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THE ARK OF THE COVENANT FOUND IN BULGARIAAt the Gradenshnitsa, Bulgaria, We Have Recovered The 7000 Years Old Ark Of The Orpheic (Orphic)
Covenant With The First Covenant Tablet
“Culture Gradeshnitsa”was an intrinsic part of “Culture Thracia”, and this became particularly evident after the decoding of the Thracian Pictographic text, present on the world-famous Votive Tablet from Gradeshnitsa, by using the Guide Method, as was published in “The Thracian Script Decoded – Book I” by Dr. Stephen Guide.
That “Culture Gradeshnitsa” was not an “isolated” event, but was part of a much broader South-Eastern European complex, was first suggested by the famous Bulgarian archaeologist Bogdan Nikolov, who spent a lifetime of work on the site and on the subject, and in his book called The Gradeshnitsa Prehistoric Settlements, he made the following almost prophetic statement:
“The prehistoric settlements of the
Gradeshnitsa type belong to a common South-Eastern European
Complex… The settlements of the old, the late and the early chalcolithic
period at Gradeshnitsa bring new light to the problem areas of the
prehistoric past, not only on the Balkans and the South-Eastern European
subcontinent, but also to the pre-historic period in West Asia Minor.
Undoubtedly, they will trigger great interest among the most serious
scientific circles and will raise new questions, as well as bring due
corrections to the existing hypotheses and opinions, and thus, will
inevitably lead to new more sound conclusions. This stems out of the fact
that the prehistoric culture found at Gradeshnitsa, demonstrates a
developed original style, and a finished classical form and tradition…”
The Ancient Thracians’ Concepts about the Sacredness of Life at the Individual and the Community Levels, Temple Worship and the Ark of the Covenant, as expressed in the Artifacts from “Culture-Gradeshnitsa”
“The Temple of God is my Fortress and Defense” – states the Votive Tablet from Gradeshnitsa in its Covenant Text. The Temple of God, however, begins in the heart of the worshipper and the Thracian Scribe knew this fact. At the ancient Temple site at Gradeshnitsa we witness this knowledge engraved upon a 5000 BCE figurine, which has a hieroglyphic inscription depicting the “human heart”:
Not only has the Thracian Pictogram listed above, its exact analogue in ancient Egypt, as shown in Exhibit D12, but most strikingly, it is a lot more “anatomically correct” as drawn at Gradeshnitsa, with its four cardinal blood vessels, compared to the Egyptian Hieroglyph with the same meaning, which displays only 2 separate ones, and an upper truncated area, less clearly defined! This fact can be considered “hard evidence” of superior knowledge of anatomy and medicine, which the ancient Thracians had thousands of years before any such knowledge existed in other places and among other people! In addition, the hieroglyphic word (“heart”) is pronounced “ieb”, which most likely produced its derivative word in the Bulgarian language “liebe” (“l-ieb-e”), meaning “sweet-heart” (“beloved”)!
Temple Worship, however, does not end only in the heart, or at the individual level. It is a community enterprise, and it requires community expression. The Thracian community at Gradeshnitsa, expressed its need of communal worship of God, by building a whole Temple Site, which in fact yielded all the found and analyzed artifacts in this book, which in the end are also the result of a community effort, which included archeological and linguistic “digs” and “restoration” work in our age and time.
The following artifact from this sacred Temple Site reflects the importance of Temple Worship in the eyes of the ancient priest / scribe:
The artifact above is a ceramic (pottery) box, (that reminds astonishingly of a coffin, or sarcophagus, only much smaller in size!) and it represents a “Model” of a Temple richly engraved with repeated patterns and variations of à cardinal pictographic symbol - , which has its identical Egyptian analogue (from the Old Kingdom), meaning “Temple” (or “Home” of the Deity). The pictogram is pronounced “Orphei” (“Erphei”)* in the Boharic (North Egyptian) dialect, which means “Temple”, but what very few people have noticed so far (especially among Egyptologists!) is that “Orphei” is also accurately translated as “Orpheus” at the same time! And as already reviewed in Chapter 1 of this book, the Legendary ORPHEUS was the Thracian Patriarch equal to what Moses was to the Jews, and several independent of each other ancient traditions attribute to him the foundation of both the ancient Dionysian Religion and the Orphic Mysteries, as well as the essentials of all ancient Temple-worship, Temple-music and Temple-ritual, that have influenced all religious practices from his time to this very day! His own personal name was so closely related to the ancient concepts of Temple and Temple Practices, that in the end, (no wonder!) it became synonymous with the ancient word for “Temple” both in the Thracian speech and in the Boharic North-Egyptian dialect!
