez egy csrrel elltot kreatra, nem egy egyszer nalak.

Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 15:30-15:45 And from the profile she looks like this. She has, like the first one, a nice hairdo and her whole face is protruding. Its not a natural woman's face. Profilbl gy nz ki. Mint az els szobrocsknak, neki is szp frizurja van, s elrenyl arca. Nem egy termszetes ni arc. * 15:46-15:57 So I think there is no doubt that many of such sculptures represent Bird Goddesses, and what is of importance, they are found in temples. Szerintem nem ktsges, hogy az effle szobrok legtbbje a Madristennt brzolja, a jelentsgket meg az bizonytja, hogy templomokban talltk meg ket. * 15:58-16:12 I myself, excavating in Greece, northern Greece and Thessaly, have discovered numbers of Bird Goddesses within the temples. Jmagam, amikor Grgorszgban, szak-Grgorszgban s Thesszliban vgeztem satsokat, szmos Madristennt talltam a templomokban.

* 16:13-16:35 There were maybe three or four consecutive temples, and it was possible to count how many of them are found within the temple, on the altars or maybe fallen down on the floor next to the altar, and not in the courtyards. Taln hrom vagy ngy templomot talltunk egyms mellett, ezrt meg tudtuk szmolni, hny szobor kerlt el magban a templomban, az oltron vagy az oltr mellett, s nem az udvaron. * 16:36-17:00 So that was a clue to me that the Bird Goddess, also the Snake Goddess, were temple goddesses and I interpret them as protectresses of the house, because the earliest temples of Europe, as also of Anatolia, were house-like. Ez jelentette szmomra a kulcsot, hogy a Madristenn, de a Kgyistenn is templomi istennk voltak, rtelmezsem szerint a hz vdistenni, mert Eurpa legkorbbi templomai, gy, mint Anatliban, hzalakak voltak. * 17:01-17:09 Archaeologists to this day discuss and dispute that these are not temples because these are houses.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) A rgszek mind a mai napig vitatjk, hogy ezek az pletek nem templomok, hanem lakhzak. * 17:10-17:28 However, if you travel in the Aegean area and visits the islands today, you will see that the temples, the churches, are just like houses. There are maybe three, four houses and then another house which is a church. De ha valaki az gei-tenger krnykre utazik s megnzi a mai szigeteket, azt ltja, hogy a templomok hzalakak. Hrom vagy ngy hz ll egyms mellett, aztn kvetkezik a templom, ami szintn hzalak. * 17:29-17:42 And who takes care of these churches? Women. And this, I think reflects the very old tradition of the Neolithic period. Women were taking care of temples. s ki gondozza a templomokat? A nk. Azt gondolom, hogy ez tkrzi a neolitikumbl szrmaz igen rgi hagyomnyt. A nk gondoztk a templomokat. * 17:43-17:50 And the temples consist of two rooms usuallyone room is the actual temple, the smaller room is the workshop. A templomok ltalban kt szobbl lltak az egyik a tnyleges templom, a kisebb szoba a mhely.

* 17:51-18:03 And in the workshop we also find figurines and vases and other cult objects, which were for the preparation of the worship in the temple. A mhelyben gyakran tallunk szobrocskkat, vzkat, egyb kultikus trgyakat, amelyeket a templomi imdathoz ksztettek el. * 18:04-18:18 Now another aspect of the same goddess is from my own discovery in Macedonia. This one is from the end of the 6th millennium, the Vina culture. Most egy msik szempont ugyanazon istennhz, a sajt feltrsaimbl Macedniban. Ez a szobrocska a Kr.e. 6. vezred vgrl szrmazik, a Vina-kultrbl. * 18:20-18:40 This is a big vase, about one metre high, decorated with chevrons, red chevrons. She has a necklace and she has her special marks on the face across her cheek, and then her beak and eyes.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Kb. egy mter magas vza, piros sevronokkal dsztve. Nyaklncot visel, klns jegyek vannak az vgig az arcn, tovbb csre s szemei. * 18:40-18:49 Usually if they are vases then the face appears on the neck or sometimes appears on the lid. A vzkon az arc ltalban a vza nyakn tnnek fel, ritkbban magn a ednyrszen. * 18:51-19:04 So here we see the association of this type with a special symbol, the V or multiple V, which we can call chevron. And it will repeat throughout. Itt az arcos ednytpust ltjuk, kombinlva a specilis szimblummal, a V-betvel vagy a sokszoros V-betkkel, amit sevronnal neveznk. Ez ismtldik vgig. * 19:05-19:14 Now also I would like to indicate that there are about one hundred temple models discovered in Europe. Szeretnm jelezni, hogy kb. 100 templom maradvnyt fedeztk fel Eurpban. * 19:15-19:26 Some of them are quite well preserved, as this one, also from Macedonia, not from my discoveries, but from Yugoslav excavations. Nhnyuk igen j llapotban van, mint pldul ez, szintn Macednibl. Nem n talltam, hanem jugoszlv rgszek.

* 19:27-19:38 And many of them have chimneys, with the face of the goddess. She has a necklace spreading around the roof. Sok templomnak van kmnye, az istenn arcval. Nyaklnca is van, krbeleli a tett. * 19:39-19:55 This one has a sort of mouth, but I am suspecting that this was a later addition. All other chimneysand maybe are about thirty discovered in this sitehave no mouth. Ez tekinthetjk egy szjnak is, de gyanthatan egy ksbbi toldalk. Ezen a teleplsen a tbbi feltrt, kzel 30 pletnek nincs szja. * 20:00-20:11

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) This was around the beginning of the 6 th millennium, the last one; this is from the early 5th millennium, 1,000 years later, also from Yugoslavia. Ez a Kr. e. 6. vezred elejrl szrmazik, az utols; ez az 5. vezred elejrl, 1000 vvel ksbbrl, szintn Jugoszlvibl. * 20:13-20:34 That can be described as a more articulate figure sitting on a throne, marked with tri-lines, three lines, as you can see. She has sort of a bolero dress, she has a crown, and three lines across her arms. Egy jobban kidolgozott, trnuson l alakrl beszlhetnk, hrmasvonalakkal dsztve. Boleroszer ruht visel, koront, s hrom vonalat karjn. * 20:35-20:54 And in front, an apron or maybe it was part of skirt marked with chevrons. Then she has a duck's mask. Ell egy ktnyt, vagy taln egy szoknya rszlete, sevronokkal jellve. Kacsafej alak maszkot hord. * 20:55-20:11 And here is another mask, definitely a duck's mask. So the waterbird played a very important role in this category of images. Itt van egy msik maszk, egyrtelmen kacsafej alak. A vzimadarak nagyon fontos szerepet jtszottak az ilyen tpus brzolsokon. * 21:12-21:24 And even this mask is marked with V's on the corners of the forehead. The holes mean that the mask was attached to the face. Mg ezt a maszkot is V-betkkel jelltk a homlok sarkain. A lyukak azt jelentik, hogy a maszkot tnylegesen viseltk.

* 21:25-21:46 And some of the masks do have many holes, especially in the crown, which I interpret as holes for decoration, for feathers maybe. So she was quite impressive, I think. Nhny maszkon tbb lyuk tallhat, klnsen a koronn, amit dsztsknt rtelmezek, taln tollakat tztek bele. Szerintem lenygzen nzhetett ki. * 21:47-22:04 There are masks of life-size. In my excavations in Greece I have discovered removable masks, dating to the 7th millennium BC. So the masks have a long life.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Vannak letnagysg maszkok is. A grgorszgi satsaimon levehet maszkokat fedeztem fel, a Kr. e. 7. vezredre visszamenleg. A maszkok teht hossz lettel rendeleznek. * 22:05-22:23 Of course they existed even in the Paleolithic, but here we have a clear proof that in the Neolithic they were used for re-enactment of certain rituals. Termszetesen mr a paleolitikum korszakban is lteztek, de itt vilgos bizonytkunk van arra, hogy bizonyos ritulk jrajtszshoz hasznltk ket. * 22:26-22:39 The question of the beginning of this kind of symbolism associated with the bird can be answered by some Paleolithic figurines. A madrhoz kapcsoldo szimbolizmus kezdett megvilgthatjuk nhny paleolitikumi szobrocska segtsgvel. * 22:39-23:00 What you see here is a Paleolithic figurine probably from the time between 20,000 and 14,000 BC found in the Ukraine, from Mezin. Ez egy paleolitikumi szobrocska, Kr. e. 20.000-14.000 krl jtt ltre, az ukrajnai Mezinben talltk. * 23:01-23:10 This is the profile, I would say, of a waterbird. Ez a kp profilbl mutatja, mondhatom, hogy egy vzimadr. * 23:12-23:20 The upper illustration indicates an expanded extension of the symbols. A fels illusztrci a nagy kiterjeds szimblumokkal brzolja. * 23:21-23:25 On the left side is the front, and this side is the back. Bal oldalon szembl, ezen az oldalon htulrl lthat.

* 23:26-23:30 Why am I showing this? For the association of symbols. Mirt mutatom mindezt? A szimblumok rendszere miatt. * 23:31-23:48 We have a supernatural triangle in front, and then on the side and the back there are chevrons, meanders, and on the neck parallel lines and again chevrons.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Ell egy termszetfeletti hromszg, oldalt s htul sevronok, meandroid-vonalakkal, a nyakon prhuzamos vonalakkal s sevronokkal. * 23:49-24:03 So this means that at least for 20,000 years the symbolic association was the same as in the Neolithic period. Ez azt jelenti, hogy a szimbolikus asszocici legalbb 20.000 vig ugyanaz volt, mint a neolitikumban. * 24:05-24:30 And this confirms the importance of it. I think I am not making a mistake associating this group of symbols and I am calling them aquatic symbolism associated with waterbirdsespecially with meanders, spiral lines, wavy lines and so on. Ez megersti a szimblumok jelentsgt. gy vlem, nem tvedek, ha ezeket a szimblumokat kapcsolatba hozom egymssal, s akvatikus szimbolizmusnak nevezem ket. A vzimadarakhoz ktdnek, a meandroid-, a spirlis, a hullmos vonalak s hasonlk miatt. * 24:33-24:52 The pubic triangle is marked with a net design, and the net design is associated with uterine moisture. Moisture was mysterious, and water was also sacred. A szemremdombot rcsmintval jelltk. A rcsminta mindig a vizelettel ll sszefggsben. A nedv inmagban is titokzatos volt, vz szintn szentsgesnek szmtott. * 24:55-25:05 Meanders appear on hundreds of figurines and they have beaked faces and necklaces. These are all attributes of the same Bird Goddess. A meandroid-vonalak olyan szobrocskk szzain tnnek fel, amelyek szintn csralak arccal s nyaklnccal, a Madristenn attribtumaival rendelkeznek. * 25:06-25:12 This is a temple model from western Romania dating to the end of the 6 th millennium BC. Ez egy templom modellje Romnia nyugati rszbl, Kr. e. 6. vezredbl.

