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The Thracian Amulet from Tartaria (Romania)
dated from the Eneolithic (Chalcolithic) Era (circa 5000 - 4500 BCE)

The pictographic signs on the Amulet from Tartaria, which are quite clearly visible upon the tablet’s photograph (exhibit A) can be presented in a computer enhanced version and in a schematic drawing, as presented respectively in exhibits B and C.

Please, note that the Amulet consists of four quadrants containing pictograms, defined by the crossing of a horizontal and a vertical line going through its center, which have been deliberately drawn by the ancient scribe who produced it. For the purposes of our analysis these four quadrants have been numbered here with figures ranging from 1 to 4, starting from the left upper quadrant. (N.B. In addition, it is important to state that there may (or may not) have been other additional signs on this artifact in the past, that have not been preserved and/or are not presently visible or discernable. If so, these have not been taken into consideration for the purposes of our present reading of the text).

The identified pictographic signs upon the Amulet (exhibits B and C) look exactly like the Hieroglyphic Inscription presented as exhibit D (and D1), when they are transcribed using the stylized later version of the pictographic script, known to us from the pyramid texts of Ancient Egypt, rendered here in its computerized calligraphic print.

Upon comparison, it becomes evident that the text displayed on exhibit B, exhibit C and Exhibit D (and D1), is absolutely one and the same identical text, and that the two calligraphic styles (respectively -the early Thracian, and the late Egyptian), represent one and the same identical pictographic script, which has come to us down the ages in its condition and appearance as seen on Exhibit A.

The evident conclusions are as follows:

  1. The Script used in the engravings upon the Amulet of Tartaria found in present-day Romania and the Scripts used upon the Tablets of Gradeshnitsa and Karanovo, found in the land of Ancient Thrace (present-day Bulgaria) are identical to each other and also IDENTICAL TO the Scripts used in similar tablets and in the pyramid texts, found in Ancient Egypt!!! In other words – they all represent one and the same IDENTICAL Hieroglyphic writing!
  2. The Tablets from Gradeshnitsa, Tartaria and Karanovo, found in the land of Ancient Thrace, predate similar artifacts found in Egypt by about two thousand years. Apparently, this particular type of Hieroglyphic Script had originated and was first used in Ancient Thrace, and it was later transferred and introduced in Ancient Egypt.

As already mentioned, the pictographic symbol that immediately caught our attention from the beginning, and even from our very first glance on the Amulet of Tartaria, was the Pictogram meaning “Thrace” and “Thracian”, which we already know quite well from the first book of the series The Thracian Script Decoded. Remember, it was first identified on the Djer (Tser) Tablet (found in Egypt, circa 3000 BCE, and kept at the British Museum) and then upon the Votive Tablet from Gradeshnitsa (found in Thrace, circa 5000 BCE and kept at the Vratsa Regional Museum, Bulgaria)! To recapitulate what we said then, this “Thracian Signature” hieroglyph, was also found in a number of other places among which was the Royal Temple Complex at Sveshtare (Bulgaria), upon quite a few pieces of gold and silver vessels from the Thracian treasures found at divers places in Bulgaria, and in some more hieroglyphic inscriptions from Ancient Egypt. (For more detail, please, check out pp. 39-41, and 104-107 of the first edition of The Thracian Script Decoded-I, 2006, ITS.)

Now once again, we display below some of the variety of ways this Pictogram, meaning “Thrace” and/or “Thracian” was drawn,

1. 2. 3. 4. 5. 6. 7.

each adding an additional specific attribute to the main ideogramic, or phonetic value of the Pictogram, which attributes in the above given cases have the following respective meanings:

  • 1. – “the four pillars of the world”
  • 2., 3. and 4. – “the back-bone of the world”, or “the spinal column”
  • 5. – “Divine Words” (“Scepters”)
  • 6. – “Land of Divine Words”
  • 7. – “Land of Megaliths (Megalithic Temples)”

In the case of the Amulet of Tartaria, the hieroglyphic presentation of the sign or fits the meaning of the word “Thrace” with its description as “Thrace – the backbone of the world”

(1) God-The-Father
(3) (will) fight in (their) support
(2) (while) the Thracian lords,
(4) (shall bring) altars of material and spiritual offerings (to Him).
Exhibit A Exhibit B Exhibit C Exhibit D Exhibit D1 Exhibit E
  • A. Photograph of the Thracian Amulet
  • B. Computer Enhanced Photograph of the Amulet
  • C. Schematic Drawing of Thracian Amulet – Early-Thracian version of the Hieroglyphic Script
  • D. Stylized Late-Egyptian Hieroglyphic Transcript of the Amulet - (Quadrants #1 and #2 need to be rotated to a 90° to facilitate reading)
  • D1. Stylized Hieroglyphic Transcript of the Amulet – Late-Egyptian version of the Hieroglyphic Script (Quadrants #1 and #2 have been rotated as needed!!!)
  • E. Translation of the Text of all four Quadrants of the Tracian Amulet

In the process of analyzing the relationships between the inscriptions in the different quadrants, we inevitably stumble again and again upon the fact that the spatial orientation of the pictograms in Quadrants #1 and #2, has been arranged by the ancient scribe in such a way, that they have to be rotated around the punctured opening on the Amulet (representing the Sun?) 90° clockwise for Quadrant #2, and the same degree counterclockwise for Quadrant #1, in order to have the correct position of the hieroglyphs inscribed in them to be readable! Why is that so? What point did the ancient Author intend so hard to press, that he had to use such means to get our attention?

