www.michelangelo.cn

THE MOTHER ISTEN

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

THE PALAEOLITHIC VENUSES - THE FIGURAL MOTHER GODDESSES See the abstract “Pre-Arya-Semite-Mongol rites”, “Venuses”. THE SYMBOLIC MOTHER GODDESSES In the , the European Paleolithic Venuses were replaced by more symbolic representations of the Mother Isten. The awareness that Isten could not be represented anyhow, generated a taboo against figural representations and even against the naming of the divinity. That taboo was still alive in early Buddhism, early Christianity (Iconoclastia), and it survives still today in the Middle Eastern religions (Islam, Judaism). Finally, with the emergence of the Arya-Semite-Mongols, the Mother Isten shall be replaced by warrior, anthropomorphic, testosteronic, macho Gods. 0 0 1

E a r l y

S Finland, Palaeolithic Israel, 10.000 B.C. Trypillia 6000 B.C. Cucuteni Pannonia, 3000 B.C. y The above images show the most ancient symbolic representations of divinities that I have m found. In the Stone Age, some symbolic designs start appearing in Europe: they are usually b defined Orantes as they stand their hands up, as they were praying. The abundance of red o ochre spread onto some hundred square meters of the Finnish Varikallio rock confirms the l sacredness of the representation: delivering Mother Goddesses on the way to become i symbolic, together with elks and stags. The decoration of the Cucuteni and of the Pannonia s (a “supernatural being” found in Pannonholmi Ut, Budapest, HU) already contains m double spirals, V shape designs, dotted circles, dotted double circles, a heart design, and the symbolic representation of the Mother Isten (left). All those designs, except the Finnish one, are all made with 3 lines: 3 lines shall be associated to femininity. These designs shall evolve in the Pannonico designs that shall remain sacred symbols for the Hungarians up until the

time they came back home. Please note that I am not responsible of any dating that you may find in my books: the dating I report is the one attributed by the Museums or by the authors of the books from which I have taken the images. Sofia History Museum, BG ↑. ÇATALHÖYÜK*, THE SYMBOLIC MOTHER GODDESSES Çatalhöyük (Central Anatolia, 8000-5700 B.C.) was the first polis and it was one of the places where the Paleolithic Venuses evolved into 0 symbolic representations of the Delivering Mother Goddess. The Çatalhöyük civilization (Anatolia, North Mesopotamia, and Levant, 0 including Jericho) faded in 5700 B.C.. At that same time, the symbol of the Delivering Mother Isten starts appearing in Vinča, Carpathia, 2 and Old Europe. The Çatalhöyük’s images are taken from the book “Çatalhöyük, the leopard’s tale”, Ian Hodder.

Ruling Goddess Delivering Goddess (reconstructed head) Not a vibrator, but 2 arms assisted by pregnant Turuls Dotted double circle uteru A birthing Bear? The caption that Ian Hodder associates to the second image is: “female sexuality”. I guess, as Ian is a patriarchalist, that he wants the reader to imagine that the lady is playing with a vibrator. The truth is that the Lady is delivering a baby. In fact, what Ian sees as the image of a vibrator is instead the clear colour of the background. The real image, is the one around the vibrator, with a black engraved contour: the two little arms or legs of the baby. The 4th image is for Ian “probably a bear”. The rest of this table shows that IAN HODDER IS WRONG. 0 0 3

Ç a Opposing Leopards t a l h Stag, no weapons. ö Birthing symbol Double headed 4 Spiral Sun y 0 ü 0 k 4

Displaced head as in Vinča Grave, Eternal Love Old European phenotype Gold Idols? Sacred Symbols ÇATALHÖYÜK IS THE PLACE WHERE SOME OF THE SYMBOLS, DESIGNS, AND RITES OF THE HUNGARIANS WERE BORN.

(Mother Isten in the delivering posture (birth symbol), double headed figurines, Stags, opposing leopards, spirals, separation of the head from the body of the dead, death masks, red depiction of skulls, bucrania…).

If the Çatalhöyük people were those people who are supposed to have brought agriculture to Europe, they landed in Carpathia. A migration from Anatolia to the Balkans did occur in the Neolithic. It is proved by genetics, since Cavalli Sforza’s research. How large this migration was and did it bring agriculture to Europe? We now know from the above th archaeological evidence that the migration took place in the 6 Millennium B.C.. At that time, agriculture was already practiced in the Carpathian Basin, according to some scholars, and it was certainly practiced in several Balkan sites.

What if that migration was a migration of women, only women? They might have decided to leave when they started Ç feeling that Çatalhöyük was close to the patriarchal shift; when they found out that the faces of the Mother Goddesses had been effaced in a the temples; when they started seeing new idols, like the one on the right (Gӧbekli Tepe). (The Finno-Ugricist linguists may think it is t cock! See at the bottom of this table what it was!). a In any case, that migration contributed to the cultural ethnogenesis of the Hungarians even if it “did not have a strong genetic influence on l modern European female lineages” (W. Haak), and in general, on the European DNA, which could have not been affected simply because h the Çatalhöyükians shared with the Europeans the same DNA. ö The hypothesis that Çatalhöyükians migrated to Carpathia is congruent with the current mainstream dating: Çatalhöyük was inhabited y until 5700 B.C.; the Old European culture is dated from 5500 to the arrival of the . ü THE HUNGARIANS ARE THE ONLY PEOPLE WHOSE HISTORY IS 10.000 YEARS LONG, AND WHOSE HISTORY AND CULTURAL k CONTINUITAS HAS BEEN RECONSTRUCTED BY THIS ARCHAEOLOGICAL RESEARCH AND NOT BY AIRY-FAIRY LINGUISTIC

SPECULATIONS. On his book, Ian Hodder hypothesizes that the Çatalhöyükians brought agriculture also to Sumeria and this hypothesis strengthens my

hypothesis of Agglutinia, a large area from Mesopotamia, through Turkey and , to Central Europe, where agglutinative languages were spoken.

THE VINČA* SIGNS... A HUNGARIAN RELIGIOUS SCRIPT V 0 i 0 n 5 č a 3 6 3 0 H 0 u 6 n g 3 a 0 r 0 i 7 a n * * 6 * 3 * * * Lituus Delivering I Baby Isten 6 ray Sun 3 V shape Spiral Delivering I. Delivering I Cross of Istens The Vinča signs were a religious script. The symbolic representations of the Mother Isten, which remained unchanged throughout 8 Millennia, existed already in the Carpathian Basin when the Vinča signs were written. The Mother Isten representations became visual communication signs in Carpathia, tamgas in Arsia, and came back to Hungary as “palmettes” and “tulips” at the Honfoglalás time. As it was for the rovás, the most ancient Vinča signs were angular; the most recent ones were curved. Source for the Vinča signs: prehistory.it (other foreigners, who write the Hungarian history that the Hungarian intelligentsia is unable to write!). “The symbols of Vinča formed a kind of proto-writing: they conveyed a message but did not encode a language” (visual communication). The process of “visual communication” had started in Pannonia in 40.000 B.P. (See “Venuses”, in the abstract “Pre-Arya-Semite-Mongol rites”). Source of the tamgas*: Bakay Kornél, “Őstörténetünk régészeti forrásai. III.” THE KRAP KÖRÖS* EXCAVATIONS Spiral Idols, angular profile of vases, Trypillian breast cauldrons, 3, 4, and 6 circle designs, cones, fangs, hearts, biconical shapes,... and 0 Gold Idols appeared in the Kӧrӧs Valley (KRAP, Körös Regional Archaeological Project) in the 6th millennium B.C. and they accompanied the 0 Hungarians throughout the next 8 Millennia. The website of KRAP has been visited in the years by about 1600 Hungarians, who have 8 spent each about... 2 minutes (2009)! Archaeologists? No! Some Hungarian archaeologists do not have time for it, they are too busy reading obsolete Soviet books of archaeology!

K R A

P 0 0 9

KRAP has found a large number of artifacts that they have labeled “loom weights” and “spindle whorls”. The size of

the hole of some of the whorls appears to be too small, hence unpractical for the purpose. (A small diameter spindle

would easily break in correspondence of the whorl, when it would hit the floor, as it often did). Furthermore, a

traditional shape of whorls was conical, not bucolical, because the flat side would help retain the coil of yarns.

Bucolical “spindle whorls” are not the most effective: spindle whorls effectiveness increases with the distance K (momentum) of the weight from its axis. Ideally, they should be large diameter toroidal shapes linked to the central ӧ hole by spokes, as the flywheels are). Biconical “spindle whorls” could instead be beads, as biconical beads were a r ӧ Hungarian marker. However, fabric could be good evidence that these artifacts are correctly labeled by KRAP, but s these artifacts cannot be evidence that in Lepinski Vir and in Kӧrӧs they used to weave fabric. A hole too small on a loom weight would also be unpractical: antique yarns were not as thin as to-day threads! Thus, the hypothesis that the above loom weights were sacred symbols would not be blasphemous or “parochial”. Antique spindle whorls and loom weights often were or were decorated with sacred symbols or inscriptions guarding and purifying the spinner as she worked (Vinča, right, non biconical). Almost all the loom weights found by KRAP share the same design; that design must have had a special meaning for those people: you do not need a special design to make a loom weight. Furthermore, the last 2 (or even 3) above loom weights show bulges that could well make breasts. If those loom weights were symbols, they represented a pregnant belly and the hole was the vulva or the uterus, as it was in the Gold Idol. I also doubt that the people of Çatalhöyük were leaving loom weights in the grave of a child (right) unless they were symbols of sacredness. Even if the Kӧrӧs and the Çatalhöyük loom weights were not sacred symbols, their similarity is another clue that the Çatalhöyükians arrived in Carpathia, or belonged to the same ethnos of the Old Europeans. IN ANY CASE, MOST ARTIFACTS OF KRAP ARE CONGRUENT WITH THE 10,000 YEARS CONTINUITY OF THE HUNGARIAN ART THAT WILLIAM A. PARKINSON DOES NOT SEE YET. The images of the above artifacts have also been inserted in the abstract and in the lines they belong to. See below how the design of the “loom weight” evolved in Lepinski Vir: it became a Gold Idol. THE TRAIL OF DESIGNS AND SYMBOLS OF SACREDNESS FROM PANNONIA TO PAZYRYKIA AND ARSIA, AND BACK TO HUNGARY IS THE BEST EVIDENCE OF THE MIGRATIONS OF THE HUNGARIANS. PANNONIA > > > > CENTRAL ASIA > > > > HUNGARY … -1500 -1500... -500 -900... -200 -900… +895… Gold Idol, Magna Pannonia, Pazyrykia: Arsia: Agglutinia, Cimmeria Pazyryk, Tagar, Tarim B., Kashmir, Honfoglalás Pannonia Berel, Aržan, Esik West Tien Shan THE GOLD IDOL* - A PREGNANT* MOTHER ISTEN G While in Çatalhöyük the figural Venus (Pregnant Mother Goddess) was evolving into the Delivering 0 o Mother Goddess, in Carpathia the Venus was being replaced by such symbolic representations of the 1 l Pregnant Mother Goddess that it has taken almost 10.000 years to recognize them. Both the 0 d Çatalhöyük and the Carpathian Goddesses were adopted by the Pannonici and they followed the Magyars along their migrations, and they survive today in Hungarian art. The Çatalhöyük Mother I Goddess became the Delivering Mother Isten (left, 1934) and the Pregnant Mother Isten – the Gold d Idol - became… a “tulip” (right). o In the symbolic representation of the Pregnant Mother Isten, the circle was the uterus or the womb, l and the holes represented the uterus or the vulva and/or the breast and the eyes. Some Gold Idols were appliqués: it would justify the excess of holes in some artifacts. ← Lepenski Vir x3. 0 Körös, end of Mesolithic. 1 Sesklo. 1 S Aravissos Yannitsa (Macedonia) → t 4th M. B.C.. o Magnesia, Macedonia, lekythos, n 7th c. B.C.. → e Honfoglalás → → 0 1 A 2 g e 6 Pannonia Merv, Oxiana Pannonia Pannonia Cucuteni Trypillia, Wideiko 2 Trypillian Idols show 3 holes, where the breast and the vulva should be (3 circles design?) 0 1 3