* 25:13-25:33 Then we go later into the 5th millennium. Again we see meanders decorating the skirts of the goddess, and this one again is the Duck Goddess. She also wears a medallion that is typical of this kind of goddess.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Menjnk tovbb a Kr. e. 5. vezredben. Ismt meandroid-vonalakkal dsztett szoknyt ltunk az istennn, ez a Kacsaistenn. Egy medlt is visel, ahogy ez a tpus istenn szokta. * 25:34-25:44 I found medallions in earlier figurines of the 7 th and 6th millennia BC in my excavations in Greece. A grgorszgi feltrsaimon talltam medlokat a Kr. e. 7-6. vezredbl. * 25:46-26:02 And here is the head of a very nice figurine from the Vina culture in central Yugoslavia, and her forehead is decorated with meanders and her eyes are very important. Ez az igen szp szobrocskafej a Vina-kultrbl szrmazik, Kzp-Jugoszlvibl. A homloka meandroid-vonalakkal dsztett, a szemei nagyon fontosak. * 26:03-26:14 There are three lines, and two lines around. The eyes had the importance of regeneration, of life-giving. Hrom vonal tallhat rajta, s kt vonal krltte. A szemek az jjszlets, ad letet ads szempontjbl fontosak. * 26:16-26:33 Some of the eyes are exaggeratedsupernaturalas this lid from a huge vase indicates. And then on the forehead is a chevron, double triangle. This probably represents an eared owl. Nha a szemeket termszetfeletti mdon eltloztk, ahogy ezt az risvza ednyrsze is jelzi. A homlokon sevron tallhat, egy dupla hromszg. Taln egy flesbaglyot brzol. * 26:36-26:49 Then this same goddess, whom I call Bird Goddess, can appear as a bird. So she can be a woman, she can be a bird, a bird that wears a human mask, or has a crown. Ugyanaz az istenno, akit Madristennnek nevezek, madralakban is feltnhet. Az istenn lehet egy nalak, lehet madr, egy embermaszkot visel madr, de lehet koronja is.

* 26:50-27:07

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) This is an especially beautiful vase from the Vina culture dated to around 4,500 BC or earlier, made of very thin clay, decorated with black bands. Ez egy klnsen szp vza a Vina-kultrbl, kb. Kr. e. 4500 krli idszakbl vagy korbbrl. Nagyon vkony agyagbl kszlt, fekete svokkal dsztetve. * 27:08-27:15 Images like this continue for a long time. They were made even in the Bronze Age in Europe. Az ehhez hasonl brzolsok hossz idn t kvetketk. Mg a bronzkori Eurpban is elfordulnak. * 27:16-27:33 This one is from Hungary, dating to around the 16 th century BC, so maybe about 4,000 years later. And I would say that they are prototypes of later sirens of Ancient Greece. Ez egy magyarorszgi lehet, a Kr.e. 16. szzadbl, teht nagyjbl 4000 vvel ezelttrl. Mondanm, hogy a ksbbi kori Grgorszg szirnjeinek a prototpusa. * 27:34-27:50 Now we can begin the second category, which is very closely associated with the Bird Goddess, and this is the Snake Goddess. She appears as a woman or she appears as a snake. Hozzltunk a szimblumok msodik kategrijnak, aminek nagyon sok kze van a Madristennhz. S ez a Kgyistenn. Egy n vagy egy kgy alakjban jelenik meg. * 27:51-27:57 There are many snakes found, sculptures of snakes and also painted on pottery. Rengeteg kgybrzolst tallunk, kgyszobrokat, a festett kermin gyszintn. * 27:58-28:18 This is a very clear example. She is decorated with snakes, her arms merge with the body, and her legs are not even shown. But her head is a snake head. This is from Anatolia from the 6th millennium BC. Ez egy nagyon vilgos plda. Kgykkal dsztettk, a keze sszeolvad a testvel, a lbait nem is mutatjk. De kgyfeje van. Ez Anatlibl val, a Kr. e. 6. vezredbl. * 28:19-28:28 Now another example, from Central Turkey, is from Hacilar, from the first half of the 6th millennium BC. Most egy tovbbi plda Kzp-Trkorszgbl, Hacilarbl, a Kr. e. 6. vezred els felbl.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990)

* 28:30-28:48 You see the legs are snake coils. The arms are also probably snakes just like arcs, and her head is decorated with an aquatic design. A lbai olyanok, mint a feltekeredett kgy. A karjai valsznleg szintn kgyk, de csak egyszer vek, a fejt akvatikus elemekkel dsztettk. * 28:49-29:15 Other images are simply women, but here are also hybrids. Her legs are snakes, her arms are also almost snakes, her mouth is long, her nose is not much of a woman's nose, and then she wears a crown. A tbbi brzols szintn nalak, de vannak hibridek is. A lbai kgyk, a karjai szintn majdnem kgyk, a szja hossz, az orra nem nagyon hasonlt egy n orrra. A figura koront visel. * 29:16-29:33 The crown is especially typical of Snake Goddesses. The crown appears in later times, like here in an example from Crete around 2,000 BC. A korona klnsen jellemzi a Kgyistennt. A ksbbi idkben is feltnik, mint ezen a krtai pldn, Kr. e. 2000. krnykrl. * 29:35-29:53 And in front we see the crown, but in the back are a mass of snakes. This I think is the beginning of what we still have in folklore. Szembl ltjuk a koront, htulrl viszont kgyk tmegeit. Szerintem ez annak a kezdete, amit most is megtallunk a folklrban. * 29:54-30:14 In folklore the crowned snake is very important to this day, and is the leader of thousands of other snakes. If she appears then expect the other snakes to appear, or if you touch her, the other ones will follow you. A folklrban a korons kgy mindmig igen fontos elem, az ezer tbbi kgy vezetje. Ha megjelenik, akkor szmtani kell a tbbi kgyra is. Ha megrintjk, a tbbi kgy kvetni fog. * 30:15-30:29 And if you happen to catch the crown in order to be happy, to know everything and understand animal language, that will be dangerous because the other snakes will follow you for a long time. s ha sikerl vletlenl elkapni a koront abban a remnyben, hogy boldogsgot tallunk, mindent tudni fogunk, rteni fogjuk az llatok nyelvt, az veszlyes lehet, mert a tbbi kgy hossz ideig a nyomunkban lesz.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990)

* 30:30-30:43 The most beautiful Snake Goddesses are very well-known from Knossos and Crete, dating from around 1,600 BC. A legszebb Kgyistennk nagyon ismertek Knosszoszrl s Krtrl, a Kr. e. 1600. krli idbl. * 30:45-31:03 These are beautiful ladies, but all over their bodies you can see snakes winding up their arms, around the belly and one on the left is holding snakes in her hands. Gynyr nk, a testkn, a hasukon s a karjukon kgyk tekergznek, a baloldali kgyt tart a kezben. * 31:04-31:19 They have beautiful headdresses, the tiara and the other has even a monkey, I think, sitting on her head. So these can be goddesses, they also can be priestesses worshipping the Goddess. Csods fejkeik vannak, tiara, s az egyik fejn - gy hiszem - egy majom l. Lehet, hogy istennk, de lehet, hogy papnk, akik az Istennnek hdolnak. * 31:21-31:43 Now we are entering another group of symbolism: the Goddess as Creatrix, who is creating from her own body. Her body parts are life-giving. Most belpnk a szimblumok harmadik csoportjba: az Istenn, mint Creatrix, aki a sajt testbl teremt. A testrszei letet adk. * 31:44-32:00 This one is a Paleolithic figurine dating from 23,000 BC found in Lespugue in the southern part of France, near the Pyrenees. Ez egy paleolit kori szobrocska, Kr. e. 23.000-ra datldik, a Franciaorszg dli rszn lev Lespugue-ben talltk, kzel a Pireneusokhoz. * 32:01-32:39 I like it very much. To some people this is a monstrosity; to me it is a harmonious sculpture showing the essence of Paleolithic art. Nekem nagyon tetszik. Nhnyan azt gondoljk, hogy durvn elnagyolt; de szerintem egy harmonikus szobor, a paleolit mvszet esszencijt mutatja. * 32:30-32:46

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) This is a symbolic art, not the portrayal of a woman, definitely not. Not a single sculpture or figurine portrays a simple woman, no. They are all symbols. Szimbolikus mvszet, nem egy ni portr, egyltaln nem. Egyetlen egy szobor vagy ni szobrocska sem brzol egy konkrt nt. Ezek szimblumok.

* 32:47-33:02 And what we see here are breasts and buttocks, definitely exaggerated. The legs and head and the arms are reduced because they do not play a big symbolic role here. Amit itt ltunk, ersen tlhangslyozott mellek s far. A lbak, a fej s a kar visszafogottak, mert nem jtszanak klnsebb szimbolikus szerepet. * 33:03-33:25 It was important to show the breasts and buttocks which are symbolically interrelated. Both are in pairs, and two has more strength than one. Fontos volt megmutatni a melleket s a fart, mert szimbolikusan sszekapcsoldnak. Prosval vannak jelen, s a kett tbb ert testest meg, mint az egy. * 33:27-33:45 Symbolically, this impressed our ancestors and was considered important, so there is a repetition of this doubleness throughout time. Szimbolikus rtelemben ez fogva tartotta az seink kpzezett, fontosnak gondoltk, mindvgig a kettssg ismtlsvel tallkozunk. * 33:46-34:02 Here is another example from Malta in the Mediterranean and this is much later. The other was 23,000, this is 3,000 BC, but again, the buttocks symbolism is of importance. Ez egy tovbbi plda Mltrl a Fldkzi-tenger vidkrl, de sokkal ksbbrl. Az elbbi Kr. e. 23.000-re datldik, ez Kr. e. 3000-re, s ebben az esetben is hangsly a far szimbolizmusra esik. * 34:03-34:33 This is found in a temple of the same shape, with the buttock-shape in the plan of the temple. Here I interpret the importance of such figurines for regeneration. The Maltese temples to me mostly mean regeneration. Egy olyan templomban talltk, aminek az alaprajza far-alak volt. Ebben ltom az ilyen tpus szobrocskk jelentsgt az jjszlets krdsben. A mltai templomok szmomra nagyrszt az jjszletst testestik meg. * 34:34-34:49

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Although some temples, as I told you, where Bird Goddesses were found, were not connected with this motif. Their function was protection and life-giving. Here it is regeneration. Habr egyes templomok, ahogy mondtam, ahol a Madristennket talltk, nem lltak kapcsolatban ezzel a motvummal. A szerepk a vdelem s az letet ads volt. Ebben az esetben az jjszlets.

* 34:50-35:09 In some Upper Paleolithic rock engravings hundreds of buttocks figurines appear. The figures have just buttocks and a cylindrical neck and nothing elseno arms, no legs. Nhny fels-paleolit kori sziklafaragson szzval tnnek fel a faros nalakok, ahol csak exponlt far- s megnyjtott nyak-brzolsokat ltunk. * 35:10-35:26 So here again I think, the regeneration motif dominated. And perhaps in the buttocks, there was an egg, the symbol for regeneration. Itt is azt gondolom, hogy az jjszlets motvuma dominlt. A far belsejben tojs volt, az jjszlets szimbluma. * 35:28-35:44 Some other images maybe will be more clear, like this one from around the first half of the 6th millennium BC, found in the former Yugoslavia near Belgrade. Nhny tovbbi kp taln vilgosabb teszi, mint pl. ez, a Kr. e. 6. vezredbl, az egykori Jugoszlvia terletrl, Belgrdhoz kzel. * 35:45-36:07 This is a seated figurine with the weight in the buttocks and nothing else. No arms, the legs are also reduced, facial features dont exist, but she has hair. Here the buttocks are egg-shaped. Egy l szobrocska, hangslyozott farral, semmi egybbel. Nincsenek karok, a lbakat redukltk, nincs arc, haja viszont van. A far tojsalak. * 36:09-36:25 In some figurines like this, the protruding buttocks are hollow, and the space is eggshaped. Az ehhez hasonl szobrocskk esetben az kinyl far homor, tojsalak. * 36:37-36:47

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) So here we have two possibilities: that this is a regeneration motif or that this is a cosmic egg, connected with an existing myth of the beginning of the world. Teht kt lehetsg van: az jjszlets motvuma vagy a kozmikus tojs, sszefggsben a vilg keletkezsrl szl mtosszal. * 36:48-36:56 These myths still continued in the classical period, and up to the modern times. Ez a mtosz kitartott a klasszikus korszakban, egszen a modern korig.