But in addition to that symbol, the above artifact has a few more pictograms, one of which is engraved right around its “entrance” aperture:
In the Egyptian hieroglyphic writing, the above pictogram
has the meaning of “coffin”, “sarcophagus”, or “sacred chest”. The earliest
“coffins”, or “arks” (chests) in Egypt, for example, date from a much
later time – the pre-dynastic period before the Old Kingdom (circa 3500-3100
BCE), and most of them were made of ceramic (“pottery”). “One
type was an extension of the still earlier “pot-burials” – an oval pottery
coffin to hold the contracted body. The other type was made of wood, and
formed the prototype for all succeeding coffins and sarcophagi… Many
were simple boxes without ornament, but early in the Archaic Period
examples are found with sides constructed to show the so called “palacefacade’
motif” – a representation of the paneled exterior of a dwelling,
reflecting the coffin’s status as the house of the deceased.
sometimes flat, but generally they had a vaulted central section, with
raised rectangular sections at either end.
This seems to have signified the – ,
which was to become characterized as the “per-nu”, the national sanctuary of Lower Egypt at Buto”
What the Egyptologists - authors of the work named above did not know, was the fact that the first most ancient prototype of the “national sanctuary”(or “per-nu” *** - ), was not found at Buto (the first capital of Egypt), but at the ancient Thracian Temple Site at Gradeshnitsa over 2000 years before Buto ever existed! Hence, the Thracian connection to Egypt once again! (Read more about that and the capital of Buto, in Book I of The Thracian Script Decoded – p.101)
Upon further scrutiny, our most ancient “chest”, or “coffin” from Gradeshnitsa, which clearly represents a “Model of a Temple”, has four very peculiar ornaments at its four cardinal upper corners, depicting faces of some “mythical creatures”. This brings to memory the finds of a number of similar coffins, or sarcophagi “guarded by Cherubs” from the Old Kingdom in Ancient Egypt, where the four cherubs had been named “Isis, Nephtys, Neith and Serkhet” and were known as goddesses. Now a typical example of such a “sacred chest”, or “coffin” is the gilded Canopic Shrine of Tutankhamun, guarded by the statues of the four goddesses at the four cardinal points. Another extraordinary and very peculiar symbol is flanking the “entrance” of the Temple model represented by our “sacred chest” from Gradeshnitsa and it appears to be of great significance by the mere position it had been appointed:
The peculiar Thracian pictogram and its alternative symbols, as shown in Exhibit D13c above, are not typical for Ancient Egypt, but can be seen as “interlocked” hieroglyphic combinations, consisting of their respective symmetrical hieroglyphs, which, however, are typical Egyptian hieroglyphs:
The meanings of the above Egyptian hieroglyphs are the following:
It follows from the above that the possible interpretation of the symbols can be logically drawn to mean something like “measure for measure”, “take for take” (“tit for tat”), “hand-shaking”, “deal” (contract) and even “friendship”, which is in turn demonstrated by the following Egyptian hieroglyphs: .
The fact that we use a very similar icon symbol for friendship and/or business deals in the 21st century, as illustrated below
To complete our review of the pictograms on the “sacred chest” from Gradeshnitsa, we need to consider the following two symbols, which also deserve our special attention:
The hieroglyph has a phonetic value of “n” and stands for “of” (“belonging to”), and for “to, unto” in the English language.Notably, it has retained the same (“n”, or “na”) phonetic value in the modern Bulgarian language, which fact betrays linguistic connections to the ancient speech of the Thracians.
The hieroglyph or meaning “The One” (“The First One - Root of All”, or “The One God”), as already reviewed in the previous chapter of this book, is substituted here for the hieroglyph for “God” , which according to a number of researchers in fact most likely has originated from it. Now we know that somehow the “sacred chest” from Gradeshnitsa has a combination of some very unique pictographic signs engraved upon it, which include the words and phrases: “Contract”, “of the One God”, “Sacred Chest” (“coffin”), and “Orpheus” (“Temple”).
But what makes the Gradeshnitsa “Temple Model” artifact especially notable, is the fact that it was found in proximity to the Gradeshnitsa Votive Tablet in the same Temple “Complex”, at the Eneolithic Gradeshnitsa Temple Site! As you may well remember, this Votive Tablet represented the First Covenant (Contract) between God and man ever recorded in history! (for more detail, go back to Chapter I of this Book, and Book I of The Thracian Script Decoded). In addition, the chest is of such size, that the Votive Tablet can fit exactly inside it. No wonder then, that the chest carries the pictogram (meaning “contract”, or “friendly pact”, i.e. “Covenant”) and the hieroglyph (meaning “Sacred Chest”, or “Sacred Ark”), are both engraved upon its frontal aspect! It obviously served the purpose of a “depository chest” for the Tablet of the Covenant, and was, therefore, only logically named by the ancient scribe “The Ark of the Covenant”! How can this be, some may ask? You mean like “THE ARK of the Covenant” that we have all read about and watched movies about? But, yes, of course -The Ark of The Covenant with the Tablet of the Covenant kept in it! WE HAVE FOUND THE LOST ARK!!!