M e t

a Tarim Basin, + 3 circles l 0 1 4

A g e “Celtic”, DE Tagar 0 1 5

Saka

Abashevo, Volga/Kama Sintashta, South Ural Varna, BG Tuva (Aržan) Sarmatian

← Sarmatian 6+6. 0 +breast 1 M 6 e t a Tagar l

Troades Cimmeria Altai Tarim Basin “Ostrogothic” Note how the Cimmerian Gold Idol is the trait d’union between European and Asian Gold Idols. A Source of the black and white images of Central Asia: Hermitage State Museum, Sankt Petersburg, RU. A written report, exhibited th rd g together with the artifacts, dates these finds from the 8 c. B.C. to the 3 c. B.C.. The Tagar, Tuva, Pazyryk cultures died out at the rd e end of the 3 century B.C., with the Hunnish raids. Only the survived: after the Huns and the Hungarians had mixed in the Minusinsk Basin: it became the Tastyk culture. The Hungarian Khanty/Mansy were Hungarians of Aržan, Pazyryk, Minusinsk, who fled the Huns and moved northwards. The Kets, who were earlier supposed to be Ostyaks (Khanty), whose language appears to be linked also to the Hunnish language, could be descendents of the Tastyk culture (see the book “The Huns”). The competence of the Russian archaeologists appears to be limited to Russia and to the former territory of the Soviet Empire: they did compare those artifacts with other artifacts from the Empire, but they did not make any effort to look for their origin out of the borders of the Empire. ТОВАРИЩ ЭРМИТАЖ! OPEN THE IRON CURTAIN AND LOOK OUTSIDE, TO THE WORLD, OUT OF THE EMPIRE! The Russians consider the ancient Eurasian cultures… “Russian”. Some Indo-Germanists even hypothesize that those cultures spoke an Indo-European language! DAVID W. ANTHONY, AN AMERICAN HORSE DENTIST, HAS LOCATED THE URHEIMAT OF THE INDO- EUROPEANS IN THE ABASHEVO/SINTASHTA AREA!!! In order to prove his theory, David has published on “The Horse, The Wheel, and Languages”, (Princeton University Press) the above images of Hungarian artifacts from Abashevo and Sintashta and other images that you find in “Sacred symbols”. EVOLUTION* OF THE PREGNANT* GOLD IDOL* DESIGN 0 1 S I hope that the linguists shall 7 t not insist maintaining that y Britannia Tagar these artifacts were Yugran l Flintstones’ i beer bottle openers! z e d Finnish Aržan Tarim Basin 0 1 8

H e a r

t Starčevo, Neolithic,

+ wave (double symbol) Pannonia Mosuo Museum, S. CN Siberia, transitional

0 S 1 h 9 a p

e Avar d

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

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

THE MOTHER ISTEN IN THE DELIVERING* POSTURE 0 2 0

Ç a t a Çatalhöyük Pannonia>Bayern, +1811 Pannoniberia Pannoniberia? Szeged, 1934, Shell Ferenc l 0 h 2 ö 1 y ü Vinča k

Çatalhöyük, delivery CZ, Pannonia, Pregnant Balkans, MNM Gan Su, CN, -2100 Baekie, Korea, 0-500 A.D. ← Map of Old Europe (Gimbutas), identical to the map 0 of the spread of the Vinča signs (www.prehistory.it), 2 D and very similar to my map of the Gold Idol 2 e Civilization. l I am convinced that the pre-Indo-Europeans of Europe i (Old Europeans) and the other populations of northern v Eurasia were a single ethnos. (Most of them were e blond or red-haired. The oldest red haired mummy found in the Tarim r Basin, (a female, who wears a conical hat with a feather, like other i mummies will a millennium later) has been dated 1800 B.C, "Beauty of n Xaiohe" → ). “The DNA from both Y and X chromosomes, of those mummies was g essentially European”. The ancient Eurasians shared the same civilization (Megalithic Menhirs, Cromlechs and Dolmens have been found from Eire to Korea); or, in the minimalist case, they were in touch with each other (cultural exchange and trade: 18 characters, out of 22, of the Bampo (Xian, CN) script were identical to Vinča signs, in 5000 B.C. (for more

about Bampo, see page 38 of “The Ugaritic Abjad...”). The Balkans and Gan Su images of the above line belong respectively to a Neolithic vase found in the Balkans (Magyar Nemzeti Múzeum) and to a vase found in north west China (maybe in Gan Su, the passage between Europe and China). The latter is in the Metropolitan Museum of Art, New York, USA. Both have a design on them, which represents a Mother Goddess in the delivering posture (similar to a Vinča sign). The Pannonico one is lacking the head: many Vinča statuettes were lacking the head, maybe for ritual purposes, according to Gimbutas. (In my opinion they could even have been made like that on purpose, in order to be as symbolic as possible, and in order to make that the linguists of the Hungarian Academy of Sciences be unable to recognize them). M Furthermore, in Çatalhöyük, the faces of the delivering Mother Goddess appear to have been effaced before the town was left by the o population (or at the time a new people took control of the city). Instead, the design on the „Chinese” vase is not t lacking the head, but the face is not anthropomorphic either: it is a Pannonico sacred symbol (Müller-Karpe). h Moreover, the two vases share an engineering feature which is peculiar to the Pannonico pottery: the bodies of e both vases have an angular profile (the Chinese profile is upside down if compared to the Balkan one (See r “angular”, in the “Art designs” abstract): they are more resistant to lateral loads than round profiles. For a similar reason the Gothic, or rather Sasanian arches [I am sorry, but I have not yet found clear evidence that those arches were Hungarian! Ogival arches were built in pre-Greco-Roman times in Europe.] are more stable than the Roman arches. Silla, 8th century A.D., National Museum of Korea: Delivering Mother Isten + the same crown of spirals as on Etruscan stones + frame of dotted circles + 3 circles + breast made of two spirals as in “Greek” geometric art. 0 2 3

I s t e n Çatalhöyük + Pregnant Baby Isten ready s assisting Turuls Pannonia Tarim Basin Avar to come out 0 2 4

Egadi, Sicily

Çatalhöyük Camuni Ristiina, FI Tagar Sarmatia Coat of arms HU 14th Hunnish (4 arm Isten!) 0 2 5 T a m g a s

“YOU CAN RECONSTRUCT THE MIGRATIONS OF TRIBES THROUGH THE MIGRATIONS OF THEIR TAMGAS”: THIS IS WHAT THE SCHOLARS SAY, BUT THEY NEVER HAD TIME TO DO IT. About 70% of the tamgas found in Arsia and published by Bakay are identical or similar to Hungarian sacred symbols that existed in Europe in the Age and started being used in Asia in the . The , the Avars and the Hungarians came back home with the same symbols that their ancestors had used throughout several Millennia in Europe. All the drawn images of tamgas on this table are taken from the book “Őstörténetünk régészeti forrásai. III.” BAKAY KORNÉL WAS UNABLE TO RECOGNIZE THE EUROPEAN ORIGIN OF THOSE TAMGAS BECAUSE HE ENDORSED THE SOVIET THEORY THAT THE SHYTHYANS HAD COME TO EUROPE FROM RUSSIAN SIBERIA. D 0 e 2 l 6 i v e r i

n . g 6 Varga Geza Varga Geza 0 2 B 7 i r t h i n g

Gimbutas, Old Europe, +3 , See line below Arsia, tamga, Bakay South China, Mingei M. Singapore, syncretic Malyan (Fars, Iran) was one of the capital cities of Elam in 0 1300-1100 B.C. (C14 dating) close to where the Persians 2 shall establish their capitals Persepolis and Pasargadæ. The 8 Elamites are supposed to have spoken an agglutinative E language (Mc Alpine) as the Sumerians did. The Malyan l artifacts in the picture (right, ) are all a Hungarian sacred symbols: Crosses of Istens, 9 ray Sun, m Cross, which is reminiscent of having earlier been encircled, 4 spiral Sun (on the way to become a swastika), double headed Turul, Mother Isten, duck, and a circular decoration which reminds one of a crown of spirals. An astonishing similarity:

Inner Mongolia, Genghis Khan time. → 0 2 S 9 i n g a p o r e

Cser Ferenc has published some images of Hindu temples of Singapore (Antisze.PDF). Some of the

Hindu Gods have on their breasts or in their hands the symbols of above line. The first three images

could be representations of the Mother Isten: nothing is lacking. The fourth one is not a trident: it

would be ineffective, as the Etruscan and Hungarian ”tulips” would have been (as the one in the hand I of the bronze statue at the entrance of the MTA is, as the “tulips” on top of Magyar spears were! Right: s an effective trident); hence, it is a Baby Isten! It resembles the Trishul of Shiva (left image, which is a perfect t Mother Isten with her rhombus uterus, on top of a 3 lines symbol of femininity). The last image is not a double e trident or “tulip”, but a symbol that has accompanied the Hungarians during the last 8 millennia. (See line 027). n How did She arrive in Singapore!? A. She arrived there with the Dong Son culture from Kunming, capital of Yunnan, South China, which Ptolemy listed as a Silk Road town (See Yunnan in “Honfoglalas…”). B. She arrived there with those Elamites that McAlpine supposed to have migrated along the Persian shores of Iran up until Dravidian south India (The Lakshadweep islands, in front of Dravidian Kerala, could be a refugium of the Easternmost blonds). The Singapore temple, in which that symbol has been found, is a Dravidian/Tamil temple. (See Elam in “Honfoglalas…”) C. She was born in Singapore: She would add to all the other similar artifacts, found all over the globe, that belonged to the “Vulva civilization”, before the “Penis civilization” would prevail. W Gavrinis, Armorica, FR 0 e 3 s Malta 0 t Stelvio, IT S (pregnant belly, p also in Piceno, IT) r e Stara Zagora, BG, a 6th M. B.C. d Mother and Baby Isten 0 together, Preslav, BG → 3 “ 1

V e

g e t a Disputed l ” Cimmeria Etruria Tarim Basin Uyghur HU embroidery 0 M 3 o 2 t h e r