* 36:59-37:22 Most of these buttock figurines are decorated in the Neolithic period with such symbols as spirals or snake coils or four-corner designsdynamic symbols, which probably enhance life and regeneration. A neolit korszakban a legtbb faros szobrocskt spirlokkal, feltekeredett kgykkal, ngyszgletes formkkal dsztettk: ezek dinamikus szimblumok, taln az letet s az jjszletst szorgalmaztk. * 37:24-37:39 More of these are found in the Neolithic, especially during the 6 th millennium BC. This one is from Hungary and is clearly a bird. A legtbb a neolitikumban kerl el, a Kr. e. 6. vezredbl. Ez Magyarorszgon kerlt el, egyrtelmen egy madr. * 37:41-37:59 So here I see that the buttocks figurines are in many cases birds, which carry perhaps a cosmic egg in the buttocks, or just an egg, which is a symbol of regeneration. Azt ltjuk, hogy a faros szobrocskk legtbbje madr, a farukban taln a kozmikus tojst hordozzk, vagy csak egy egyszer tojst, az jjszlets szimblumt. * 38:01-38:27 If we go to the Bronze Age, the middle of the 2 nd millennium, there are vases from the Aegean islandslike Phylakopi 3 or Thera4that show vultures or birds of prey with an egg inside.
3

Milos
4

Santorini

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) A bronzkorban, a a Kr. e. 2. vezredben, az gei-szigetekrl, pl. Phylakopirl vagy Thrrl szrmaz vzk keselyket vagy ragadoz madarakat brzolnak, a belsejkben tojssal. * 38:28-38:40 The left one has a red egg, and there are many more. Some vases are decorated with beautiful flowers or sprouts, which also mean regeneration. Ebben egy piros tojs, de tbb ms is ltezik. Nhny vzt csods virgokkal vagy rgyekkel dsztettek, ezek szintn az jjszletst jelentik. * 38:41-38:53 But it is interesting here to mention that the red egg is associated with the bird of prey, not with the waterbird in this case, and why? rdekes, hogy a piros tojs sszefggsben ll a ragadoz madrral. Mirt nem a vzimadrral?

* 38:54-39:16 Because we shall see later that the Goddess of Regeneration is the vulture who attacks human beings after death, but she is also concerned with regeneration. Mert ksbb ltni fogjuk, hogy az jjszlets Istennje maga a kesely, aki embereket tmad meg a halluk utn, de egyben jelenti az jjszletst is. * 39:17-39:41 Another example is on a vase from Phaistos, in the southern part of Crete, which is decorated with an egg and spirals. The vase itself is egg-shaped and the upper part is clearly the head of a bird. Within the bird, within the egg, there are spirals. Ez a plda egy phaistosi vza, Krta dli felrl. Egy tojssal s spirlokkal dsztettk. A vza maga tojsalak, a fels rsze egyrtelmen egy madrfej. A madr belsejben egy tojs van, s spirlok. * 39:42-39:53 I call such a symbol a column of life: something is beginning or becoming. Az ilyen szimblumot n az let oszlopnak nevezem: valami elkezdik, valami valamiv vlik. * 39:56-40:12 Now from the buttocks we move to the pubic triangle or the vulva, and these are the earliest symbols so far known. Vulvas and triangles are very early symbols. Most a faros szobrocskkrl trjnk t a szemremdombra vagy a vulvra, ezek a legkorbbi ismert szimblumok. A vulva s a hromszg igen rgi szimblumok.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 40:14-40:32 Some art historians decided that men created the symbolism because they were the first to touch vulvas and they had to show it. But I don't think this is the right interpretation because our ancestors were more philosophical. Nhny mvszettrtnsz gy dnttt, hogy ezeket a szimblumokat frfiak hoztk ltre, mert k rintettk meg elszr a vulvt, s meg akartk mutatni. Nem gondolom, hogy ez a helyes magyarzat, mert az seink ennl sokkal filozofikusabbak voltak. * 40:37-40:52 If you studied all the vulvas in existence in the Paleolithic and later, you will notice that they are always associated with sprouts, with seeds, with branches. Ha tanulmnyozzuk a vulva megjelenseit a paleolit s a ksbbi korszakban, mindig rgyekkel, magokkal s gakkal trstottk. * 40:53-41:02 So this is the beginning of life, which is sprouting and growing. It's not pornography. Teht az let kezdett jelenti, a szaporodst, a nvekedst. Nem pornogrfia.

* 41:04-41:37 This figurine is 23 to 21,000 BC from southern France, from Monpazier. Some scholars describe such figurines as monstrosities because the vulva is supernatural and swollen, the buttocks are also not natural, and the belly is in a full arch. Ez a szobrocska Kr. e. 23-21.000-bl szrmazik, Franciaorszg dli rszrl, Monpazierbl. Nhny tuds azt mondja r, hogy durvn elnagyolt, mert a vulva termszetellenes mdon meg van duzzadva, a far-brzols sem termszetes, a has teljesen kidomborodik. * 41:39-41:56 This is a very tiny figurine and there are many of them like this. So what is it? I think the importance is life-giving; probably birth-giving is emphasized. Ez egy nagyon kicsi szobrocska, sok ilyen fordul el. Teht ez micsoda? Szerintem az letet adst hangslyozza; taln a szlst. * 42:00-42:12 The swollen vulva in association with the buttocks on the other side continues for 15 to 20,000 years. A duzzadt vulva trstva a far-brzolssal, 15-20.000 ven keresztl visszatr motvum. * 42:14-42:32 I will show another example, from 3,500 BC from Hungary. Here we see the same

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) thing: a swollen vulva on one side with the buttocks on the other. This is the handle of a vase. Mutatok egy msik pldt Magyarorszgrl, Kr. e. 3500-bl. Ugyanazt ltjuk: duzzadt vulvt, a msik oldalon far-brzolst. Ez egy vza fle. * 42:33-42:58 Here is a very good example from Italy. An incised bone plate figurine with the vulva associated with a fir tree. On her breasts is a crescent, a symbol of regeneration. Ez egy nagyon j plda Olaszorszgbl. Egy karcolt csontlemez bra, egy vulva egy fenyfval trstva. A melln sarlalak vonal, az jjszlets szimbluma. * 43:00-43:14 There are many figurines which I call birth-giving that are associated with the goddess who brings life. Sok szobrocska ltezik, amiket letadknak nevezek, mert a szl istennvel llnak sszefggsben.

* 43:15-43:41 This is from my own excavations dating to 6,300 BC in Thessaly, northern Greece. She is portrayed in a natural birth-giving posture. The birth-giving posture in prehistory was in a seated position, there are no others. Ez a sajt satsombl szrmazik, szak-Kelet Grgorszgbl, Thesszlibl, Kr. e. 6300-ra datlhat. A termszetes szlpzban brzoljk. Az skorban a l pzban szltek, msik nem ltezett. * 43:43-43:59 In the Paleolithic, some of these types are radiocarbon dated to 20,000 or 21,000 BC in France, which also continue into later times. Rdikarbon meghatrozs alapjn a franciaorszgi leletek kzl az ilyen tpus brzolsok akr Kr. e. 21-20.000-ig is visszamennek. * 44:00-44:18 This is from a temple in Malta originally described as a pathological figurine. I think this is clearly a birth-giving posture with a swollen vulva. Ez egy mltai templombl szrmazik, korbban beteg szobrocskaknt rtk le. Szerintem

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) ez egyrtelmen egy szlpz, megduzzadt vulvval. * 44:19-44:32 On her back there are nine lines, perhaps associated with nine months of gestation. Her hands are perhaps typical of a birth-giving posture. A htn kilenc vonal tallhat, taln a terhessg kilenc hnapjt jelenti. A kztarts a szlpzra jellemz. * 44:35-44:42 From birth-giving we move to protection of new life. Az letad brzolsoktl tovbb lpnk az j let vdelmezsre. * 44:43-44:59 There are many madonnas discovered in the Neolithic period. They are not known from very early times, but they begin around 5,000 and continue for several millennia. A neolit korszakbl sok madonnt fedeztek fel. A nagyon korai idszakbl nem ismertek, Kr.e. 5000. krl indulnak, s sok vezreden keresztl folytatdnak. * 45:00-45:11 So the madonna, the mother-holding-child, does not begin with Christian Mary, but is much earlier. A madonna, a gyermekt tart anya nem Szz Mrival kezdik, hanem sokkal korbban.

* 45:12-45:26 However, the difference is that the protection of life belongs more or less to the animal mother. Most of these images have masks, which are either birds or bears. A klnbsg az, hogy az let vdelmnek a kpzete tbb-kevsb az llatanyhoz ktdik. A legtbb madonna-kp maszkot visel, vagy madr- vagy medvealakt. * 45:28-45:39 Perhaps this comes from the observation that the bear mother was a very good mother, and that birds also take care of their young. Taln abbl a megfigyelsbl addik, hogy a medveanya nagyon j anya, s hogy a madr is gondoskodik a fiairl. * 45:42-45:59 This is an example of the bird mother holding a little bird, and both are masked. Then there are images of bear nurses with masks.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Ez plda egy madranyra, aki tartja a kismadarat, mindketten maszkot viselnek. Aztn lteznek dajkl medve-brzolsok, szintn maszkkal. * 46:00-46:23 I call them nurses because they are taking care of babies with a pouch on their back probably for carrying babies. I think the mask is of a bear. Dajkknak hvom ket, mert a gyermekket gondozzk, s egy zsk van a htukon, taln a gyermek szlltsra. Szerintem egy medvemaszkot visel. * 46:24-46:50 There are other images I am not showing today of real bears holding babies. And this belief in 'mother bear' still continues. In my own country, Lithuania, the expecting mother was called a 'bear'. Vannak mg kpeim a sajt bocsaikat tart medvkrl, de ezeket most nem mutatom meg. A medveanya kpzete mg most is tart. A hazmban, Litvniban, a vrands nt medvnek nevezik. * 46:54-47:08 When the expecting mother was approaching to the sauna, for instance, the group of women would chant a formula: Oh here, the bear is coming. Also, the newborn baby was laid on a bear fur. Ha egy vrands n rkezik valahova, pl. a szaunba, azt mondjk, hogy J, jn a medve. Az jszltt csecsemt medvebrre fektetik.

* 47:11-47:35 Even in Greeceand this is surprising, because there are no bears anymore in the Mediterranean areabut in the western part of Greece, to the middle of this century, there was a celebration on the 2nd of February of the 'bear mother'. Meglep mdon mg Grgorszgban is, mert a Fldkzi-tenger trsgben mr nincsenek medvk; de Grgorszgban nyugati rszn egszen a 20. szzad kzepig februr 2-n ltk a medveanya nnept. * 47:38-47:48 And it is described, not as Mary, but as the bear mother, although it is a Christian country. Nem Mria-nnep volt, hanem a medveany, habr egy keresztny orszgrl van sz.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 47:50-48:04 Now let us go again into another class of symbols: fertility and multiplication. Menjnk tovbb a szimblumok tovbbi osztlyra: termkenysg s sokszorozds. * 48:06-48:23 For a long time the so-called Venuses and the Paleolithic madonnas were called fertility goddesses. Az n. Vnuszokat s a paleolit kori madonnkat hossz ideig termkenysgistennknek neveztk. * 48:24-48:44 Neither the term fertility goddess nor Venus is a good term, because this is a misunderstanding. There is only one category of sculptures that can be associated with fertility. Sem a termkenysgistenn, sem a Vnusz nem egy j kifejezs, mert ez egy flrerts. A szobroknak csak egyetlen kategrija trsthat a termkenysggel. * 48:45-49:08 Of course many figurines are associated with fertility, but not all of them. Venus, of course, is a beauty, a wife or a bride, but not birth-giving or life-giving. Termszetesen sok ilyen szobrocska ltezik, de nem mindegyik. A Vnusz a szpsg, a felesg, a menyasszony, de nem a szl, nem az letet ad. * 49:10-49:32 Here is one of the very early images from the Paleolithic, again from southern France, from Laussel. This is a pregnant woman holding her hand on the pregnant belly and holding a crescent or a horn in the other hand. Ez egy nagyon korai brzols a paleolit korbl, Franciaorszg dli rszbl, Lausell-bl. A terhes n egyik kezt a hasra teszi, a msikban egy sarlt vagy egy szarvat.