To answer the above question, we need to be enabled with a little bit of more specific knowledge about the ancient Egyptian hieroglyphic script, which as we already established before, was identical in character, and similar in calligraphic style to its early Thracian version, as found on all the Thracian tablets which are now objects of our analysis. Let’s take a closer look at Quadrants # 1 and # 2 of the Thracian Amulet once again:

In order to appreciate the reasoning of the ancient scribe behind the peculiar spatial arrangements of the displayed pictograms above, we need to know a tiny little detail that will make for us all the difference as to how we begin to perceive the whole message from Tartaria!

The hieroglyph “Lord (Master)” and the hieroglyph “bread” (and phonetic “t”) are two identical, but spatially – diametrically opposing each other pictographic signs.

The word “Father” pronounced in Egyptian – “ef-Yot”* (Yotef, Atef), consists of two pictograms, the first of which stands for “knife” (phonetic “i”) and the second for “bread” (phonetic “t”). This fact is quite curious, since the Bulgarian language has preserved to this very day the idiomatic saying: “You are my father, you are my mother. The knife and the bread – they both are in your hand”, meaning “I totally depend on you and I desperately need your help. Be like a father figure to me!” In addition, the Bulgarian word “Otec” (“Yot-ec”) = “Father” probably originated from the “Yot-ef” form of the word, listed above! It is very likely that the word “pitta” for “bread” in Bulgarian, was derived from “pi-taj”(“the-bread”)* pronunciation of the ideogram! Quite properly in both early Thracian and ancient Egyptian, the word “Father-God” (“God-the-Father”), contains the same pictogram for “bread” , but also the additional hieroglyph , meaning “Beginning of all beginnings” or “One without Beginning”. Thus as a result we have the unique composite pictogram for “The Father-God”, with the extended intrinsic meaning of “The One Father of all Beginnings”.
Now we can begin seeing a totally new perspective in the meaning of the text on the Amulet from Tartaria:

When we look at the Amulet oriented in the position as shown above, it becomes evident that the ancient author oriented the pictograms deliberately in this particular way to strongly remind the Thracian Lords that they should not see themselves primarily as rulers and masters, but first and for most as “Fathers” of the Thracian people. To press this point of view, the scribe used the juxta-position of the words: “Fathers" and the inverted pictogram for “Lords of Thrace” (instead of ), to bring home (by the obvious likeness between the pictograms) the concept of the “Rulers of Thrace” being raised and appointed by God to be in effect “Fathers of Thrace”. Now, this in turn lifts the written clauses of this formal contract between the kings of Thrace and the Deity to a new and higher level of Sacredness and Sanctity, as it obligates “the Lords of Thrace” to bring their due material and spiritual offerings, not simply because of legitimate respect and fear of the Lord God Almighty, but first and for most – because they are “the Fathers of Thrace” and their source and root (expressed by the “Father-God” pictogram under theirs) is the Greatest “Father of all fathers” – i.e. The Lord God Almighty Himself! The idea behind this Sacred Covenant reading is, that if the kings and nobles of the land of Thrace desired and expected “the Father- God” to take care for them and fight for their interests as their own natural father would, then they themselves were also expected by Him to act as fathers of their own people and nation in return, and to make it their own job and interest to care for their own people and their nation’s prosperity, by bringing worthy spiritual and material offerings and works!

When we rotate once again the Amulet to the angle of view depicted in the exhibit below, we are bound to see the other side of the bargain, which makes it quite clear what would follow if the Lords of Thrace “forget” to fulfill their obligations:

Here we see that the orientation of the pictograms by the ancient author gives a very different reading of the text by deliberately presenting the hieroglyph of “God-the-Father” , in its inverted form (containing instead of ) to underline its meaning as “Lord of All Beginnings” (or “Lord without Beginning”), instead of “Father of All Beginnings” (or “Father without Beginning”). And since this pictogram is positioned now above the hieroglyphs for the “Lords of Thrace”, it becomes an instant warning to the human side of the Covenant, that if they who are the kings and nobles of Thrace, begin to pride too much in their exalted positions and indulge in their “Rulership”, rather than their “Fatherhood” over the people and land of Thrace, thus failing to care properly for their people’s wellbeing and prosperity, then they should know that they too have a “Master” and “Lord” over all of them, and He is “The Lord God of All”. Therefore, if they turn out to be “merciless masters” who become unworthy because of their cruel treatment of their own people and land, and thus fail to bring the due spiritual and material offerings expected from them by God-the-Father, then in that case -He also would cease to act as their father, but would become to them a punishing and merciless “Lord-Master above All”, according to their own works! Curiously enough, the word “lord” , pronounced “neb” (“nev”, or “nav”)* also gave a derivative word to the Bulgarian language. Just as “nav” means “master” and “lord”, so “es-nav” means “to lord it over”, and it was preserved as the modern word “esnaf”, which has somewhat negative meaning akin to “a noble snob” in modern Bulgarian, yet only a century ago, it meant “a distinguished master” (of a guild organization)”!

If we are to put the above text into the everyday lingo of our modern time, it would sound something like this:

"The Almighty God-The-Father, (King of kings and) Lord of lords
will fight in support of the Thracian (kings and) lords,
while they shall be (true) Fathers to their people
and shall bring to Him (worthy) offerings in substance and in spirit."

Thus, using just a few pictograms and a special spatial arrangement between them, the ancient Author who engraved the text upon the Thracian Amulet from Tartaria, managed to say in a perfectly chosen concise form, quite a few important things, which constituted a Sacred Covenant (contract) between God and the Rulers of Thrace. And this happened around 5000 BCE, during an epoch which the classical textbooks of history and anthropology have presented to us as very “primitive” and “devoid” of any written thought expression, let alone sophistication of levels comparable to those documented above, which our forefathers – the Thracians expressed in writing 7000 years ago!

See also the decoding of other artifacts containing the Thracian Script

* in the Boharic (North Egyptian Coptic) Dialect