I Decebalus shield, s Trajan column S. Denis, Paris, FR Seal, wife of Shapur III Holy crown Varese, IT, Via Cavallotti t These designs could be “vegetal designs”, but also symbolic representations of the Mother Isten. The Cimmerian design shows a deep hole e representing a wide open vulva. (The same hole appears on the first two artifacts of line 35, (Trypillia and Pannoniberia). In Saint Denis at n the place of the vulva there is a dotted double circle, which represented the uterus in Çatalhöyük and in Celtic art). The Cimmerian design is part of a lunula, in which two opposing leopards worship the divinity (the “vegetal” design), as the two birds do in the Insubria artifact, and as peacocks do on other Italian Avar artifacts. The Etruscan vegetal design was on top of a temple, where later on, the Etruscans will place their anthropomorphic Mother Goddess. Moreover, this design must have had a sacred meaning if it survived throughout 3 millennia. See line 65. 0 3 3

Daunia, IT China, 3-lobed spout oinochoe Bird script Sicily 0 D 3 e 4 l i v e r i 3 n Çatalhöyük Trypillia Bactria ↑ → Chudia g 0 3 5

Trypillia, Aegean. lacking head Mosuo, Yunnan, CN. Note 2 holes Pannoniberia Avar, VA, IT. Terramare, IT 0 (1300 - 800 B.C.) 3 6 C o m b “Celtic” s Saint-Germain-en-Laye Museum, FR 9 7 6 6 The first 2 above combs belong to the Terramare culture, but the stone mould (in a nearby museum) for casting similar combs is dated to the Calcholithic (!?). The 2nd and 3rd combs have 6 teeth; the last one has 9 teeth and makes clear to Indo-Germanists what it meant! 0 3 D 7 e l i v e r i n Triangles or Mother Istens between the circles (see also 6 petal rosette in Notre Dame, Paris, FR). g “Egypt” (Tillia Tepe!), Tokyo Archaeological Museum, cyan and magenta. Tillia Tepe, heart = head and offspring of Isten Tillia Tepe, + triskelion and Isten. Byzantium, Istanbul Museum; Pavia, IT, Avar. Holy Crown, Saint Paul; Honfoglalás. TOKYO MUSEUM SAN! THAT ARTIFACT IS NOT EGIPTIAN, AND IT IS NOT TO BE DATED 1500 B.C.! 0 3 8

D e + Crown of spirals Pannoniberia 3 Kapu l 0 i 3 v 9 e r i n g

Avar, , bible Scania + Crown of spirals + crown of spirals + hat Tarim Basin, silk Dodo Kot, Kalash, Arsia Hmvhely, Post Office, HU 0 4 0

B i r t h Çatalhöyük Zutu-Garla Mare,Pannonia Halstatt, “Celtic” Istanbul Eurasian Honfoglalás 0 4 1

S

y Zutu-Garla Mare,Pannonia Kalash, PK Cyan Church, Poszony Avar, Varese, IT m 0 b 4 o 2 l

Sarmatian: Lemnos Tamga Sasanian Avar Berel, East Kazakhstan Stara Zagora BG; Vinnitza UA The Madonna of the Saint 0 Stephen cathedral is a Cividale, Friuli, IT, Avar 4 syncretic Mother Isten. 3 When the church was Dodo Kot x2, Arsia erected, M. A. Stein, who D found the Dodo Kot Saint Stephen, Budapest: e building, was still a child. Isten and Crosses of l That design of the Mother Istens i Isten is in the DNA of the (Haraszti Zs.) v Hungarians. e 0 r 4 i 4 n g

Serbia “Celtic”, DE. Pannoniberia Tarim B. Sogdian/Avar Breast, umbil, uter, vulva 16th c.↑ C The Camuni were Pannonici ←Camuni flag ↓ Altai 0 a that used a Pannonico 4 m alphabet. The Ugaritics 5 u transliterated a Pannonico n alphabet in order to make i, theirs. Aržan ↓

I T Shared cultural DNA 0 4 6

D e Troades; BM: flying Turul? Stelvio, IT, transitional Terramare Bactria, Arsia Avar l 0 i 4 v 7 e r i n Elamite Hungarian Pakistan today g Arsia, Tamga

Gimbutas, +3lines=female SE Asia Vinča sign Roman Pannonia (+8) Illiria (5, transitional) + 6 0 4 8

Aegean Pannoniberia Kingdom of Morocco flag (When the king was a queen!) Cucuteni “Delphian epsilon” Avar “Longobard”, UD, IT Kalash, Arsia “Matriarchal” Berber flag ←← , Britannia, 0 Pannoniberia, Avar, “Celtic”. 4 9

D e The “Celtic design” is on the l way to become figural and i is the less symbolic: the v breast and the offspring are e clearly shown. Filippovka, South Ural Ainu r 0 i 5 n 0 g

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

r ←Metropolitan↓

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

TAMGA*S THE TAMGA*S THAT BAKAY KORNÉL COULD NOT FIND, BECAUSE THEY WERE OUT OF THE SOVIET EMPIRE. MOST OF THE IMAGES OF THIS ABSTRACT WERE TAMGAS, I.E. RELIGIOUS AND IDENTITY SYMBOLS. THE CHRISTIAN CROSS ALSO COULD HAVE BEEN CONSIDERED A MODERN TAMGA, UNTIL THE LAST CENTURY. T 0 a 5 r 3 i m ?

B a s i n 0 5 4

M a c e d o Alexander Great, Ptolemy, n Lysimachos, Mitridates (coins) Kushan Hormizd, Afghan., Sasania i The blond Macedonia*ns were not Greeks, as I did hypothesize in “Honfoglalás…”, and as the above image of the early Iron Age hoard in a the Thessaloniki Archaeological Museum and other artifacts clearly show: all the symbols on that image of the hoard are Pannonico. Demosthenes said it quite clearly in his Philippics: "Γένοιτ’ άν τι χαινότερον, ή Μαχεδών ανήρ Αθηναίους χαταπολεμών χαί τά τών Ελλήνων διοιχών" (Would a Macedonian [non Greek] rule the Greeks!? [Sorry, no ancient Greek fonts in my computer!]). The Mother Isten tamga of Alexander survived the Diadochi, the Kushans and the Sasanids. 0 5 S 5 i l k

R o Avar Long., “faded tulip”, a Heftalite, coin Sarmatian Sasanian Avar Beneventum, IT Szeged, 1934, Shell Ferenc d 0 5 T 6 a m g a s

Hungarian Academy of S., Silk Road tribal carpets Elam, British Mus., -2000 China, bird script Linzi, China an Etruscan tamga? ”The Occult Meanings 0 Behind Polish Heraldic 5 Devices”, Rafal T. Prinke, 7 Adam Mickiewicz University, Poznan, Poland. The names of the P Polish symbols have no o meaning in Polish. l The Crosses are an alien a addition or they replace n “tulips” of ancient tamgas. Sarmatian tamgas Polish Heraldry d Geneticists say that the Poles are the closest kin of the Hungarians. Unfortunately the Poles do not speak Hungarian, hence, according to the linguists, no kinship is possible between Hungarians and Poles! A joint Polish Universities research has found out that 84% of the found in Poland had come from the Carpathian Basin. The Bronze Age archaeology of Poland is Hungarian and they did use conical hats. The ancient Heraldry of the Poles did not include weapons, lions, snakes or figural images. The Supreme Divinity of the Poles is a Mother Goddess – the Virgin Mary of Częstochowa, Who was brought there by the Hungarian “King” of Poland Hedvig. Zamość, PL, Hermitage: dotted circles, 6 Ray Sun, twined design, curved squares, and twined design ↑. THE TAMGA*S OF THE ITALIAN AVAR*S A 0 v 5 a 8 r

T

a 1: Vinča and Cucuteni Collezione m (rare curved signs). “Meroving.” ↑ Castellani, g 2: Tamga Avar→, a Villa Giulia M. Lituus, Delemont, Jura CH 3: “Ostrogothic”, 425 Romans Avar Graves in HU: the holes Rome, IT Fiorano, MO, IT. (Female) A.D., Kerch, UA d’Isonzo, IT are the Turul’s eyes C 0 a 5 s 9 t e

l l a n i

T ← Sarmatian, Tomoikins Museum, UA. ↑ Avar Avar, Gemonio, Insubria, IT → h Castellani was an art collector who bought here and there: all we know about the artifacts of the above e line (Museo di Villa Giulia, Rome) is that some of them could come from Barete, L’Aquila, IT. They are supposed to be Gothic, because “THE GOTHS WOULD HAVE APPREHENDED THE STYLE FROM A BARBARIC POPULATIONS THAT HAD MIGRATED FROM THE EAST TO THE NORTHERN SHORES rt OF THE BLACK SEA AND TO THE LOWER DANUBE AREA”! (A. M. Sgubini, Soprintendenza if Archeologica, Etruria). The have been taught that the Goths came to Italy, not yet that the Avars a also did! No doubt, those “barbaric populations from the East” were Hungarians: crosses of Istens, c palmettes (very similar to an Ainu one), dotted circles in the vacuum of the Cross, of the horse and of the t hornid, a ring with spiral finials similar to the finials of the Honfoglalás time , a Gold Idol, a transitional cross of “mushrooms” (Heart Istens), and the four petal rosettes… all these symbols travelled “ with the Hungarians from to Central Asia and back home. C For accuracy sake, those artifacts are Avar, because they are congruent with the Avar art and with the a Hungarian cultural DNA, and because Avar S-shape double headed Turul tamgas have been found with r them. r An artifact may have been in the legal (or illegal!) possession of an Indo-German speaker, may have i been brought to Italy during a migration or a holiday by a carrier with a Ukrainian DNA, who may have e anthropologically resembled to an Iranian… and the artifact is… Hungarian! I.e.: it belongs to the r Hungarian cultural DNA. Most archaeologists connect archaeological finds to the genes of the carrier, or ” to the language they suppose he spoke, or to the dating of a similar artifact, or to the nationality of the people, who, pro tempore, live in the place… and they are unable to imagine that an artifact must instead be connected to the culture T that originated it. Moreover, if a “carrier” was carrying as many Hungarian designs and sacred symbols (you bring an Idol with you only if h you believe in its power) as the above one did, the probability that also the “carrier” was Hungarian (or at e least culturally Hungarian) is very high. o I would not be surprised if the treasure of the Avars was scientifically looted by the Army of Charlemagne, r who later on would have gifted his allies, his generals and the western European Nobility with it: Avar y jewelry appears to be everywhere in Central Europe, but not much in Hungary. (I have not yet visited the Gyor Museum, where, I have been told, there is quite much. If you live in Gyor, help me with the photos you may take in the Museum!). ↑ Honfoglalás time. Hungary, 1837, Néprajzi Muzeum, Budapest. ↑ The five images in this box make and show a design that has accompanied the Hungarians from the Trypillia to the modern time. 0 6 0