* 49:33-49:42 Therefore I would say she is concerned with fertility, with multiplication, with bounty. Ezrt mondnam, hogy a termkenysgre, a sokszorozdsra, a bsgre utal. * 49:45-50:13 And particularly, because we have the continuity of the same image in the Neolithic period. Here we have a clearly pregnant woman with a very prominent belly and then under it is the supernatural triangle. Shes from Neolithic Greece, from around

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) 6,000 BC, or somewhat later. Klnsen azrt, mert ugyanez az brzols a neolitikumban is elfordul. Ez egy egyrtelmen terhes n, ersen kidomborod hassal, alatta a termszetfeletti hromszggel. A neolit Grgorszgbl szrmazik, Kr. e. 6000. krnykrl, vagy kicsit ksbbrl. * 50:16-50:52 In those days it was probably important to show the image of a pregnant woman because at that time when agriculture was just in the beginning, earth fertility was of enormous concern and the production of such pregnant images enhanced the earth fertility. Valsznleg azrt volt fontos akkoriban megmutatni a terhes nt, mert a fldmvels ppen csak elkezddtt, a fld termkenysge risi krds volt, s a terhes n brinak ellltsa hozzjrult a fld termkenysghez. * 50:53-51:05 But not only earth fertility, fertility of animals, fertility of human beings. As I said, there was no separation between earth, animal or human being. De nem csak a fldhez, hanem az llatokhoz, emberekhez. Ahogy mondtam, nem volt klnbsg a fld, llatok s emberek kztt. * 51:09-51:37 And I would add that in my own excavations, the pregnant goddesses were found not in temples, but in courtyards next to the bread ovens, for she also can be called the Bread Mother. She's the one who secures the bread. Hozztennm, a sajt feltrsaimon a terhes istenn nem a templomokbl kerlt el, hanem az udvarokrl, a kenyrst kemenck melll. Teht Kenyranynak is nevezhetjk. az, aki biztostja a kenyeret. * 51:39-52:06 And such images are not identical everywhere, here is a pregnant figure from eastern Romania, from the Hamangia culture. Of course the style is different but it very probably portrays the same image. Az ilyen brk nem mindig azonosak. Ez egy terhes szobor Romnia keleti rszbl, a Hamangia-kultrbl. Persze ms stlusban, de nagy valsznsggel ugyanazt brzolja. * 52:07-52:30 If we go into a later period, around 4,000 BC, here is an example from northeast Romania, the Cucuteni culture, of an open shrine where the goddess is seated. Itt egy plda egy ksbbi korszakbl, kb. Kr. e. 4000-bl. Romnia szakkeleti rszrl szrmazik, a Cucuteni-kultrbl. Egy nylt templom, ahol az istenn lpzban helyezkedik el.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 52:31-52:46 She is flanked by young figures, probably portraying a ritual, dancers or something like that, and in then front of her there was a hole for libations. Fiatal alakok veszik krl, lehetsges, hogy egy rtust brzol, tncosokat vagy hasonlt. Ell egy mlyeds az adomnyok szmra, * 52:48-53:02 And if we know the traditions of European peasants, there were libations for Mother Earth up to the 19th20th century. Az eurpai parasztok krben a 19-20. szzadig szoks volt az Anyafld rszre ldozati adomnyt vinni. 53:05 END OF PART ONE Vge az els rsznek Ca. 54:13-54:19 Marija Gimbutas: The World of the Goddess. Part Two Marija Gimbutas: Az Istenn vilga. Msodik rsz * 54:22-54:43 Now we have to rush through the other half of our lecture. I am starting with the symbols of death. First of all the vultures, owls, crows, and ravens. Gyorsan tvesszk az elads msodik rszt. A hallszimblumokkal kezdek. Elssorban a keseklyk, a baglyok, varjak s hollk szmtanak. * 54:44-55:06 One of the best examples comes from the temples of atal Hyk from the 7 th millennium BC, painted on the walls of shrines. Here are seven or so vultures attacking headless bodies. A legjobb plda atal Hyk-bl szrmazik, a Kr. e. 7. vezredbl, a templomi falfestmnyeken lthat. Ht-nyolc kesely fej nlkli holttesteket tmad meg. * 55:08-55:19 Presumably the heads were removed immediately after death and then the rest of the body was left for excarnation by the birds. A fejeket felteheten rgtn a hall utn eltvoltottk, a test tbbi rszt tengedtk a madaraknak. * 55:20-55:45 The skulls are found in other shrines, placed under the heads of the bull. We already know that the head of the bull represents the uterus, so this is for regeneration. The

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) skull was the most important part of the body, the seat of the soul, and they always gave attention to it. A koponyk ms templomokbl kerltek el, egy bikafej alatt helyeztk el. Ma mr tudjuk, hogy a bikafej az anyamh szimbluma, teht az jjszlets. A koponya a test legfontosabb rsze, a llek szkhelye, mindig klnsen gyeltek r. * 55:46-56:08 Now, other images are owls. For instance, this is a painting in charcoal found near Paris in a hypogeum, which is a subterranean tomb. She has a necklace, she has breasts, these are her attributes, and shes clearly an owl. A tbbi kp baglyokat brzol. Ez pldul egy ksznre festett festmny, Prizs kzelben talltk egy hypogeumban, egy fldalatti srban. Nyaklncot visel, mellei vannak, de egyrtelmen egy bagoly. * 56:09-56:20 Owl images appear all over Western Europe, and also in the Aegean area, in Central Europe and in Northern Europe. A bagolybrzolsok Nyugat-Eurpban mindenhol feltnnek, az gei-tenger vidkn, Kzp- s szak-Eurpban egyarnt. * 56:21-56:48 Here is one example from the famous tomb in Ireland, from Knowth. There is a long corridor going into the middle of the mound and this was found engraved on a stela near the inner chamber. The date is around 3,500 BC. Ez a hres roszgi srbl szrmazik, Knowth-bl. Egy hossz folyos vezet a srhalom belsejbe. A rajzot a bels kamra egyik oszlopra karcoltk. Kr. e. 3500-re datlhat. * 56:49-57:11 I would like to compare that with another from Bulgaria. Possibly an owl image, its also decorated with a labyrinthine design, which probably are intestines and I think symbolically they are life-giving. ssze szeretnm hasonltani egy bulgriai pldval. Lehetsges, hogy egy bagolybrzols, labirintusszer vonalakkal dsztve, taln az emsztrendszerre utal, s szimbolikus rtelemben az letet adsra. * 57:12-57:22 And here are owls as vases, as urns. One is from Troy, the other is from Poliochni on the Greek island of Limnos. Itt a baglyok vzaknt s urnaknt jelennek meg. Az egyik Trjbl, a msik Poliochnibl, egy Limnos nev grg szigetrl.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 57:24-57:38 These have wings and are clearly owls, but what is interesting here is that they are not really death symbols, they are associated with vulvas and with umbilical cords, or snakes. Szrnyuk van, egyrtelmen baglyok, s ami rdekes, hogy nem is igazi hallszimblumok, mert vulvkkal s umbilical cord-okkal, kgykkal vannak trstva. * 57:39-58:02 So there was never in the Neolithic period a death symbol produced without another attribute indicating regeneration. Death alone was not shown. It was always in association with regeneration. A neolitiumban a hallszimblum soha nem fordult el nmagban, valamilyen, az jjszletst jelz attribtum nlkl. A hallt egyedl nmagban nem mutattk. Csak az jjszletssel trstva. * 58:13-58:22 Even if the symbol is bone, a simple bone found in graves, the bone has owl eyes and the eyes are symbols of regeneration. Eyes have moisture and this moisture is regenerating. Ha a szimblum csak egy csontdarab, amit egy srban talltak, mg akkor is bagolyszeme van. A szem az jjszlets szimbluma. A szem knnyezik, a knny, mint nedvessg regenerl. * 58:23-58:42 Now we move to Sardinia. This is the plan of a rock-cut tomb from the 5 th millennium BC. There is a figurine in front of the skeleton, right in front of the chest, next to the vases. Tovbb megynk Szardnira. Ez egy kbe vjt sr alaprajza a Kr. e. 5. vezredbl. A csontvz eltt egy szobrocska fekszik, kzvetlenl a mellcsont eltt, mellette vzk. * 58:43-59:07 Some of the vases were decorated with regeneration symbols and there was one dish in which shells were found with red ochre. So this is a series of symbols of regeneration and here, in detail, is the figurine found in this grave. Nhny vzt az jjszlets szimblumaival dsztettk, az egyik ednyben kagylkat s vrs okkert talltak. Teht az jjszletsnek egy sor szimblumt ltjuk itt. s ez az a szobrocska, ami elkerlt a srbl.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990)

* 59:05-59:33 It is a stiff woman of quite another type. I call this series of figurines stiff nudes. They are found in graves and they continue through millennia. This is the 5th millennium and they are not very slim, as they are later on, anyway, they are stiff. Itt van egy msik tpus, egy merev testtarts n. A tpust merev aktoknak nevezem. Srokbl kerlnek el, tbb vezreden keresztl. Ez a Kr. e. 5. vezredbl szrmazik. Nem olyan karcs, mint ksbb, de a testtartsa merev. * 59:34-59:47 And here we switch to the end of the 5 th millennium, beginning of the 4 th. This is a well-known image of alabaster, also from Sardinia. Tovbb megynk az 5. vezred vgre, a 4. vezred elejre. Ez egy kzismert szobrocska, alabstrombl kszlt, szintn Szardnirl val. * 59:50-59:58 It is liked by many authors and we can find it on book covers, and so on, but what does it mean? A sok knyv szerzjnek tetszik, sokszor szerepel knyvek bortjn meg hasonl helyeken, de mit jelent? * 1:00:00-1:00:14 Well, the white colour I mentioned is the colour of death and therefore they were produced of alabaster, of marble, of bone, bone plates and also light coloured stones. A fehr szn, ahogy mondtam, a hall szne, ezrt a szobrocskkat alabstrombl, mrvnybl, csontbl, csontlemezekbl, ill. vilgos szn kvekbl ksztettk. * 1:00:15-1:00:36 Here the stiffness is reaching its culmination. It's a very abstract figurine, the lower part is just a cone, the arms are always this way and then the head is featureless. But sometimes the heads are shown with masks. A merevsg is elri a tetpontjt. Nagyon absztrakt figura, az als rsze csak egy cscs, a kztartsa igen jellegzetes, a fej kifejezstelen. Elfordul, hogy maszkot visel. * 1:00:37-1:00:52 Later figurines like this one, also from Sardinia, has a round head, which is a round mask and again the lower part is suppressed entirely. The hands are the same. Ksbb a szobrocskk, mint ennek a szardniai pldnak, kerek feje van, kerek maszkot visel, az als rsze szintn teljesen elnagyolt. A kztarts ugyanolyan.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990)

