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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:
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,
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:
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”
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”.
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:
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
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!
* in the Boharic (North Egyptian Coptic) Dialect