“ T u l i p Beneventum, IT, Avar Pavia, Avar Longobard ↑→ Syncretic: Cross + Isten Budapest M.N.M. ↑→ ” The German Longobards were acculturated in Hungary: in fact, nobody knows from where they came because they left no archaeological or cultural trace along the route of their migration from somewhere in Sweden/Northern Germany/Poland to Hungary. They later came to Italy with some Avar tribes, who brought with them their symbols of sacredness that the Avars had brought from Central Asia: (1-3): “tulips”, 3 circles, tree of life, Crosses of Istens, Baby Istens… G (4-5): Honfoglalás time, Magyar Nemzeti Múzeum. o Those people, who believe that the Baby Isten was a “tulip”, should be aware of the fact that sceptres, crowns, coins and... stamps, have d always been decorated with sacred symbols, until the time the Romans replaced the image of the Goddess with the one of the Emperor. Only recently they have started being decorated with flowers and other amenities! Recently, an African stamp has been issued with the image of… Berlusconi shaking hands with Obama! (“Il Giornale”, 02.01.10). A The following images are a small percentage of the Hungarian sacred symbols that I have collected from images of Avar churches in Italy: v 0 a 6 r, 1

I t a

l Cross of Istens y Note usual asymmetry The sequence of alternate upright and upside down Istens is a marker of the Avars. The 4th image contains 10 Hungarian sacred symbols. All the above churches are labelled “Longobardic” by the Indo-Germanists, as all the images that I have labelled Italian ”Avar”, are. THE TAMGA*S OF THE SASANIA*N AVAR*S (Source of images: CAIS, Iran). 0 6 2

S Badshahi mosque, a s Lahore Notre Dame a Tamga and a collar of Istens similar to the collar of the Domagnano “Ostrogothic” Lady: “vegetal” Istens. “vegetal” Birth symbol, n vine leaves, grapes, and birds. Two Sasanian trees of life (3+3+1 +hearts) Avar tamgas on oinochoe. Hit and run i (killing a lion) and Avar/Magyar hilt Avar/Magyar hilt, Pleiades, Avar crown of S shape spirals, and tree of life from the umbilicus. a 0 n 6

3

A v a r s

Avar, Komarno Museum

Above line images: Encircled 6+6 ray Sun (or Mother Isten) and tree of life from the umbilicus. Hungarian spherical body cauldron, rhombuses, Hungarian boots. The Sasanian horse and the Avar Turul are decorated both with crowns of spirals; the unusual design of the ears is similar in both animals and it is the same as in the Nagyszentmiklós oinochoe (right) and in the Pazyryk swastika shaped Cross of Turuls. The Sasanian horse bit is an Avar S shape tamga. The Turul is still associated to a female and is flanked by 2 Hungarian trees of life (3+3 branches and a “tulip”). The Nagyszentmiklós Turul → has much in common with the Sasanian Turul, but it is more Hungarian: in fact, the lady appears to be turning to the right just after an intercourse… and she has already become pregnant! She looks like celebrating the event, happily dancing, and holding high with her hands … two Tarim Basin shape Mother Istens. A 3 circle design decorates her collar. The circular decoration around the Nagyszentmiklós Turul is the same as the one around the Sasanian bird of prey of the next line, and on Scythian (Ukraine) kaftans. Somebody said that I am a sex addict, but it is not my fault if a Mother Isten delivered a Turul in Pazyryk, if Turuls in Strasbourg, in Hungary and in Italy delivered Avar Mother Istens or Pregnant Mother Istens, if a Mother Isten delivered a Turul in China, and if a Turul S impregnated Emese, mother of Álmos…! a Still today, in Irish festivals, an intercourse between a man and a (maybe totemic) animal (usually an ass) is mimed: it is a reminiscence s of the time in which the king was consecrated by a coitus with a sacred animal, as in the case of Emese, maybe. As the Celts separated a from the Pannonici 2500 years ago, that “Celtic” rite is at least 2500 years old. n The Nagyszentmiklós treasure belongs to the Sasanian transitional art, but, as it happened with the Holy Crown, it was designed with the i contribution of a Hungarian, who made so that Hungarian sacred symbols be added to the Sasanid figural motifs (See “Transitional Art”). a 0 n 6 4

A v a r s Parthian The Parthians had started being Indo-Iranianized (their Turul had become a bird of prey) quite early. When they were subdued by the Sasanids (250 A.D.), the process of Indo-Iranianization speeded up: see the above images of griffins and lions attacking sacred Hungarian Hornids. At that time, the ethnic Hungarian Avars moved from East Iran and Afganistan to Hungary, following the route of the Sarmatians. The Hungarian art of the Sasanids was the art of the ethnic Hungarians smiths who had not left and that would finally be assimilated by the Iranians. The Hungarian 6 ray spiral Sun became a 7 ray Sun (first box), Who decorated a lion, instead of the hornid, Who is instead succumbing. The Indo-Iranian lion is the same one that tore to pieces the Scythian Stags in Ukraine, and it is parallel to the Hunnish Tiger that shred sacred Hungarian Hornids and Horses. The design, posture, and perspective of the last Turul are similar to the ones of Turuls in the Isten temple of Rome and in the Avar Churches of Italy. 0 6 5

“ V Cimmeria. ↑ e Decebalus g shield, → e Trajan S. t column. Seal of wife of Shapur III Saint Denis, Paris, FR Bitonto, IT, Avar a On the line 032 I hypothesized that the 3 vine leaves on the Holy Crown (usually defined “vegetal motif”) could be a l” symbolic representation of the Mother Isten. Some of you laughed at me! Here is the evidence: in Sasania (second box) the two lower lobes of the leaf became spirals and, in Bitonto, Italy, a griffin is holding the final “vegetal” Isten with its beak. A line of the original Cimmerian motif makes a circle of Istens around the Bitonto image. The Bitonto artifact contains 10 (ten) Hungarian markers… e.g.: from the Pazyryk (and maybe the Piceno, IT) time to the Holy Crown time the tails of the sacred Hungarian animals were designed in the same way as in Bitonto; the Istens are alternate upright and upside down Istens as in Sasania and in Varese; they are 18 = 3x6. Five upside down Istens are placed on a dark magenta background: I do not know why, but I bet that there was a reason for it. The last image, from Varese, IT, shows how that Cimmerian design had evolved in Insubria some decades ago: two birds (maybe peacocks: peacocks are frequently depicted in Insubria as they were in Hungary. A peacock is the emblem of Punjab), instead of two I leopards are worshipping the “vegetal” Isten! In 3,000 years the shapes had modified, but the rite was still the same. s IN THE “HISTORY OF THE EMPIRES” THE PARTHIANS HAD BECOME “SASANIANS” OVERNIGHT. IN MY “HISTORY OF THE t PEOPLES” THE SASANIANS WERE TRANSITIONAL PARTHIANS (AVARS): SASANID WAS THE WARRING INDO-IRANIAN e ÉLITARIAN DYNASTY; PARTHO-AVARS (HUNGARIANS) WERE THE SUBDUED PEOPLE. WHEN THE AVARS LEFT TO EUROPE n FROM EASTERN SASANIA, THE SASANIANS BECAME TRUE SASANIANS AND THEY STOPPED MAKING GOLD JEWELS, BECAUSE THEY COULD ONLY AFFORD SILVER! The Sasanian dynasty was founded by the Indo-Iranian Ardeshir, whose wife, Lady Myrōd —according to legend— was an Arsacid (Parthian) princess. If it was not true, it still shows how important it was for Ardeshir to be associated to the Dynasty he had replaced. The Avars could have migrated to Europe around 330 A.D., when the Sasanids were consolidating their power and the Chinese had withdrawn their troops from the Tarim Basin thus making the Silk Road unsafe. THE ETRUSCAN* TAMGA*S OF THE DESERT KING OF NIYA, TARIM BASIN 0 6 6 E tr u s c a n

The “tulip” tamga of the King of Niya (, 206 B.C. – 220 A.D.) was on the above fragment of cloth, on a large carpet, and, in its stylized form, on the above oinochoe, together with the Chinese character “Wang” (king). The Etruscans as well used the same tamga D as a religious symbol (left) and as a trade mark (right, bronze ingot). The oinochoe, with the e three-lobed spout (above; a technologic innovation, not an art design), is similar to Etruscan s and Thracian ones, which would become popular on the Silk Road, in China, and still today in e Italian folk art. On the bottom of the oinochoe, a 4 ray Sun (influenced by the Buddhist rt swastika) was maybe hastily carved just before inhumation. On its left, a shade of another symbol, maybe a dotted Mother Isten. The bag is decorated with a Hungarian wave, which is still one of the most popular Ainu decorative designs. Source: “The legacy of the desert king”, Feng Zhao and Zhiyong Yu. That King could have been a bíró, elected by the Hungarians of Niya as a local civil servant: the only luxurious ware of the “king” was his silk robe, but it was a gift of the Chinese emperor. (O tempora, o mores! (Cicero): at that time, a civil servant “king” was not at his post with the aim of becoming rich or of raiding his neighbors, but with the responsibility of leading and protecting his people: if he failed, his people would expect he to commit suicide (See K “Honfoglalás…” page 94, 232, 233). Today, politicians and leaders do not commit suicide, and they do not even resign!). i See how the desert king was dressed up in “Art designs”, “Fashion”. Read more about Niya in the book “The Huns”. n THE ETRUSCANS, AFTER THE DEPARTURE OF THE PANNONICI, WHILE THE WERE BEING INDO-EUROPEANIZED, g AND THE CELTS HAD NOT YET EMERGED, BECAME THE LAST LEADING COMMUNITY OF THE PANNONICI IN EUROPE, UNTIL 509 B.C., WHEN THE ETRUSCAN LAUХUME (ELECTED “KING”) OF ROME WAS KILLED AND REPLACED BY AN INDO-EUROPEAN KING. THREE DECADES EARLIER, THE LAST ELAMITE PRIEST KING OF ANSAN, HAD BEEN KILLED BY AN INDO-IRANIAN – DARIUS - WHO TOOK HIS PLACE AND ALSO USED HIS CONICAL HAT. THE INDO-GERMANS AND THE INDO-SLAVS HAD NOT KILLED ANY KING YET; THEY HAD NOT YET SHOWN UP IN HISTORY. LINZI*, STATE OF QI, SHAN DONG, CHINA, ZHOU DYNASTY 0 6 7

L i n zi

Bronze mirror: “triskelion” of Istens (silver and gold) Pleiades Horses and cart burial: Linzi and North Caucasus (12) 0 6 8

3 What for did the Linzis Double headed Turuls, double spiral, and 3 lines of with Isten and use camels, as they lived Chinese spirals conical spirals or circles. double headed Turul far from deserts? “The Linzi [today Zibo] District remained the capital of the State of Qi [Shan Dong, which is also the name of a type of silk] for as long as 638 years, and was the biggest city in the Orient. As a result of textual research, the Shandong area, with L Linzi as its centre, was the major place of silk supply at the time of the Han and Tang Dynasties, and was one of the origins i of the Silk Road". The shortest and safest route between Linzi and Europe in 500 B.C. would have been through Aržan- n Pazyryk-South Ural, to Tanaїs: the existence of this route would be the only way to justify the large amount of gold found z along that route in the middle of the first millennium B.C.: the Hungarians exchanged bronze and jade against gold, which, i for the Chinese, was not a valuable metal - very lucrative! My opinion is that “the blond people that contributed to the development of the Chinese civilization” (Chinese texts, Viktor Mair) lived in Linzi. The state of Qi was the only warring state that refused military confrontation with Qin (in the best “Old European” tradition). 121,000 archaeological artifacts have been found in Linzi: where are they? (The above metal artifacts have not been unearthed in Linzi but in Shandong or East China). ↑ Bird script, China, Warring States, a mother Isten delivers a Turul. READ THE FASCINATING STORY OF THE HUNGARIAN LINZIS ON “HONFOGLALÁS...”, PAGES 182-188, AND PAGE 199 FOR THE POSSIBLE CONNECTION OF THE LINZIS WITH THE . THE LINZIS WERE GENETICALLY EUROPEANS IN 500 B.C.. THE YUEH CHIH* SHAJING CULTURE, , CHINA 0 6 9