* 1:00:54-1:01:15 The same image continues in the Aegean area, in the Cyclades. These are probably best known in literature and to the art historians. For a long time they were considered to be ideals of beauty and were never interpreted as death symbols. Ugyanez az brzols folytatdik az gei-tenger vidkn, a Kkldokon. Taln ezek fordulnak el legtbbszr az irodalomban, s a legismertebbek a mvszettrtnszek szmra. Sokig azt gondoltk, hogy ezek szpsgidelok, soha nem rtelmeztk hallszimblumoknak. * 1:01:18-1:01:40 In my understanding they represent the Goddess of Death, leading the dead to the underworld. However, they are also concerned with regeneration because in most cases the supernatural triangle appears on these figurines. Az n rtelmezsemben a Hallistennt brzoljk, aki a halottakat tvezeti a alvilgba. De sszefggsben llnak az jjszletssel is, mert feltnik rajtuk a termszetfeletti hromszg. * 1:01:42-1:02:00 From the Aegean area we switch now the geographical region, and this one is from Bulgaria. I would say that they differ a little bit although they are also stiff and they are also nudes. Az gei-tenger vidkrl most tlpnk Bulgriba. Az szobrocskk itt egy kicsit msok, de szintn merevek s meztelenek. * 1:01:01-1:02:24 The head here is broad and the mouth is long and there are some dots, maybe the fangs of a poisonous snake. I would connect this series with the poisonous snake, whereas the other series in the Cyclades, in Sardinia, with birds of prey. A feje szles, a szja hossz, pttyk vannak a fejn, taln egy mrgeskgy harapsnyomai. Ezt a tpust a mrgeskgyhoz ktnm, mg a Kkldokon s Szardnin tallt darabokat a ragadozmadarakhoz. * 1:02:25-1:02:43 Even life-size masks are found in graves. This is a very interesting discovery from the 1970s in Varna, which is east Bulgaria, right at the Black Sea coast. A srokban mg letnagysg maszkokat is talltak. Ez egy nagyon rdekes felfedezs az 1970-es vekbl, Varnabl, ami Kelet-Bulgriban tallhat, kzvetlenl a Fekete-tenger

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) partjn. * 1:02:44-1:03:01 In the cemetery there were found at least three well-preserved life-size masks of clay, decorated with gold. In this cemetery about 3,000 or more pieces of gold were found. A temetben legalbb hrom letnagysg, tkletes psgben megrztt agyagbl kszlt maszk kerlt el, amit arannyal dsztettek. Ugyanebben a temetben tbb mint 3000 aranydarabkt talltak. * 1:03:03-1:03:25 So here is the same image I have shown you before with a broad face, and a large long mouth. Some dots here like pins under the mouth are perhaps teeth. The round eyes are typical of the snake. Ez ugyanaz a maszk, amit korbban mutattam, az arc szles, a szj nagy. A pttyk a szj alatt szegecsszerek, taln a fogakra utal. A kerek szem jellegzetes kgyszem. * 1:03:26-1:03:35 I would say these are the precursors of the later Gorgon heads and Pandora maybe, in Greek mythology. Monhatnm, az brzols a ksbbi grg mitolgiban szerepl Gorgon-fej eldje, s taln Pandora eldje is. * 1:03:38-1:03:54 Now the next image in the series of regeneration is the frog. Again, the best representations are found in relief in atal Hyk shrines in Anatolia from the 7 th millennium BC. A kvetkez brkon az jjszlets jelkpe a bka lesz. A legjobb pldkat atal Hykben talljuk, a templomok reliefjein, Anatlibban, a Kr. e. 7. vezredbl. * 1:03:55-1:04:12 She's portrayed on the wall with upraised hands, upraised legs next to the horns or bull heads and next to life columns painted on walls. Egy falfestmny, az istenn a kezeit s a lbait szttrva felfel emeli. Mellette a falon bikafejek s letoszlopok kpei. * 1:04:14-1:04:37 Sometimes such figures are covered with geometric motifs, which look like honeycomb, but also there are columns of lozenges and a concentric design on her belly, which is a symbol of regeneration. Elfordul, hogy a hasonl figurkat geometrikus mintk bortjk, a lpre hasonlt, a hasn rombuszalap oszlopok s koncentrikus krk, az jjszlets szimblumai.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 1:04:38-1:05:00 Here is from my own excavations from Achilleion in northern Greece, dated 6,300 BC, carved out of black stone. I call this type the Frog Woman. The frog symbol is long-lasting, of course, from folklore. Ez a sajt feltrsombl szrmazik, Achilleionbl, szak-Grkorszgbl, Kr. e. 6300-ra datlhat. Fekete kbl faragtk. Ezt a tpust Bkannek nevezem. A bka szimbluma hossz ideje ltezett, a nprajzbl is ismerjk.

* 1:05:02-1:05:18 And here I would like to show from Lithuania a tombstone from a cemetery I visited myself in this century. It is a frog with a head in the shape of a lily. Szeretnk mutatni egy srkvet egy litvniai temetbl, szemlyesen lttam. Egy bka, liliomalak fejjel. * 1:05:19-1:05:32 And this little figurine is from Greece from 6,000 BC, also has a head in the shape of a lily. Ez a szobrocska Grgorszgbl szrmazik Kr. e. 6000-bl, szintn liliomalak fejjel. * 1:05:33-1:05:58 So, the frog is associated with flowers, with buds, with sprouts, and originally the frog was probably associated with the fetus and uterus. This image is as old as the Upper Paleolithic some 20,000 to 30,000 years ago. A bka a virgokkal ll sszefggsben, rgyekkel, bimbkkal, eredetileg a magzattal s az anyamhvel. Maga az brzols a fels-paleolit korba, 20-30.000 vvel ezelttre nylik vissza. * 1:05:59-1:06:26 The other image, which belongs to the class of regeneration and uterine images, is the hedgehog. The hedgehog was probably associated with an animal uterus, which has warts. So this is one possibility. Maybe I am wrong, but it could be. A tovbbi bra, ami az jjszletshez s az anyamhhez ktdik, a sn. Lehetsges, hogy a snt az llati anyamhhez trstottk, ami szintn tsks. Ez csak egy lehetsg. De lehet, hogy tvedek. * 1:06:28-1:06:40 Linguistically it is proved because in German language 'Igel' is 'hedgehog' and 'eagle' is also 'uterus'. Nyelvszetileg bizonytott, mert nmetl az Igel azt jelenti, hogy sn, de anyamhet

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) is jelent. * 1:06:47-0:06:58 Here is a lid in the shape of a hedgehog and the face of the Hedgehog Goddess. Ez a trgy egy edny snalak fedele, a Snistenn arcval. * 1:07:00-1:07:27 The association between the hedgehog and regeneration is seen in the later cemeteries. For instance, this vase is from Rhodos dated to the 8th century BC in the shape of a hedgehog, in which a skeleton of an infant was discovered. A sn s az jjszlets kapcsolatt a ksbbi temetkben is lthat. Pldul ez a rhodosi vza Kr.e. 8000-bl. Snalak, a belsejben egy gyerekcsontvzat talltak.

* 1:07:29-1:07:57 And even in 20th century cemeteries in Austria or Bavaria the images of hedgehogs or red balls with spikes were laid by women who had uterine problems. They were also brought to churches as votive offerings for the same purpose. Ausztriban s Bajororszgban mg a 20. szzadban is vittek nk a temetkbe snre emlkeztet tsks piros gmbket, akiknek a mhkkel voltak gondjaik. De ldozati clokra a templomokba is vittk. * 1:07:59-1:08:24 Now this is a fish sculpture of about 50 cm high found at Lepinski Vir. It is of stone, egg-shaped, painted in red and decorated with a labyrinthine design. Ez egy halalak szobor a Lepinski Virbl, kb. 50 cm magas. Kbl faragtk, tojsalak, pirosra festett, labirintusszer mintval dsztett. * 1:08:26-1:08:50 In this place, which is called Lepinski Vir in northern Yugoslavia, there were found over 50 shrines, triangular in shape, having red floors, and inside each one was an altar and at the end of the altar there was a sculpture. Lepinski Vir szak-Jugoszlviban van, itt tbb, mint 50 templomot talltak, hromszges alaprajzzal, piros padlval. Mindegyikben volt egy oltr, az oltr egyik szln pedig egy ilyen szobor. * 1:08:52-1:09:04 Most of these sculptures were either egg-shaped or fish-shaped, or these fish-shaped sculptures have also the features of a woman. A szobrok legtbbje tojs- vagy halalak. Ez egy halalak szobor, nies vonsokkal. * 1:09:05-1:09:28

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Next I will show you in detail the decoration of the sculpture, a labyrinthine design which, to me, is a symbol of regeneration. Her mouth is clearly a fish mouth but the eyes and nose can be interpreted as human. Most bemutatom a szobordszts rszleteit. A labirintusszer dszts szmomra az jjszlets szimbluma. A szja egyrtelmen egy hal szja, de a szeme s az orra egyrtelmen emberi. * 1:09:30-1:09-51 Another sculpture, which is egg-shaped, has fish attributes, especially the mouth and round protruding eyes. They're all of stone found in the Danube. This site is located right on the bank of the Danube. Mg egy szintn tojsalak szobor, a hal jellegzetessgeivel, klnsen a szja, s a kidlled szeme. Mindkett kbl kszlt, a Dunban talltk. A telep a Duna jobb partjn volt.

* 1:09:53-1:10:37 One more of the series is extremely important because here is the combination of fish, woman and vulture. The hands of this fish lady are vulture claws. Here is a combination, typical in Neolithic art, of several classes of woman, animal, and bird in one. A kvetkez tpus rendkvl fontos, mert egy hal, s n s egy kesely keverke. A hal-n hibridnek keselykarmai vannak. A neolit mvszet jellemz kombincija, llat, madr s n keverkei. * 1:10:39-1:11:08 An example from another part of Europe indicates almost about the same thing. Here her hands are with three fingers. I think these are not human hands but vulture claws. She has a V, and her round eyes may be fish eyes, and the mouth is very peculiar. Ez a plda Eurpa msik rszbl majdnem ugyanazt brzolja. A keze hrom ujjban vgzdik. Szerintem nem emberi kz, hanem keselykarom. V-betvel dsztettk, a szemei kerekek, taln egy hal szemei, a szja nagyon szokatlan. * 1:11:09-1:11:25 This is a 52 centimetres high stone figure from France dated from the first half of the 5th millennium BC. And the egg-shaped fish sculptures from Lepinski Vir date from around 6,000 BC. Ez a szobor Franciaorszgbl szrmazik, a Kr.e. 5. vezred els felbl, 52 cm magas. A lepinski vir-i szobor Kr. e. 6000-re tehet.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 1:11:30-1:11:54 In addition to all these fetuses and uterine symbols, the other regeneration symbols are triangles or double triangles. They feature in the tomb architecture, especially in Ireland, where we find very good examples. A magzat s a az anyamh szimblumaihoz ktdnek az jjszlets szimblumai, a hromszgek vagy a dupla hromszgek. A srptszetben jelennek meg, klnsen rorszgban, ott nagyon j pldkat tallunk. * 1:11:55-1:12:15 Here is a triangular kern, if you can see it, and stones. If this is removed then the tomb is found to be a round chamber with a corridor. Ez egy hromszgalak kern, kvekkel. Ha elmozdtjk, akkor lthatv vlik a sr, a erek kamra s a folyos. * 1:12:17-1:12:33 In architecture I interpret these also as vagina and uterus. Coming back to the womb, tomb and womb are related. ptszetileg a vagint s az anyamhet brzolja. A mh s a sr nyelvszetileg is sszefggsben ll egymssal. * 1:12:36-1:12:53 The Old Europeans didn't build houses for their dead to continue the same life as the Indo-Europeans did who believed that life continues in the same way. A rgi eurpaiak nem azrt ptettek hzat a halottaknak, mint az indo-eurpaiak, akik azt hittk, hogy az let ugyangy folytatdik a hall utn. * 1:12:54-1:13:00 The Old Europeans didn't. They returned their dead to the womb or to their ancestors. A rgi eurpaiak nem. k visszahelyeztk a halottakat az anyamhbe, vagy az seik kz. * 1:13:01-1:13:20 The megaliths of Western Europe have collective, communal burials in them and the bones are mixed up. The bodies were excarnated and then at certain times the bones were collected and put in the tomb. A nyugat-eurpai megalitok kollektv temetkezsi helyek, a csontok ssze vannak egymssal keveredve. A holttestekrl leszedtk a hst, aztn bizonyos idkznknt sszegyjtttk a csontokat, s belehelyeztk a srba. * 1:13:21-1:13:40 Individuality didn't matter, whereas in the later patriarchal culture, the hero, the