However, this is definitely NOT the Mosaic Ark with the Two Tablets of the Covenant between God and the Jewish people! The Covenant (Votive) Tablet found at Gradeshnitsa states the name of Thrace and the Three-one God, who dwells in the Land of Thrace, and then states that the “God dwelling in the Temple (pronounced “Orphei” = Orpheus) is a mighty fortress and defense”! The passage may also mean that the “God, dwelling in Orpheus is a mighty fortress and defense”! Upon further analysis the whole Covenant text upon the Tablet may be understood as a Covenant between the people of Thrace (or their representative) and the God of Orpheus, i.e. the Three-one God, dwelling in Thrace!
In addition, the “Ark” box itself, has the same pictogram , (“Orphei”= Orpheus), linking the chest and the Covenant Tablet together!
Further survey of the artifacts shows that the Covenant Tablet’s size allows it to precisely fit inside the “Ark” (“chest”) upon one condition, and that is the condition in which the tablet did not go through the “entrance” (aperture) of the “ark”, which is in fact too small for the Tablet, “to go through”, but large enough for the Tablet to be “seen through” and/or “touched through”! Which means, that the Tablet had to be deposited in the “ark” prior “to closing”, or rather completing the ark’s roof (as it has no lid, but is made of one whole piece of clay)! This also means that the “Ark of the Orpheic Covenant” had to be baked (and thus completed) with the Tablet already inside of it. Thus the tablet itself would have already been baked and completed, and maybe even worn as a “sacred amulet” or “ritual relic”, some time prior to even being placed in the “ark”! This makes the Votive Tablet of Gradeshnitsa of somewhat older origin than the Covenant Ark which was obviously specially tailored to it in such a way, that once the Tablet was deposited inside it, it could be touched and seen (through the small aperture), but it could NEVER be taken out again, unless the “Ark” itself, was broken first!
And the reason that we have the Votive Tablet of Gradeshnitsa outside and separated from the “Ark” is the fact that IT WAS BROKEN FIRST! Evidence to that can be seen in the fact that all walls of the “Ark” in its present restored condition, are engraved with decorative repetitions of the pictograms described above, except only one side wall, which is totally messed and “blank” or devoid of any pictograms or decorations, or any patterns of any sort, for this matter! That wall was the “restored” wall, after the breaking of the “ark” and the taking out of the Covenant Tablet(s)! Whether this restoring occurred in “prehistoric”, or “modern” time, all the same, IT DID OCCUR! The Ark of the Covenant was broken. Was this a sign that the Covenant itself had been broken, similarly to the time (thousands of years later), when Moses broke the first Tablets of the Covenant of God, because in his absence the people had broken their covenant relationship with God? This we may never know. What we know, however, is that at Eneolithic Gradeshnitsa in Thrace, we have discovered The First Ark of the Orpheic (Orphic) Covenant and The First Tablet of this Orpheic (Orphic) Covenant – the Votive Tablet of Gradeshnitsa!
The logical question that comes to mind is, why then, didn’t the scribe just write it simply so – in just one line of hieroglyphs, rather than getting into the intricate pattern of decorative repetitions of the various pictograms upon different sections of the Temple Model chest, as seen above?
The answer may not be immediately obvious to many, yet it is quite transparent to those who have extensively studied the subject of “sacred writing calligraphy”, and the art of “sacred enigma encryption”, which both reveal that the ancients’ minds loved to “play with words” and their meaning, and produce intricate “sacred riddles”, by literally trans- positioning, inter-lacing, juxta-placing, and puzzle-wording their writings, to such an extent, that in the end, only the specially trained, or “initiated” in the mysteries eyes, could unravel the “secret meaning” of a sacred text. In addition, the ancient priests loved to say many things, using few words (or rather pictograms) by positioning them in a very special spatial (symmetrical, or asymmetrical) fashion (akin to a “mandala” of sorts!), in order to achieve that multi-level meaningful effect. In our case with the “chest from Gradeshnitsa”, the ancient scribe wanted to say simultaneously quite a few things, possible examples of which are listed below:
Some of the meanings above contain also deliberate perplexing allusions expressing “conflicting”, or “confusing” ideas for the unprepared and “uninitiated”, but perfectly intelligible and “enlightening” to the ardent follower, like the following “riddles”:
“The Ark is of God”, but also somehow “God is in the Ark”, and
“God is in Orpheus (His Temple)”?
In conclusion, we can summarize the above facts as follows:
In Book II of The Thracian Script Decoded our research continues with more analyses of about twenty other notable artifacts from the Gradeshnitsa site, which bring further clarity into what was actually occurring in the Temple “as a continual sacred enactment of the Covenant Mystery”, the quintessence of which were, of course, the Ark and the Tablet of the Covenant.
See decoding of other artifacts containing the Thracian Script
* in the Boharic (North Egyptian Coptic) Dialect
** N.B. = “temple” in the Boharic (North Egyptian Coptic) Dialect “per nu”, or (“belonging to Orpheus”) “per” = “temple” in some other Egyptian dialects