S h Budapest History Museum Shajing, Gan Su, CN Shajing, Gan Su, CN Linzi, Shan Dong, China Cross of Turuls, , Shajing, CN a 0 j 7 i 0 n g

Shajing was a town at the eastern end of the Gan Su (or Hexi) corridor. The Shajing culture was active in the 1st Millennium B.C. until the arrival of the Huns in the region. “From the age, the distribution of the area can be inferred that THE SHAJING CULTURE BELONGS TO

THE ANCIENT (月氏) NATIONALITY.” (Yokota Yoshiaki, JP). The Yueh Chih were Hungarians who worshipped the Mother

韩博文 Y Isten, the Turul and the Stag. Source of the images: “Civilization along the Silk Road within Gansu”, . The above artifacts are also u compared to other Hungarian artifacts in the abstract they belong to. e The Caucasoid blond people of the “Roman” city of Li Jien (骊靬, Lichien, Liqian, Li-Chien, Líqián, … as long as the linguist will be unable to h standardize transliterations and at least make a proposal for a European standard alphabet! Today: Zhelaizhai, 者來寨) are not descendents of the Romans of the legion that fought the Parthians in Carrhae (as H. H. Dubs hypothesized), but of Shajing Hungarians. READ THE STORY OF LI JIEN ON “HONFOGLALÁS…” PAGES 137 AND 197. After you have read it, read the paper of Ethan Gruber (virginia.edu), who disputes the theory of H. H. Dubs, without giving an alternative yet… and you understand that what I had hypothesised in “Honfoglalás…” is now confirmed by the archaeology of Shajing: the “Romans” of Lijien descend from the Hungarians of Shajing. Shajing and Lijien are located a few kilometres from each other. Exactly where Shajing should be: the Hungarians needed a “China settlement” or a logistic base halfway between Loulan and Chang An/Xian. That colony was the hub where the goods were collected from and distributed to China. The best place to be raided by Arya-Semite-Mongols! Read about the connection of the Shajing people with the Huns on the book “The Huns”. A Roman legion was often sent to fight the Parthians in the 500 years of its history (I don’t know if C it was the same that fought in Carrhae). Was it sent to Parthia because they could understand and h make themselves understood by the Parthians? The Legio has left its signature in the Kara-Kamar i cave complex, Uzbekistan: “Pannonica Legio XV Apollinaris”. In Pram, Austria, in a show h organized by fans of the Legio, the green shield on the right has been used. A shield with a “vegetal” Cross of Istens could well have belonged to the Pannonica Legio, whose God was not Mars, but the Sun God, Apollo. It should not be by chance that the Pannonico Decebalus, on the Trajan column, had a similar shield, with the same “vegetal” Mother Isten! (See line 65) 亲爱的 韩博文 WHY YOU MIX THE SHAJING HUNGARIANS (SEDENTARY) WITH THE HUNS (NOMADIC) IN YOUR BOOK? The Chinese still name “Hun” any ancient Northern non Han, as the Greeks and the Romans called Barbari all non Romans. 韩博文 could have taught Borbála Obrusanski her theory! THE FIGURAL, BLOODY, TESTOSTERONIC, VIAGRA EMPOWERED GODS OF THE HITTITE* ÉLITES... The linguists have labelled the Hittite Empire “Indo-European” because the élite of that “Empire” wrote an Indo-European dialect. 0 Those linguists have never questioned themselves… which was the language spoken by the enslaved population of that “Empire”? 7 The history of the contemporary Mycenae and Hattusha is essentially the same: it is the history of a “pastoralist, war 1 H faring, nomadic”, patriarchal, cremating, Indo-European élite that enslaved an agricultural, peace loving, sedentary, i matriarchal, democratic, inhuming, Old European population. In the time space of about a century, these élites brought t their peoples to the disaster, with their wars. After the “epic” wars of Troy and Qadesh, Mycenae and Hattusha t disappear from history. After the disaster, Greece will go through half a Millennium of “Dark Ages” and Anatolia will i never again be a regional power until the Ottoman Empire time. The linguists believe that they have explained t everything of that “Indo-European Empire”, but the “Green megalith” of Hatttusha (right) is still a “mystery” for them. e

G o d s

... AND THE SYMBOLIC, MATRIARCHAL MOTHER GODDESS OF THE OLD EUROPEAN “HITTITE*”/ETRUSCAN* SLAVES 0 A 7 n 2 a t o l i

a Sanliurfa Mus. Edessa, TR “Hittite” green megalith n

INDO-GERMANISTS! THE MISTERY OF THE “GREEN MEGALITH” OF HATTUSHA HAS BEEN SOLVED: IT WAS A PANNONICO GOLD IDOL! (COMPARE THE ABOVE WITH THE BELOW LINE) 0 7 / 3

H u Pannonia Trypillia Pannonia Tagar Pannonia n 0 g 7 a 4 r i a n “Tulips” and hornids

An Indo-Euro. Priestess!? Alacahӧyӧk, Mother Isten With spiral bracelets? Alacahӧyӧk Mother Goddess (Sesklo↑) Row of Crosses of Istens S You hardly read on books that in the temple of the palatial citadel that Hattushili (man of Hattusha) built, two divinities were worshipped: y Teshup, the Indo-European Thunder God, and the Mother Sun, i.e. the Mother Isten (V. M. Manfredi, Bocconi University, MI, IT). The mIndo-Germanists also do not tell you that, after Hattusha was destroyed by the slaves’ uprising, a new script appeared in Hattusha whose b language has never been deciphered, and, in any case, it is not Indo-European. o Linguistic note: The name Hattu-shi-li appears to be formed according to agglutinative rules. The real name of Hattusha was Kita, as the l Egyptians called it. The real name of Wilusha was ‘Ilion, as the Greeks called it: “Sha or “sh” was not part of the name; it could have been s the equivalent of city. Hattu-shi-li in Hungarian would be constructed as Hattu-var-ember, or Hattu-var-i-(ember) = man of the town Hattu (-i being the Hungarian postposition that makes a noun become an adjective). (I enjoy playing as the linguists do!). Of course the Hittite slaves had their Turul, which was already double-headed as She shall be in the Tarim Basin and in Hungary. I know that you do not believe me as long as you do not see a conical hat! Here it is, on the right. (See the other abstracts for more). After the destruction of Hattusha, some Hittite Gods migrated to Urartu and to Nimrud, Mesopotamia. No surprise that the Pannonico Gods migrated in the opposite direction! THE ORIGIN OF THE ETRUSCAN*S Herodotus wrote that the Etruscans migrated from west Anatolia to Etruria. Thucydides wrote that the Etruscans migrated to Italy from an 0 Aegean island. Jason, leader of the Argonauts, found a matriarchal society in Lemnos, an Aegean island in front of Troy. Virgilius wrote 7 that Aeneas had come to Rome from Troy (he tried to size the Etruscan identity! See Licofrone 4th-3rd c. B.C.). De Palma and Facchetti 5 claim that the Lemnos script was an Etruscan script. Torroni found the genetic kinship of the Tuscanians with Anatolian populations (Barbujani disputed it by saying that the Tuscanians are not descendants of the Etruscans). P. Ajmone Marsan proved that the Chianina cows of came from the Middle East. Only archaeological evidence is missing! Here it is: THE ETRUSCAN MOTHER ISTEN WAS BROUGHT TO ETRURIA FROM ALACAHÖYÖK, ANATOLIA. FURTHERMORE, THE ARCHAEOLOGY OF LEMNOS IS PANNONICO, AS THE AEGEAN CIVILIZATION WAS. ← 3 lines + O 7 ray Sun r i g i n

← ↑

+ Alacahӧyӧk Etruria offspring

The Mother Goddess of Alacahӧyӧk (the closest town to Hattusha), migrated to Etruria (first box). On arrival She was as slim as a nd rd O Valentino model (2 box), but, after a little time in Etruria, She became pregnant there (3 box): Her big belly was stressed with the f colour of gold and it was heart shaped as it will be in Arsia. Günther Neumann states that the etymology of is from Lydian/Tyrrhenian/[Etruscan] “ati” (Frigian and Hittite: Attaš) = mother. Both Athena and Mikene (Mycenae) were names of Goddesses. The Greek temples were built onto foundations of Mother Goddesses temples (Aegina, Delphos, Delos…). The Delphian Epsilon was a symbolic representation of the Mother Isten. De Palma and Facchetti claim that the Lemnos script was an Etruscan script. Alinei maintains that Etruscan was a Hungarian dialect. The Etruscans came from West Anatolia, where they did speak an agglutinative language. The Çatalhöyükians either spoke an agglutinative language or were unable to replace Sumerian, Hungarian and Etruscan, where they or their descendents T migrated to. If all these statements are right, the Aegean civilization was an Old h European civilization, part of Agglutinia, where people spoke an agglutinative language. e (Apa and Ati are father and mother in all agglutinative languages of the world, including Sumerian, Etruscan, Celtic, “Tocharian”, Finnish, and Hungarian before the patriarchal shift… and even Aramaic, the language of Jesus, whose Father was Apa! See “Honfoglalás…” page 143, for more about “apa” and “ati”). Archaeology indeed proves that the Aegean civilization was Old European. Why and when did the Etruscans migrate from Anatolia to Etruria? When they understood that they were in a “cul de sac”, with the and the Mycenaeans pressing them from th east and from west: in the 13 century B.C.. Flying away from turmoil is a Hungarian (Old European) cultural marker (See “Honfoglalas…”). Did the Etruscans meet a better fate in Italy? Yes, but not for long! Etruscan amphora ←; attic black-figures, 540–530 BC: Poseidon fighting the Giant Polybotes during the Gigantomachy, Louvre. That E Giant, with his Mother Isten on his shield, was a Pannonico pre-Indo-European God who belonged to a community of Gods, in which two t Goddesses – Gaia and Rhea – took all decisions. How many were the Titans? 6. And the Giants? 6. And the sisters of the Titans? 6. r 6, the sacred number of the Hungarians. (Was what I named 6 Ray Sun (right, Mycenae) the sacred u representation of the divine sixes?). s “In the Cretan tradition, the Titans were portrayed as agrarian [not pastoralist!] Gods, who c lived in the vicinity of Knossos in Crete, where they ruled over mankind during the Golden a Age”. n The Gold Age of Old Europe. s THE MYTHICAL WARS BETWEEN THE NEW AND THE OLD GODS (ASIR VERSUS VANIR, IN NORDIA; GREEK GODS VS. TITANS AND GIANTS, IN GREECE) REPRESENTED THE MYTHIC, EPIC CONQUEST WAR OF THE “NOMADIC, PASTORALIST, WAR FARING” NEWCOMERS. What about the image of a “Hittite” priest (left)? He is instead an Anatolian Etruscan , with his tools for the Haruspicina (lituus and bird), dressed up like a Hungarian, (conical hat, long jacket, trousers, and pointed boots), who “rides” a stag in the same way as some Hungarians, but also North Caucasians, Kalash and Mongols, still ride horses today during their equestrian festivals. THE INDO-GERMANISTS ARE ENTHUSIAST WHEN THEY CAN TELL YOU THAT ”TO EAT” IN GERMAN AND IN HITTITE ARE ALMOST THE SAME SOUND, BUT HOW COULD THEY NOT UNDERSTAND THAT IN HATTUSHA THE PEOPLE (THE SLAVES) WERE NOT SPEAKING AN INDO-GERMAN LANGUAGE? BECAUSE THEY HAVE ALWAYS WRITTEN THE HISTORY OF THE EMPIRES; THEY ARE NOT INTERESTED IN THE HISTORY OF THE PEOPLES. THE “INDO-EUROPEAN*” MOTHER ISTENS 0 7 6