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) individual, the glory of the person was most important, but not in this earlier period. Az egyn nem gy szmtott, mint a partriarchlis kultrban, ahol a hs, az egyn, a egyn dicssge volt a legfontosabb. Korbban viszont nem. * 1:13:42-1:13:51 Some of the plans of the graves are definitely anthropomorphic, probably portraying the Goddess herself. Nmely srok alaprajza egyrtelmen emberformj, taln magt az Istennt brzoljk. * 1:13:52-1:14:10 Now here is the symbol of the double triangle, or hourglass shape. This definitely is the Goddess of Regeneration with vulture claws instead of human hands. Ez egy dupla hromszg-szimblum, vagy homokra alak. Egyrtelmen az jjszlets Istennje, emberi kz helyett keselykarmokkal. * 1:14:12-1:14:21 That is a vase from the Cucuteni culture dated to 4,000 BC. Cucuteni culture is in northeast Romania. A vza a Cucuteni-kultrbl szrmazik, Romnia szakkeleti rszsbl, Kr. e. 4000-re datlhat.

* 1:14:22-1:14:46 And here is an incision on a vase from Hungary from around 5,000 BC. Also if you see, her hands are not human, she's very abstract, an image containing a series of symbols. Her head is just three lines. Ez pedig egy vzakarc, magyarorszgi lelet, Kr. e. 5000-re tehet. A figurnak nem emberi kezei vannak, nagyon absztrakt, tbb szimblumot tartalmaz. A fejt csak hrom vonallal rajzoltk meg. * 1:14:48-1:15:17 This is the next image where we see the combination of this goddess, of two triangles incised on the head of a bull. This is a bone plate figure, and its a beautiful combination of the Goddess of Regeneration and the head of a bull, dated to around 4,000 BC. A kvetkez kpen ltjuk az istennbrzols egyik varicijt, kt hromszg egy bika fejre karcolva. Egy csontlemez figura, csodlatos kombincija az jjszlets Istennjnek s a bikafejnek. Kr. e. 4000-re datlhat. * 1:15:18-1:15:46 The symbolism will continue in later times, especially in the Minoan culture where

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) we have many bull heads, bulls, and so-called sacred horns. The symbol of sacred horns begins much earlier than in Crete. Actually it begins in atal Hyk in the 7 th millennium or before. A szimblum folytatdik a ksbbi korban is, klnsen a mnoszi kultrban, ahol rengeteg bikafejet, bikt s n. szent szarvat tallunk. A szent szarv szimbluma sokkal korbbi, mint ahogy Krtn megjelenik. Tulajdonkppen atal Hyk-ben kezddik, a Kr. e. 7. vezredben, vagy annl is korbban. * 1:15:46-1:16:1:16:02 And here are some examples from the atal Hyk shrine, where three bull heads are portrayed on one wall of the shrine with a labyrinthine design on top. Ezek a pldk a atal hyk-i templombl valk, hrom bikafejet brzolnak a falon, labirintusszer dsztssel. * 1:16:04-1:16:20 Then below there are hands, and hands probably were symbols of the goddess' hands. Her presence, or her power was there, and the bulls were there for regeneration. Alatta kezek vannak, lehetsges, hogy az istenn kezt jelentik. Az istenn jelen volt, az ereje jelen volt, a bikk az jjszletsre utalnak.

* 1:16:21-1:16:43 Then there are vases decorated with bullheads and the design usually is a whirling pattern, snakes, S-shaped spirals turning around. These are enhancing, stimulating life powers. Ezeken a vzkon bikafejek vannak, a kering dsztmintkkal, kgykkal, forg S-alak spirlokkal. Lendletet ad, stimull leterk. * 1:16:44-1:17:10 The bull head usually appears at the entrance of tombs. Here are examples from Sardinia, where above the entrance there is a bull head in relief. The design on the walls on the inside of this subterranean tomb, is also bull horns. A bikafej leginkbb a srok bejratnl tallhat. Ezek szardniai pldk. A sr bejrata fltt egy relief bikafej. Ez egy fldalatti sr, a falra bikaszarvakat festettek. * 1:17:11-1:17:35 Sometimes they appear in two, in three's, many, many, maybe ten of them are found

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) in one tomb. I shall finish now with the Minoan sacred horns, which are celebrative symbols, and are very well known. Nha prosval vannak, hrmasval, vagy tbben, akr tzen is. A mnoszi szent szarvakkal fejezem be, ezek igen ismert nnepi szimblumok. * 1:17:36-1:17:53 And who is coming up here in the middle between the horns? In literature you can find the description that this is a symbol of a double axe. s mi van itt a kt szarv kztt? Az irodalomban az szerepel, hogy egy duplafej fejsze szimbluma. * 1:17:55-1:18:14 Well, it is not a big mistake, but I could also call this a butterfly. But the axe was also a symbol of the Goddess, because the axe was triangular and axes are portrayed throughout as symbols of the Goddess. Nem tl nagy tveds, de pillangnak is hvhatjuk. De a fejsze is az Istenn szimbluma volt, mert hromszgalak, s vgig szerepel az istenn szimblumai kztt. * 1:18:15-1:18:35 And if you have the image of the Goddess of Regeneration in the shape of an hourglass, and outurn it horizontally, you have a butterfly. She was a butterfly and she was a woman and she was an axe, and also double axe. Nzzk meg az jjszlets Istennjnek a kpt, aminek homokra formja van. Ha oldalra fordtjuk, akkor ksz a pillang. Az Istenn pillang is volt, n is, fejsze is, s duplafej fejsze is.

* 1:18:36-1:18:52 But later on in the 2nd millennium BC, when the Indo-Europeans arrived in Crete, the symbol was probably transformed into just an axe, a double axe. De a Kr. e. 2. vezredben, amikor az indo-eurpaiak megrkeztek Krtra, a szimblumot leegyszerstettk egy egyszer fejszre, duplafej fejszre. * 1:18:54-1:19:31 There are several images left to indicate what is portrayed on 'sarcophagoi' of Crete from around the 14th13th centuries BC when the same symbolism continues. This is life-enhancing actually: shells and horns and butterflies, growing from the head of a bull, with flowers. Vannak mg flik, amin megmutatom, hogy mit brzoltak a krtai szarkofgokon Kr. e. 14-13. szzad krl, mert a szimbolizmus folytatdott. Tulajdonkppen leterst brk:

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) kagylk, szarvak, pillangk, egy bika fejbl nnek ki, virgokkal. * 1:19:32-1:19:43 So it is quite logical that you portray something on a sarcophagus which enhances life and promotes regeneration. Elg logikus valami olyat brzolni egy szarkofgon, ami ersti az letet, s btortja az jjszletst. * 1:19:45-1:20:11 Sometimes, this so-called double axe is for sure a butterfly. This is an example from a seal from Zakros, which is eastern Crete, and this is a clear goddess with the wings of a butterfly, an eyed butterfly. A duplafej fejsze nha egsz biztosan egy pillang. Ez egy Zakrosrl val pecst, Krta keleti rszrl, egy istenn, egy szemes pillang szrnyaival. * 1:20:15-1:20:32 She is a woman who has a crown, but her legs are not human. Maybe she has bull legs, maybe another animal, but probably bull, or vultures, its difficult to decide. Egy ni alak koronval, de a lbai nem emberiek. Taln egy bika lbai, vagy egy ms llat, egy kesely, nehz eldnteni. * 1:20:33-1:20:55 In my last slides I shall show you that she can be also a bull. The goddess can be a bull. This one has a head, which is a vulture's head, with enormous horns, and there are crescents next to that. Az utols flikon azt mutatom be, hogy az Istenn bika kpben is megjelenhet. Ennek a feje egy kesely feje, risi szarvakkal, mellette sarlk.

* 1:20:56-1:21:14 So here we have a combination of symbols, which we already have seen before: the bull or the bull head is the uterus, the vulture is the symbol of the Goddess of Death and Regeneration. Szimblumok kombinciit ltjuk, amiket mr korbban is: a bika vagy a bikafej az anyamhre utal, a kesely a Hallistenn s az jjszlets Istennjnek szimbluma. * 1:21:15-1:21:27 Then we have crescents, of course, and horns, which are also symbols of regeneration. Definitely the symbols of regeneration predominate throughout.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Aztn vannak itt sarlk, szarvak, szintn az jjszlets szimblumai. Az jjszlets szimblumai egsz vgig dominlnak. * 1:21:29-1:21:32 Now I am willing to answer your questions if you have any. Ha vannak krdsek, akkor ksz vagyok vlaszolni. * 1:21:33-1:21:45 Could you say something about what happened to the old goddess culture, what was the takeover by the Indo-Europeans, how did that come about and what were the changes that occurred? El tudn mondani, hogy mi trtnt az si istenn kultrjval? Mit vettek t az indoeurpaiak? Egyltaln hogyan kerlt sor a vltsra, s milyen vltozsok trtntek? * 1:21:45-1:22:05 My hypothesis is that the Old European culture was partially destroyed by the invaders from the East, I call them the Kurgan people, the horse riding warriors. A feltevsem szerint a Rgi Eurpa kultrjt rszben a keleti hdtk romboltk le. Kugrnoknak nevezem ket, lovas harcosok voltak. * 1:22:07-1:22:26 They started in the Volga region of South Russia. About the same time when the Old European culture was flourishing, their culture was already food producing, pastoral and agricultural, but at a very different type. A dl-oroszorszgi Volga-vidkrl indultak. Nagyjbl akkor, amikor a Rgi Eurpa virgzott, mr az kultrjuk is lelemtermel volt, psztorkodtak, fldet mveltek, de ms mdon. * 1:22:27-1:22:40 They were cattle breeders and they had domesticated the horse sometime in the 6 th millennium BC, maybe even earlier, we don't know. Szarvasmarht tenysztettek, hziastottk a lovat a Kr. e. 6. vezredben vagy azeltt, nem tudni.