“ I n d o Sanchi, Madhya Pradesh, “Indo-Iranian” Isten, - “Mycenae” NW India, + 2 Turuls Mosque, Isfahan, Iran E “Greek”, +6 dotted circle “Greek” Isten & triskelion u 0 r 7 o 7 p e a n ”

“Hittite”, Philip II tomb, 336 BC, Schwarzenbach, “Celtic”, “Celtic”, , IT, -350, M delivery of a Baby Isten Thessaloniki, Arch. M. 400 BC – Berlin Arch. M. Dot. circl., “tulip” delivery Castle Museum, Anjou. o Anjou, was part of the Confederatio Armoricana (not a kingdom or an empire!). In Armorica, in t the first c. B.C. the sacred “tulip” was already (or rather, still) a sacred symbol on the coins of h the time (left; see the “Sacred Symbols” abstract for more). Armorican women could hit and run. e King Robert (from Anjou, today Angers, FR, formerly Armorica) was a descendent of the r Armoricans, this is why he had a tulip in his heraldry and may be this is also why he was well accepted by the Hungarians. The “tulip” became a sacred symbol associated to Gods and kings all over Europe (Friedrich I Barbarossa, Welfenchronik, Kloster Weingarten, DE →. Barbarossa was defeated by the Italians s in the battle of Legnano in 1176. This battle was the only battle that the Italians ever won against the Germans, and it was won by the t Avars of the Lega (Confederation!) Lombarda of Insubria. The only other epic confrontation that the Italians won against the Germans was e a Millennium later, in Mexico: Italy vs. Germany 4-3, Estadio Azteca, “Partido del siglo”, June 17th, 1970). n The Celts, the Hittite, the Mycenaeans, the Latins, the Germans, the Franks, and the Slavs enslaved or subdued s Pannonico populations. They were first acculturated by the Pannonici; later on, they became the warrior ruling élites; finally they imposed their languages thanks to a higher rate of reproductivity, consequence of an overproduction of testosterone in their males. Jaca, Aragon, ES, middle age church capital→ M 0 o 7 d 8 e r n

T i m e Slovak Scout Badge Helsinki flag Florence emblem, Etruria Anjou, Armorica Fleur-de-lis THE HEART MOTHER ISTEN*, IN THE DELIVERING* POSTURE 0 H 7 e 9 a r t

M Pazyryk Honfoglalás Kiev and Moscow, Chudia o The Heart Mother Isten was the final evolution* of the Gold Idol. t 0 h 8 e 0 r

I s t Etruria, + 3 circles Scythia, Kiev Treasure M. Pécs, HU Honfoglalás HU Sceptre e Varese, IT, 0 n V. Daverio, Avar 8 1

Varese, IT, Via Pavesi

+ C. Moro,

Tillia Tepe Tarim Basin Tamga Tarim Basin, (Avar) Avar H Varese Heart Isten: the horizontal line is a structural support. Where the feet should be, there is a Hungarian design. It is the only Heart e Isten of this line that still shows the offspring coming out, as the most ancient did. a 0 r 8 t 2

M o t h Cære, -625, Villa Giulia M. Etruscan fibula Tarim Basin Louvre, -620,Greek/Etrus Honfoglalás, +3V +3 tulips e This is Another case that shows how Pannonico symbols evolved similarly when the Etruscans and the Magyars started being r Indoeuropeanized (persistence of the cultural DNA in isolated cultures). THE HEART MOTHER ISTEN BECAME ANTHROPOMORPHIC, BOTH IN ETRURIA AND IN HUNGARY, AT A TIME DISTANCE OF 1500 YEARS, SO THAT THE LINGUISTS ALSO MAY UNDERSTAND THAT IT WAS A DELIVERING MOTHER ISTEN. MONSIEUR LOUVRE, THE 4th ARTIFACT OF THE ABOVE LINE IS NOT GREEK, IT IS ETRUSCAN (AS THE ONE IN THE FIRST BOX IS), AND IT IS NOT A GREEK “Πότνια Θηρῶν” (MISTRESS OF THE ANIMALS). BOTH ARE TRANSITIONAL HUNGARIAN DELIVERING MOTHER ISTENS. THE SYMBOL I REPRESENTING THE OFFSPRING IS THE SAME IN BOTH ETRUSCAN ARTIFACTS AND… GUESS FROM s WHERE IT COMES? FROM ALACAHÖYÜK, ANATOLIA (LEFT), THE URHEIMAT OF THE ETRUSCANS. t ← A 6 RAY SUN STRESSES THE SACREDNESS OF THE LOWER HOLE. THE CURVED LINES ARE 6+6. e I would be glad if you could convince me that it is Greek! I could add another Mother Isten that was still worshipped in Greece, n South of Larissa. (The Macedonians were not Greeks, and they did still worship the Mother Isten until the 4th c. B.C.). 0 8 3 M o d e

r Kazakh flag: a Sun, n a Turul, 4 Heart Istens, and 3 Istens Chain bridge, Budapest Odessa, UA Altai (Benkő M.) Yining, Xin Jiang, Arsia Note the similarity of the chain bridge Hearth Isten to the one in the 0 T Avar Isten Temple of Gemonio, IT (← mid 2nd millennium A.D.). 8 i According to the Academy of Sciences of Ukraine, the "Tryzub"→ or 4 m trident (or an anchor?) is linked to a design found on coins of the e time of Kievan Rus, in Crimea. Some suggested that the fleur-de-lys originated from the tryzub “following the marriage of the French King Henry I to the great-great-granddaughter of St. Olha of Ukraine”. Others point out that King Clovis, who died in 511 A.D., “received the fleur-de-lys in a vision to be his empire's heraldic emblem, which would represent at once the Holy Trinity and the Virgin Mary” (or the Mother Isten?). BAH! Guess which was the archetype from which the symbol on the Ukrainian flag and on the emblem of the President of Ukraine derived! If you want to read more fairy tales about the fleur-de-lis, read the page http://www.baronage.co.uk/bphtm-02/moa-15.html: you shall enjoy your time! THE TAMGA*S OF THE HUNGARIAN AVAR*S A 0 v 8 a 5 r

T a m g a Tamga Avar Avar , Avar “Attila’s” Avar (!?) saber 0 8 6 V r a p

T ↑ Avar, Vrap (Albania), treasure, 650 A.D., r Metropolitan Museum of Art. e The spoons are the typical ones that the a Hungarians used for their gulyás since the s Tripillya time, wherever the Hungarians u were and went! I guess that the Hungarians started using forks and knives only after their arrival in Europe, because, as long as they ate r gulyás, they did not need them. Maybe they started using forks at the time they started eating spaghetti. e The Vrap calices, in the shape of drink rite cauldrons, are dressed as the Scythians, the Amazons and Paris of Troy were, as king László was, … and as the Sasanians dressed their cauldrons→ …and the Avars of Varese still dress their buildings: Varese ↑: via S. Pedrino; Lungolago di Varese, encircled crosses; Viale Ippodromo, Avar Istens with arms longer than legs; Via Manzoni, Baby Istens, C. Matteotti. The dresses of these houses remind one of the wooden structures of the yurts. ↑ ←The 3 Avar tamgas in one artifact: Heart Mother Isten, Baby Isten, S shape (Walters M.) Sasanian cauldron↑ THE BIRTHING “PALMETTE*S” See also lines 169 - 172 0 8 7

“ P a l m

e Honfoglalás: the coloured image is tt Pannonia, Calcholithic “Celtic” “palmette” Isten Tarim Basin ↑ ↓ the symbol; the rest are supports. e 0 “ 8 8

Vigado, Pest, Baby Isten in “ “Vӧlkerwanderung”, BHM Honfoglalás, “palmette” Honfoglalás, “palmette” “palmette” uterus + 3 Istens P 0 a 8 l 9 m e tt e ”

Sarmatia Historical Treasure 3 Ys are supports for 3 Ωs Museum, Kiev, UA Kiev Treasure Museum Avar, Villa Giulia M. Rome Ainu, Mingei Museum The Honfoglalás time “palmette” is astonishingly delivering... an Etruscan Isten! All of them are clearly delivering a “tulip” Baby Isten or show a large uterus or open vulva. Detail of the top of the 0 9 0

2. 3.

previous Avar “palmette”: S Sarmatia 1. Avar Attila’s (!?) szablya Avar sword, “palmettes” a Heart Isten! w The Sarmatians used in Europe a wide choice of swords: 1. Swords that they had used in Bronze Age Pannonia and at the time of the o Tagar culture, consecrated by the Mother Isten; 2. Curved swords (Trajan column) similar to Yugran daggers and Shajing knives or r daggers; the Thracians also used curved swords. 3. Swords from which the Hunnish ones derived. d The “Attila’s” sword is indeed an Avar sword, which shows 3 circles around the hilt as the Pannonico, “Celtic”, Avar and Magyar swords did.

The Sarmatians put the 3 circles also on their spears. The Avar and Magyar swords were decorated with the same “palmettes”. The Hunnish swords (second box) are from the book “Attila und die Hunnen”; they were made by Sarmatians. The Pannonico, Celtic, Sarmatian, Avar and Magyar swords and sabers were consecrated by Mother Isten designs, the Hunnish ones were not. Linguistic note: the szablya was brought to Europe by the Sarmatian, Avar, and Magyar cavalry:

sabel saber sabre sable sabel sabre sciabola сабля (кавалерист) sapeli

The szablya could be the ancestor of the scimitar that was used by Arabic, Indian, Turkish, Afghani, and Persian cavalry.

Arabic saif could derive from szablya: the Pannonici could not pronounce /b/; the ancient word could have been szaplya; the Arabs cannot

pronounce /p/; they use /f/ in place of foreign /p/. The name of the Iranian Parsi language is Farsi in Arabic. The Arabs would have made

a Central Asian Hungarian szablya… become a saif. In Japan, the ancient Chinese style swords were replaced by the katana, whose

design was the traditional design of the Hokkaido Ainu swords. The katana is a curved single edged sword: in other words, it is a szablya.

The word for sword is: in Hungarian kard, in Lithuanian kardas, in Irish Celtic kaldbold. “ As the Celts separated from the Pannonici in the Middle of the last millennium B.C., this Hungarian word should be at least as old as 500 P B.C, in Europe. The Finns do not have that word. They should have separated from the Hungarians before 1500 B.C., when the sword was a invented in Pannonia. On about 1500 B.C. some Hungarian “adventurers”, through Jutland, brought the Germans of Nordia into the Bronze l Age (Metropolitan Museum of Art). Some other Hungarians had started the Road from the East coasts of the Baltic Sea earlier than m that. The Hungarian Finns (ancient Eesti>Estonians) migrated from Pannonia to the Baltic shore before 1500 B.C. and may have first seen e swords in the hands of the Slavs, who were hunting them down (See “Honfoglalas..”, page 232). In fact: Finnish: Miekka; Russian and all t : меч, (/mʲeʧ/, /mȅč/); Saami: miehkki. t Could the Ainu katana also derive from kard? The Ainu, like all the pre-Arya-Semite-Mongols, including ancient Hungarians, Finns, e ” Etruscans, Sumers… did not have /b/, /d/, /γ/. Their kard would have been pronounced kart. The Chinese and the Japanese do not have /r/, so that the final pronounciation of the word, in Japan, could have been ka’t. I do not know who added –ana, but an Indo-Germanist would easily find a laryngeal for you, out of the 20 (twenty) they used, able to solve the problem! (Playing with words is wonderful!) The Hungarian swords could have arrived in Lithuania with the Sarmatians. Ptolomaeus reported with his maps that the Aorsi had arrived in Lithuania at his time. In Lithuania Sarmatian tombs have been found. On the Ptolemy maps, the name of the Baltic Sea was Oceanus Sarmaticus (and the Arctic Sea was Scythicus!). Helmut Nickel, curator of arms, at the Metropolitan Museum, believes that the Latin word for steel ('chalybs') comes from a Greek word derived from the name of the Kalybes, a tribe of Sarmatian smiths, who made the best swords of the time. Kard is a word that the Hungarians invented 3,500 years ago, that migrated with the Hungarians to the Tarim Basin, that came back to Europe with the Sarmatians and the Magyars. The Huns did arrive in the Carpathian Basin together with some Sarmatian tribes that they had enslaved in Ukraine, and they found there other Sarmatians, the Jazigs, who had reached the Carpathian Basin (East of the Tisza river?) before them. The Székely could be descendants of the Hungarian Jazigs. The Sarmatians were the goldsmiths, who made the Hunnish artifacts, if those artifacts had not been looted by the Huns. The enamel inlays of the Sarmatian/Hunnish swords and those of Tillia Tepe are a common marker of 2 related populations. The Sarmatians, before moving westward, were Arsi, who were travelling the North-Eastern branch of the Silk Road (See the “Silk Road” Abstract). Sarmatians lived in Niya, Tarim Basin, from where they brought their typical bow cases. The name of one of the 4 Sarmatian tribes was Aorsi, the autonym of the people, who dwelled in the Tarim Basin. The Aorsi were credited to be able to deploy 188.000 mounted archers, but they claimed that the “upper Aorsi” could deploy many more! (See “Honfoglalás…”, “upper Aorsi”). BABY ISTEN*S OR … …PREGNANT* “TULIPS” … WITH A UTERUS!? The design that Kiszely defines tulips can in no way be tulips. That design could, in case, represent a 4 petals flower (the rear petal being shaded and hidden by the front one). Unfortunately for Kiszely and the others, 4 PETAL TULIPS DO NOT EXIST!! 0 9 D 1 e l i v e r Sicily (Székely?): y Strasbourg, FR: a Turul delivery of a double spiral “Hittite delivery of a Isten “Celtic” delivery of B. Isten Delivery of Etruscan Isten delivers an Avar Isten. 0 O 9 f 2

B

a A Honfoglalás time Turul and b a Malatesta (RN, IT) Turul

y deliver a Pregnant Isten Minoan, reconstr. Pazyryk + China: delivery of Turul “Ungarische Volks-Kunst”, delivery of a “tulip” How is it possible that the 0 I Insubrian Avars and the 9 s Szeged Hungarians, 900 3 t km away from each other, e designed the same Baby n Isten being delivered by a s Mother Isten, 1500 years after their separation? Power of the shared Typically Hungarian: hands cultural DNA! down. Typically Avar: arms Gemonio, IT Avar longer than legs. Germignaga, IT, Avar HU, + 6 petals and 3 circles 0 9 “ 4 T u l i p s ” “Tulip” Tamga Faded “tulip” tamga 0 9 5 E v o l u t i o Troades Pazyryk + 3 ray Sun Berel + 6 ray Sun 6 n Another evolution* of the Gold Idol. The uterus, the big belly (pregnancy), or the amniotic sac are stressed by a different colour, or a hole, or an enamel inlay, or a rhombus, or a 6 ray Sun, or a triskelion, or a dotted circle… Symbols of sacredness are also added: V shapes, 6 ray Suns, trees of life… The arms were added to the Gold Idol in the Bronze Age, in order to confuse posterity (the “tulips” of Kiszely!). The roots of the Hungarian tree of life were in the uterus, where the miracle of life starts. 0 9 6

Parthian (CAIS)

P r “Celtic”: the same vulva as e Erdély, bronze, pregnant on the Saint Denis Isten Avar, Insubria g n a n t

I have labeled “Sarmatian” many artefacts that Museums have tagged differently. The above artefacts are an example. The 3 artefacts on the left are tagged “Roman” by the Devan Museum of Dacian and Roman civilization (Found in Hunedoara, RO. Dated 2-3rd c. AD. There are several more.) The 3 artefact on the right are tagged “Roman” by the British Museum (Found in Britannia and dated to the Roman occupation time. There are several more). An Indo-Germanist linguist must have decided the attribution: all those artefacts are devoted to Roman Deities and the dedication on them is in Latin, so they must be “Roman”. Unfortunately, the Indo-Germanist is not aware of the fact that Marcus Aurelius, after he subdued the Sarmatians, enrolled 5,500 of them in the Roman Army! MR. BRITISH MUSEUM! ALL THE ABOVE ARTEFACTS ARE AS HUNGARIAN AS THE MADONNA IN THE TYMPANON OF THE SAINT STEPHEN BASILICA IN BUDAPEST! THE DIFFERENCE IS: IN BUDAPEST, THE MADONNA IS DECORATED WITH HUNGARIAN SACRED SYMBOLS; IN HUNEDOARA AND BRITANNIA THE HUNGARIAN SACRED SYMBOL – A PREGNANT MOTHER ISTEN - IS DECORATED WITH ROMAN DEITIES. PLEASE, DO NOT FORGET TO INFORM THE ROMANIANS THAT THOSE ARTEFACTS ARE NOT DACO-ROMAN! 0 9 7

Niya, Tarim Basin 0 ← Another case of similar 9 “ evolution when the 8 T Pannonici, and the Avars u started being Indo- l Europeanized. i p ← Note the Isten on the ” chin of the Avar design –

Celtic Avar, Gyula L. a Hungarian marker. Kazakh tubeteika. Ainu 3 circles/“tulips” on head Mosuo, CN KISZELY URAM! ARE YOU STILL CONVINCED THAT “TULIPS” WERE THRIVING LIKE HAIR ONTO THE HEADS OF THE ANCIENT HUNGARIANS? Double shape: 0 “tulips” upright + 9 upside-down “mushrooms”↓ 9

HU Uyghur

Lines of Istens, Baby Istens ” Turnu Severin Museum, T and 6 petals rosette, RO silk, Tarim Basin, Stein u Southern Morava, YU → l 1 i 0 p 0 s ”

Varese, Insubria, IT, 1950 Aegean Pazyryk, Parthia, Swiss Hun Preslav, BG The uterus (or the amniotic sac) is stressed by a different colour, or a hole, or an enamel inlay, or a rhombus, or a 6 ray Sun, or a triskelion, or a dotted circle, or a… The symbol of the Mother Isten makes sense as long as MDF shall be ruled by a woman, possibly pregnant! The red colour should stress the uterus, not the brain: the Preslav (BG, 4th image) and the MDF Istens are transitional! Dávid Ibolya, take courage! Stress the uterus in red colour! A woman uterus can reason much better than some male brains can! 1 “ 0 G 1 u i t a r s Cycladic Erdély, bronze ” “Celtic” Daunia, IT Singapore Ukraine The roots of the Hungarian tree of life were in the uterus, where the miracle of life starts. 3 lines (2nd box) were associated to femininity. 1 0 2

S c e Armorica, 1st c. B.C. Kanishka, Kushan Gothic stained glass Notre Dame de Paris Friedrich Barbarossa p THE “TULIP” WAS FINALLY ASSOCIATED TO KINGS AND DIVINITIES ALL OVER EUROPE t 1 r 0 e 3

←↑ Kanishka, Kushan Saint Louis (El Greco) 1 0 E 4 U

C r o w PL UK PL, +3 HU, 6 n Please note that Elisabeth II, who was crowned with a crown that alternated Christian Crosses and Mother Istens (above), has recently s dismissed the Christian Crosses: the crown she wears now on the pound notes is a crown of Mother Istens without any Cross at all, as the Arpadian crowns were! Elisabeth II is the first Neo-Old-European Monarch in Modern Europe! (She may have done it only to please the British Muslims - realpolitik! …or maybe she converted to the Old Hungarian Religion!?). EVOLUTION*S OF THE MOTHER ISTEN SYMBOL WHY SOME SACRED SYMBOLS WERE UPSIDE DOWN? 1 0 5

U p s i Tillia Tepe d Cauldron, Sidak Upside down “tulips”: Dodo Kot, Kalash; Kapu, HU Holy Cross e The Sidak cauldron shows what the handles of the Hungarian cauldrons meant: the handles were pregnant Mother Istens, Who, in this - case were delivering a “tulip” Baby Isten, which has 2 good reasons for being upside down. d If you look at the above Holy Cross image you can see that the same symbol - the “tulip” - is upright on the crown and upside down on o the ear rings; the heart pendants are all upside down. Actually, as seen by the eyes of the king on the Holy Crown, they are all upright. w They were upright for the person who wore them, not for the person in front of him/her. The sacred symbols were not status symbols to n be shown to others, but Gods that the Hungarians needed see and talk to. The Hungarians were not a “have” people, but a “be” people. (Erich Fromm). Linguistic note: In an egalitarian society, the verb “to have” did not make much sense: property was common. Instead, in Indo-Germanic S languages, “to have” comes from PIE *kap- "to grasp", cognate of Latin capere "to seize", unrelated to Latin habere a (Etymology.com). In other words: the right of property in Germanic societies descended from seizure and looting. c Instead, in Finno-Ugric languages “to have” does not even exist; one has to use a periphrasis in Hungarian (nekem van) r and in Finnish (meillä on), which is still kept in the French “c'est à moi”, in the Russian “У меня есть”, and in other e languages. The people who live in former Chudia - the Slavs - are contradictory: they use the Finno-Ugric formula of d possession with “to be”, but they try to use “to be” the less they can (Я хороший!): they are not a “be” people. A line of Mother Istens hangs upside down from the roof of an old house (1950) in Varese, Via Fratelli Pavesi, Insubria, IT, as it did in Dodo Kot. Could Varese, Vares in dialect, be connected to Város, fortified town? Or to (A)vár-ese, Avar S (town)? y In an animistic society, also cauldrons, m houses and bell towers had soul and eyes. In b the Hungarian cyan (“blue”) church of o Bratislava, the Christian Crosses complied to l the upside down rule: if the Cross was below s the eyes of the Madonna, it was upside- down; if above, upright. On the tower, it is upside down, below the tower’s eyes. Second box of above line: a Birthing Symbol. Third box: Heart Istens; but you can also see a white wave shape in the background. HOW, AFTER KISZELY, ISTEN HAS BECOME A SWISS* “HUNNISH” GOD S 1 w 3+3 x2 0 i 6 s s H u n s 6+6+1 Etruria 1 0 7