* 1:22:41-1:23:03 But then, in the 5th millennium they were very mobile because of the horse, and they came to the borders of Old Europe, and there they saw this beautiful culture and meadows along the Danube, in east Hungary, in Bulgaria and Macedonia. Az 5. vezredre a l miatt mr igen mozgkonyak voltak, eljutottak a Rgi Eurpa hatrig, lttk a csodlatos kultrt, Magyarorszgon, Bulgriban s Macedniban a Duna menti mezket.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 1:23:04-1:23:21 The first incursion of these half-nomadic people entered into Europe at the end of the 5th millennium BC. Since then the trouble started. And this I call the First Wave. E flnomd npessg els tmadsa az 5. vezred vge fel trtnt. Akkor kezddtek a bajok. Ezt nevezem els hullmnak. * 1:23:22-1:23:35 But then, about 600 or 700 years later there was the Second Wave. And then around 3,000 BC or in the early 3rd millennium, the Third Wave began. 6-700 vvel ksbb kvetkezett a msodik hullm. Aztn Kr. e. 3000. krl a harmadik. * 1:23:36-1:24:01 So we have now a transformation of the European culture from the matrilineal or matristic, or matriarchal if you like, to a patriarchal, patrilineal culture. It took a long time and it was a gradual thing. In the beginning it was only East-Central Europe which was transformed. Megindult az eurpai kultra talakulsa matriarchlis rendszerbl patriarchlis rendszerr. Hossz ideig eltartott, fokozatosan trtnt. Elszr Kelet-Eurpa alakult t. * 1:24:02-1:24:12 The western part of Europe and the Mediterranean area was not touched at all until the 3rd millennium BC. A nyugati s a mediterrn terletek nem vltoztak semmit egszen a 3. vezredig. * 1:24:13-:1:24:30 The western part of Europe was still flourishing, the megaliths were built there, and although there are traces of Indo-Europeans even in Ireland in about the middle of the 4th millennium BC, they had not much influence. Eurpa nyugati rsze tovbbra is virgzott, megalitokat emeltek, s habr az indoeurpaiak a 4. vezred kzepn mg rorszgba is eljutottak, nem volt tl nagy befolysuk. * 1:24:31-1:24:50 So this is a development of almost 2,000 years and dates from 4,300 BC to 2,800 BC. This is the period of the incursions of the people from the East. Az talakuls kzel 2000 vig tartott, Kr. e. 4300-tl 2800-ig. A keleti npek benyomulsnak korszaka. * 1:24:51-1:25:16 European culture is like a layer cake, composed of these two very different ideologies, very different religions, very different social structures. And we are the

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) heirs of the two cultures, not one. Every European culture is a hybrid culture. Az eurpai kultra olyan, mint a rakott tszta, kt igen klnbz ideolgia, valls s trsadalmi szerkezetbl ll ssze. Mi kt kultra rksei vagyunk, nem csak egy. Minden eurpai kultra hibrid kultra. * 1:24:17-1:25:42 And it is to my belief very wrong to think that the European agricultural culture, Old European goddess culture was Indo-European, as proposed by Colin Renfrew, my good colleague, in 1987 in his book Archaeology and Language. This is a misunderstanding. Szerintem nagy tveds azt hinni, hogy az eurpai fldmves kultra, a Rgi Eurpa istenn kultrja indo-eurpai volt, mint ahogy azt becslt kollgm, Colin Renfrew teszi a Rgszet s nyelv c. knyvben, 1987-ben. Ez egy flrerts. * 1:25:43-1:26:07 The Old European culture cannot be Indo-European because we can reconstruct the early Indo-European culture if we use linguistic evidence and mythology. My book shows that this is a non-Indo-European culture, an earth loving, art loving culture. A Rgi Eurpa kultrja nem lehetett indo-eurpai, mert raz indo-eurpai kultrt ekonstrulni tudjuk a nyelvszeti bizonytkok s a mitolgia segtsgvel. A knyvemben lemutatom, hogy a Rgi Eurpa nem volt indo-eurpai, hanem egy, a fldet s mvszeteket szeret kultra. * 1:26:08-1:26:18 The Indo-European culture is a completely different culture, representing a different ideology in every aspect of culture. Az indo-eurpai kultra viszont teljesen ms, minden aspektusban egy eltr ideolgit kpvisel. * 1:26:19-1:26:36 You've shown us several different goddesses and I'm wondering if you see this as one goddess with a number of different forms or several goddesses who somehow are together, representing natural forces and doing things in consort? n sok klnbz istennt mutatott neknk, s azon gondolkodom, hogy ez most egy istenn sokfle formban, vagy sok istenn egytt, akik klnfle termszeti erket testestenek meg, s egytt cselekednek? * 1:26:37-1:26:40 I see, you have asked a very serious question. n nagyon komoly krdst tett fel. * 1:26:46-1:26:52

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Well, one thing is clear, there are many goddesses, there are many types of goddesses. Egy dolog bizonyos, hogy sok istenn s sokfle tpus istenn van. * 1:26:53-1:27:14 It's clear, from the very beginning, from at least the Upper Paleolithic when we start to have the sculptures and also cave art. Now, is this one goddess with many functions, many postures? Mr a legkorbbi idktl, legalbbis a fels-paleolitikumtl fogva ksztenek szobrokat s ltezik a barlangmvszet. Ez egy istenn, sok funkcival s sokfle pozitrban? * 1:27:15-1:27:40 I would tend to say yes, and therefore I would like to call her the Great Goddess. However, maybe this answer is not for the whole history of humankind, because perhaps some of the images started in a different way. Arra hajlok, hogy igen, s emiatt Nagyistennnek neveznm t. Ez lehet, hogy nem j vlasz az egsz emberisg trtnetre nzve, mert nhny brzols mshol, mshogyan szletett. * 1:27:41-1:28:00 I would classify two groups: the Bird and Snake Goddesses could have originated as totemic animals. From the Upper Paleolithic or even earlier they were serving as protectresses of the family and ensuring the life powers. Kt csoportot lltank fel: a Madristenn s a Kgyistenn a totemllatokbl erednek. A fels-paleolit kortl, vagy akr rgebbrl is a csald vdelmezi voltak, s letert adtak. * 1:28:01-1:28:13 And the other class would be this Goddess who creates from herself, and therefore we have so many of her body parts represented. A msik csoportba azok az istennk tartoznak, akik sajt magukbl teremtenek, teht tbb testrszkkel egytt brzoljk ket. * 1:28:15-1:28:34 So these could be two lines which later merged, because later on we cannot distinguish very clearly between the Bird Goddess, the Snake Goddess and the other goddesses and their functions. They are polyvalent symbols. Ez lehet egy vlasztvonal, ami ksbb felolddott, mert a ksbbiekben mr nem tudunk vilgos klnbsget tenni a Madristenn, a Kgyistenn s a tovbbi istennk s a funkciik kztt.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990)

* 1:28:35-1:28:50 For instance, the snake is the symbol of life, of life power and is the symbol of regeneration and therefore its functions are here and are there, so it is almost impossible to say. A kgy pldul az let, az leter s az jjszlets szimbluma, a funkciit itt is ott is megtallni, de lehetetlen vilgosan krlhatrolni. * 1:28:52-1:29:04 But I only speak about the possibility of several images developing from one thought, the others from another. Szerintem lehetsges, hogy szmos brzols egy gondolatbl szletett meg, ms brzolsok egy msikbl. * 1:29:05-1:29:17 Could you comment briefly on the ancient religions of other cultures around the world, and in particular I am curious if goddess worship is characteristic of a number of ancient religions? Tudna beszlni rviden az egyb si kultrk a vallsairl? Klnsen az rdekelne, hogy ezekben az si vallsokban milyen szerepe volt az istenn imdatnak. * 1:29:18-1:29:23 Yes certainly, the goddess religion was universal. Igen, az istenn valls ltalnos volt. * 1:29:24-1:29:55 In all parts of the world we find the goddess before the patriarchal stage and there are similarities between them, although I think if we want to decipher the meaning, the functions of the goddess we have to concentrate on one area which is rich in sculptural art or painted pottery and others, like Europe. A vilg minden rszn tallni istennket a patriachtus beksznte eltt, s sok kztk a hasonlsg, de ha meg akarjuk rteni a lnyegt s az istenn funkciit, akkor arra a terletre kell sszpontostani, ahol Eurphoz hasonlatosan gazdag szobrszattal s festett kermival rendelkezik. * 1:29:56-1:30:21 And then we can be certain that we can understand the symbolism. Although in general, no question! There are similarities between Africa and Europe and the Near East and the Americas. Indian art has very many similarities to European images. Akkor biztosan megrtjk a szimbolikus jelentseket. Persze ltalnos rtelemben. Hasonlsgok vannak Afrika s Eurpa, a Kzel-Kelet s Amerika kztt. Az indiai mvszet nagyon hasonlt az eurpaira.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990)

* 1:30:23-1:30:48 In China also, before the patriarchal period, there was goddess religion. Southeast Asia is full of images which are almost identical. The pottery is so similar that it can be confused with what we see in Romania or Hungary and in Indonesia. Knban a patriachlis korszak eltt istenn valls volt. Dl-kelet zsiban rengeteg igen hasonl brzols kerl el. A kermia annyira hasonlt, hogy akr ssze is lehetne keverni egymssal a magyarorszgit s a bulgriait az indonziaival. * 1:30:49-1:31:08 Marija, I'm not sure you're aware of it, over the last 20 years or so, the rediscovery of the Goddess has been the catalyst for a vast new religious movement, which is being regarded as the fastest growing religious movement in America today, the religion of the Living Goddess. Marija, nem tudom, mennyire vilgos n eltt, de az elmlt 20 vben az Istenn jrafelfedezse egy risi jvallsos mozgalom kataliztora lett, amit a leggyorsabban nveked vallsos mozgalomnak tekintenek ma Amerikban. Az l Istenn vallsa. * 1:31:09-1:31:16 I would wonder if you might have any comments about this new movement, the resurgence of goddess worship and a projection of how you see that for the future? Hozz tudna fzni valamit az j mozgalomhoz, az istennimdat jjledshez? Mit gondol, mi lesz ebbl a jvben? * 1:31:18-1:31:25 Why it was in the past so slow, and why it is so fast now, yes? It's interesting. Mirt volt eddig olyan lass, s most mirt ilyen gyors, igaz? rdekes krds. * 1:25:26-1:31:41 Of course one thing is the feminist movement and women are helping to spread the idea, that is clear. Another is that the material became ripe for interpretation. A feminista mozgalom persze segti elterjeszteni a gondolatot, ez vilgos. Msrszrl a forrsanyag megrett az interpretcira. * 1:31:43-1:31:56 There is so much that I always question. How come that for so long nobody really touched the question of symbolism or types of goddesses. Sok minden van, amire n folyamatosan rkrdezek. A szimbolizmus s a sokfle istenntpus krdsvel kzelrl soha nem foglalkozott senki.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 1:31:56-1:32:13 There is a lot written before me about Near Eastern goddesses and others but an analysis of types and symbols was not done. Mr elttem is sokat rtak a kzel-keleti istennkrl s msokrl is, de a tpusokat s a szimblumokat senki sem analizlta. * 1:32:14-1:32:40 So why? Well perhaps someone like me, who is interested in interdisciplinary studies had to appear to connect what is known in mythology, in Indo-European studies, in history of religions, in archaeology, in linguistics and pull all the cords together. Teht mirt? Lehet, hogy egy olyan valakinek kellett feltnnie, mint n, aki rdekldik az interdiszciplinris tudomnyok irnt, s ssze kellett ktnie egymssal a mitolgit, az indo-eurpai tanulmnyokat, a vallstrtnetet, a rgszt, a nyelvszetet, s ssze kellett rakosgatnia a kpet. * 1:32:42-1:33:00 It needs an interdisciplinary view otherwise it is difficult to understand. All of my colleagues are not interested in figurines or sculptures or religion in general. They just discard it. Szksg van az interdiszciplinris nzpontra, mert klnben nehz lesz megrteni. A kollgimat gy ltalban nem rdeklik a szobrocskk, a szobrok s a valls. Egyszeren nem foglalkoznak vele. * 1:33:01-1:33:08 There is no interest, no interpretation, as though its better not do it because you will not be a scientist. Nincs rdeklds, nincs interpretci, s ami nehezebb: jobb nem is csinlni, mert nem tekintenek tudsnak. * 1:33:10-1:33:12 What impact in the world how would this effect the world? A kutatsi eredmnyei hogyan befolysoljk a vilgot? * 1:33:13-1:33:18 Right now? Well I think weve reach the end of the world and we're starting to create another. Most? Szerintem ott tartunk, hogy elrnk az egyik vilg vgre, s nekiltunk az j vilg ltrehozshoz. * 1:33:21-1:33:54 But I expect we shall become a healthier society. We shall worship the earthwell,

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) not in the same way, nothing returns from the past. We cannot repeat the whole thing from the beginning, we can only transform ourselves and use our knowledge about the past and apply it for creating the future. This is my feeling. Azt gondolom, hogy egy egszsgesebb trsadalomm alakulunk t. A fldet imdni kell nem olyan mdon, mint a Rgi Eurpban, mert a mltbl semmi sem tr vissza. Nem ismtelhetjk meg ellrl az egszet, de megvltoztathatjuk magunkat, hasznlhatjuk a mltrl val tudst arra, hogy ltrehozzuk a jvt. n ezt gy rzem.

* 1:33:55-1:34:08 In other talks I've heard you talk about the fact that the old goddess cultures that you've been speaking about did not know warfare, they didnt have weapons. Ms eladsaiban emltette, hogy a rgi istenn vallsok nem ismertk a szervezett hborskodst, nem voltak fegyverek. * 1:34:09-1:34:25 The invention of warfare was really an invention of the patriarchal sky-god cultures that came later. Could you just briefly outline the evidence for that and how you view that story? A hborskods feltallsa csak a ksbb jv, az gi isteneket imd patriachlis kultrk tallmnya volt. Fel tudn rviden vzolni a bizonytkokat, s hogy ezt n hogy ltja? * 1:34:26-1:34:52 Yes it is true, this culture is a peaceful culture. We have no weapons except for hunting. Arrowheads exist and even one or two daggers have been found but these are not for warfare, whereas in the East, the Kurgan culture produced formidable daggers around 5,000 BC and later. Igen, igaz, az istenn kultrja bks volt. Fegyverek nincsenek, leszmtva a vadszfegyvereket. Nylfejeket tallni, trket is, de ezek nem hbors clt szolgltak, gy, mint keleten, ahol a kurgnok flelmetes trket ksztettek Kr. e. 5000. krl, s ksbb is. * 1:34:53-1:35:08 And then from the daggers swords developed, and then they had spears and other weapons, whereas in Europe we do not have weapons until the appearance of the warriors. A trkbl kialakultak a kardok, de volt lndzsjuk is, s egyb fegyvereik, mg Eurpban a harcosok feltnsig egyltaln nem voltak fegyverek. * 1:35:09-1:35:24

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) Then after that, of course, the culture was transformed and weapons appeared, together with a specific type of metallurgy which appeared in Europe at the end of the 4th millennium or the second half of the 4th millennium. Ezutn termszetesen a kultra talakult, feltntek a fegyverek, s vele egytt a 4. vezred msodik feltl vagy vgtl a klnleges fmmegmunkls is * 1:35:25-1:35:49 The metal was what we can call now bronze, but it was first arsenic and copper, and this was a hard metal. The metal used before by Old Europeans was a soft metal. It was copper and gold, and from that kind of metal you could not produce weapons. A fmet ekkor mr bronznak tekinthetjk, de az elejn arzn-rz tvzet volt, ami egy kemny fm. Ami fmet a rgi eurpaiak korbban hasznltak, az puha fm volt. Rz s arany, ebbl nem lehet fegyvereket kszteni. * 1:35:51-1:36:14 The most important evidence for a peaceful culture is the location of habitation sites. They chose the best, the most beautiful areas. They didn't even think of enemies. They didn't have to climb up the hills, they didn't have to fortify their settlements with stone walls. Arra nzve, hogy egy bks kultrrl van sz, a legfontosabb bizonytk a telepek elhelyezkedse. A legjobb, a legszebb helyeket vlasztottk. Az ellensgre nem is gondoltak. Nem kellett felmszniuk egy hegyre, nem kellett kfalakat hzni a teleplsek kr. * 1:36:15-1:36:23 If they fortified it was just a trench or some palisade against the wild animals maybe, that was all. Ami erdtst tallni, csak egy kerts volt, vagy egy torlasz a vadllatok tvoltartsra, ennyi. * 1:36:23-1:36:36 Marija, is there any evidence that you can use to get an idea of what the balance between male and female was in the family and in society in Old Europe? Marija, ltezik arra bizonytk, hogy a Rgi Eurpban a csaldban s a trsadalomban frfi s n egyenrang volt? * 1:36:37-1:36:58 Well, we can reconstruct something, of course, not the whole picture, because in archaeological records it's difficult to find such good evidence for that. We can use settlements, we can use cemeteries, we can use frescos and other sources. Nhny dolgot tudunk rekonstrulni, a teljes kpet nem, mert a rgszeti anyagban nagyon nehezen tallni vlaszt az ilyen krdsekre. Vehetjk a teleplseket, a temetket, a falfestmnyeket s ms forrsokat.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 1:36:59-1:37:21 I would say it's important to see what happened in Crete, in Thera in the Bronze Age where we have so many frescos that we can use to reconstruct the society. This is a balanced society with the woman as a priestess on the top and as a queen. Mondanm, hogy fontos megnzni, mi trtnt Krtn s Thrn a bronzkorban, ahol sok falfestmnyt tallunk, s ssze tudjuk rakni a trsadalom kpt. Ez egy egyenslyozott trsadalom, tetpontjn a nvel, aki papn s kirlyn volt. * 1:37:23-1:37:34 I think its no doubt that the Minoan culture had a queen and her brother maybe was very important for trade and navigation. Szerintem nem ktsges, hogy a mnoszi kultrban egy kirlyn uralkodott, akinek a fitestvre igen lnyeges szerepet jtszott a kereskedelemben s a tengeri hajzsban.

* 1:37:35-1:37:55 And I would then go back and see from the settlement and cemetery evidence in Europe of the 6th, 5th, 4th and 3rd millennia BC that there was a balanced society where men were important. De vissztrve az elbbire, ha megnzzk az eurpai temetket a 6-3. vezredig, olyan trsadalmat ltunk, ahol egyensly volt, ahol a frfi fontosnak szmtott. * 1:37:56-1:38:20 They were overseeing trade and perhaps architecture, building, shipbuilding, navigation, and toolmaking. In their graves always there appear trade objects, whereas in important female graves the cult objects and symbols appear. A frfiak felgyeltk a kereskedelmet, s taln az ptkezseket, az pletekt, a hajptst, a hajzst s az eszkzksztst. A frfisrokban mindig tallni kereskedelembl szrmaz trgyakat, a magasabb rang nk sirjaiban kultikus s szimbolikus trgyakat. * 1:38:21-1:38:42 Also in many areas of Europe women's graves have been found which were very important in the sense that the whole mound, a long mound was on top of a single woman. Eurpa tbb rszn elfordul, hogy olyan ni halomsrokat tallnak, ahol egyetlen n fl egy egsz halmot, hossz srhalmot emeltek. * 1:38:43-1:38:56 Such graves appear in Poland, for instance, in the so-called Funnel-neck Beaker

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) culture. In Hungary graves are found where models of temples were found in a woman's grave. Pldul Lengyelorszgban, az n. Funnel-neck Beaker-kultrban. Magyarorszgon pedig olyan ni srokat talltak, amelyek templomok modelljeit tartalmazzk. * 1:38:57-1:39:18 So there is a lot of evidence, which shows that the woman is connected with the temple, she is important in the religious movement, she is the overseer of the temple and this was actually a theocracy or theacracy, where women were the leaders of religious life. Sok bizonytk van arra, hogy a nk ktdtek a templomhoz, fontosak voltak a vallsos mozgalmakban. Felgyeltk a templomot, tulajdonkppen egy teokratikus trsadalom volt, ahol a nk vezettk a vallsos letet. * 1:39:20-1:39:40 But then men also served in rituals, judging from Theran frescos where there are processions of men, or men bringing gifts to the Goddess, carrying fish from their fishing, bringing to the Goddess. A szertartsokban a frfiak is szerepet jtszottak. A thrai falfestmnyekbl tlve a frfiak krmeneteket tartottak, ajndkokat vittek az Istennnek, halat vittek neki a halszzskmnybl. * 1:39:41-1:39:58 So in other words I would agree with Riane Eisler's term gylany, composed of gy and an, woman and man, with L in the middle linking the two sexes. Msszval, egyet tudok rteni a glania kifejezssel, amit Riane Eisler alkotott. Kt tagbl ll, gy s an, azaz n s frfi, az L-bet kzpen sszekti a kt nemet. * 1:40:00-1:40:16 However, maybe in the very beginning there was not a real balanced society. I think the woman was more important because of the Goddess and because the mother was really very important. Br a legelejn lehet, hogy nem volt egy igazi egyenslyozott trsadalom. Szerintem a n fontosabb volt az Istenn miatt, s mert az anya igen-igen fontos volt. * 1:40:17-1:40:41 The father was probably just a consort and the brother of the family took care of the children. He was the important man, and the linguistic evidence shows that. The brother of the mother is always important in the non-Indo-European remnants of the language. Az apa valsznleg mint csak a csaldf hzastrsa jelent meg, az anya fitestvre gondoskodott a gyerekekrl. A fitestvr fontos szemly volt, ahogy ezt a nyelvszeti bizonytk is mutatja. A nem indo-eurpai nyelvemlkekben mindig fontos kifejezs, ami az anya fitestvrrt jelli.

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth Foundation, 1990) * 1:40:43-1:41:04 Well, I think what I have shown to you in my slides and said is part of what is possible to say about the goddess religion of Old Europe, which existed before the Indo-Europeans. A flikon megmutattam, s elmondtam, ami rviden elmondhat a Rgi Eurpa istenn vallsrl, ami az indo-eurpaiak megjelnse eltt virgzott. * 1:41:05-1:41:29 I identify this term with a non-Indo-European culture, not Indo-Europeans! This was a Goddess Civilization I would dare to say, because it reached a culmination around the 5th and 4th millennia BC. A Rgi Eurpt n nem volt indo-eurpai kultra! Az Istenn civilizcija volt, ki merem mondani, hogy a virgzs tetpontjt a Kr. e. 5-4. vezredben rte el. * 1:41:30-1:41:47 I don't agree with the definition of 'civilization', that civilization begins with the warriors in Europe, with the production of weapons and building of hill forts. Nem rtek egyet a civilizci azon defincijval, miszerint a civilizci akkor kezddtt, amikor a harcosok feltntek Eurpban, akik fegyvereket ksztettek, s hegyi erdtmnyeket emeltek. * 1:41:48-1:41:58 I think this was an ideal culture, a peaceful, stable and long-lasting civilization from which we can learn a lot. Szerintem ez egy idelis kultra volt, bks, stabil, hossz tv, amibl sokat tanulhatunk. Angol tirat: Andy Ronin & Bene Kinga Az tiratot Joan Marler szerkesztette Fordts: Moi Klnleges ksznet illeti Ralph Metznert A jelenlegi fordts s a vide feliratai kztt elfordulnak aprbb eltrsek.

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