P a Pannonia n n o

n i The Swiss “Huns” of Kiszely are Hungarians, who may have migrated to Switzerland at any time from 3000 B.C. to 1400 A.D., when the a above Hungarian designs had a sacred symbolic value (that they never had for the Huns!): since the Bronze Age up until the late Middle Age. Those Swiss Huns are NOT Huns, because their archaeology is Hungarian, not Hunnish: those symbols have been found in the Hungarian graves all along the multimillennial history of the Hungarians. Those “Huns” should be descendants of La Tene Pannonici: the Crosses of Istens still show the symbol of the offspring inside a circle (not a rhombus) as it was in Etruria and in Pazyruk, between 800 and 200 B.C.: this is why they spoke Hungarian: 1 0 8

D a t I Tarim HU n SIMILARITY OF THE ETRUSCAN, “SWISS HUNS” AND PAZYRYK PREGNANT ISTEN AND CROSSES OF ISTENS: THE PROBABLE g DATE OF THE SEPARATION COULD BE THE 1st HALF OF THE LAST MILLENNIUM B.C., AT THE TIME OF THE DIASPORA, AT THE

TIME OF LA TENE, AT THE TIME THE HUNGARIANS LEFT EUROPE. THE “SWISS HUNS” OFFSPRING IS STILL IN A CIRCLE.

Monsieur Savioz, the author of the book “Valaisans descendant d’Attila”, maintains that the Valaisans are Huns simply because he has always heard that the Hungarians are “Huns” descending from Attila. He also quotes some phenotypical Mongolic features of his Valaisans, which cannot be explained with the Mongolic Huns having had control of the Tarim Basin for some 20 years, but rather with the Chinese having shared the Tarim Basin with the Hungarians for a Millennium. Furthermore some fans of the Huns are convinced that the Huns were Europoids (those blond Europoids quoted in the Chinese Chronicles were Hungarians!). Thus, how could the Europoid Huns have transferred Mongolic features to the Hungarians? What a mess in some minds! IT IS TRUE THAT SOME HUNGARIANS HAD ARRIVED WITH THE HUNS, BUT THE HUNS WERE MONGOLS AND THE HUNGARIANS WERE HUNGARIANS. (SEE THE SKULLS OF THE ANTHROPOLOGICAL MUSEUM OF BUDAPEST). The most convincing evidence of Savioz is the linguistic one: Savioz comes to the conclusion that the Swiss Huns spoke Hungarian. THE SWISS HUNS WERE HUNGARIANS, UNTIL SOMEBODY SHALL PROVE THAT THE HUNS SPOKE HUNGARIAN (NOT WITH TRADITION AND FAIRY TALES, BUT WITH HISTORICAL COMPARATIVE LINGUISTIC OR RATHER WITH A DVD CONTAINING A SPEECH OF ATTILA TO HIS GENERALS). KISZELY ISTVÁN! WHY DID YOU AVOID 5 TIMES TO MEET ME? Let’s meet and DEBATE in front of a gulyás and a bottle of Tokaji! [“DEBATE” IS A WORD BANNED BY THE HUNGARIAN INTELLIGENTSIA: THEY ARE ABLE TO TELL, BUT NOT TO LISTEN!] HOW, AFTER THE HERMITAGE, SARMATIA*N ISTENS HAVE BECOME... …“HORNIDS”! The artifacts below are appliqués, which decorated the 1 robe of a female “Sarmato- 0 Alanian” buried in Ukraine. 9 They are dated 1st – 2nd century A.D., and they are in the Hermitage State Museum of Sankt Petersburg. The Hermitage is the “Plaque Shaped “Plaque Shaped like “Plaque Shaped “Plaque”! Museum that keeps most of like a Stylized a Stylized Head of a like a Stylized Unable to label it the artifacts unearthed in Northern Eurasia with the Head of a BULL” MOUFLON” Head of an IBEX” “HORNID”! exception of the Tarim Basin finds (spread in the British Empire) and of the Afghanistan finds (excavated by the S Soviet Serianidi, but kept in Kabul). At the Hermitage, a the experts of the “Nomads of the steppes” work. r The first line of the table on the right shows the images, mwith their original captions, dragged and dropped here a from the Museum’s website “Gallery”. The Hermitage t has decreed that the Hungarian symbolic i representations of Isten were... HORNIDS! a These appliqués may have been found scattered in the , grave and someone may have decided the way they were upright. They may have even been found like they are shown by the Hermitage, because we already know that, on some conditions, the Hungarians placed their

Gods apparently upside down. If we reverse the top Pazyryk, Scythia, Tillia Tepe, Tillia Tepe, with the bottom of those designs, we have the images of Hermitage Treasure M., Kiev Afghan Nat. M. Afghan Nat. M. the second line, which should then appear familiar to the H Hungarian reader: they are sacred representations of the Mother Isten. The third line shows that those designs were indeed Hungarian. e Note that the lower rods are the supports of the symbols, as it was for the horse decorations of Pazyryk: the rods are not part of the r symbols. mThe “Sarmato-Alanians” made the first wave of Magyars (the actually were certainly blond (Virgilius)), who came back to Europe i from Arsia (mainly from Perso-Scythia). t Strange that the Hermitage has put the 4th design upright a and the other ones upside-down. The 4th artifact may not g belong to the Hungarian cultural DNA: it decorated the e houses of Urartu (860-590 B.C., British Museum), the walls of Assur, of Babilonia (575 B.C.), and of Persepolis (515 B.C.). The Sarmatians may have learnt to use that design in Tillia Tepe, where it had been modified from 4 (as it was in Persepolis; 4 being an Indo-European sacred number) to 3 steps again, as Urartu Assur Persepolis it originally was in Urartu, Mesopotamia, and Phoenicia (“I Fenici” S.F. Bondi, IPS). The same design has also been found in Fiorano, MO, IT, left. It has been dated to the Roman time, but it has 3 steps). Fiorano is one of the oldest Neolithic sites in Italy (Mother Goddesses), later inhabited by Terramare/Villanovan/Etruscan people. In Fiorano, an Avar Longobardic woman grave has also been found. I would not be surprised if that design existed in Pannonia too (with 3 steps). Note that the 3.2 waves of Hungarians, who came back in Europe, did not settle only in Hungary but also in other places in Europe where the Pannonici had settled at the time of the diaspora. In these places they found populations that still shared the same cultural heritage with them: Armorica, Pannoniberia, Insubria, Volga/Kama…). ТОВАРИЩ ЭРМИТАЖ! WOULD YOU PLEASE SEND THE “CREATIVE” ARCHAEOLOGIST WHO COMMENTED THOSE IMAGES TO A CORRECTION GULAG IN SIBERIA, JUST FOR A FEW CENTURIES, PLEASE? HOW, WHERE, AND WHEN THE MOTHER ISTEN BECAME AN ANTHROPOMORPHIC MALE GOD* S 1 c → 1 y → 0 t → → h i → a → → F → e → m +HeartIsten, a Pannoniberia Scythia upside down Treasure M., Kiev, UA Tarim Basin l SECOND BOX: HOW THE SCYTHIAN MOTHER ISTENS (COLOUR) BECAME A BIZANTINE CROSS OF ISTENS, AND FINALLY A e BYZANTINE CHRISTIAN CROSS* (BLACK AND WHITE DRAWINGS, SPELTZ ALEXANDER, “STYLES OF ORNAMENT”). 1 1 → 1 C → e → l → t → → i → c → →

M Images: an Etruscan sword consecrated by a symbolic Pregnant Mother Isten shaped hilt (Speltz); a sword consecrated by a a symbolic Pregnant Mother Isten showing a dotted circle at the place of the vulva, a dotted double circle at the place of the breast, and a l big belly (Sulmona, IT, 400-300 B.C., British Museum); four sword hilts evolving into an anthropomorphic Celtic male God, who still e shows the Hungarian symbol of femininity on His belly: 3 lines – the same 3 lines that appear on Sarmatian and Avar swords! Am I right when I call the early “Celts” Celto-Pannonici? MR. BRITISH MUSEUM! WHY DID YOU BUY THE SULMONA SWORD IF YOU HAD NOT UNDERSTOOD WHAT IT MEANT? E 1 tr → 1 u → 2 s → c → a → → n → F → e → m

a Kelermess, N. Caucasus Etruria, Villa Giulia M. Etruria, Louvre Sarmatia Rome Isten Temple l Astonishingly, the Hungarian sacred symbols evolved similarly when they started being influenced by the Indo-European culture, both at e the time of the Indo-Europeans’ emergence in Etruria and at the time the Hungarians arrived in Europe, (time distance: 1500 years, see last box of below line), coherently with my idea of Cultural DNA. M Anthropomorphization: 1 a - Etruria ↑ → 1 g - Hungary (MNM) → 3 y (Delivering Mother Isten + → 3 V shapes + 3 “tulips” → F crown), last box, → → → e → → m Syncretisation: → a - Rome Isten Temple: half → l cross, half Mother Isten. ↑ e - Holy Crown, → Holy Crown M 1 a → → 1 g → → 4 y → → F → → e → → → → m → → a → → l → → e Mycenae, spiral vulva Isten + 3+3 spiral crown Honfoglalás “palmette” M 1 a Undefined gender God. → 1 g The eyes of the → 5 y Honfoglalás Isten are → U still represented in the → n same way as on the → d Bronze Age Pannonico → → e masks: a double spiral. → fi → n Would you bet that it is e Britannia, Sarmat. Tarim a „palmette”? M → 1 a → 1 g → 6 y → → M → → a → l → e Magyar, transitional 8, ↑ 6→ HOW THE MOTHER ISTEN BECAME THE MAGYAR CHRISTIAN CROSS* Not the 1 Cross, but 1 the Mother 7 Isten is still H the symbol u of the faith n of the g Hungarians! a r Bern Mus., i Gimbutas ↑ → Tarim Basin Sarmatia CH, ZMTE a 1 n 1 8

C h r Macedonia Berel, North East Kazakh. Magyar Upside-down pendant,HU i The “apple” or “globus” under the Cross could well have been the amniotic sack, for the Magyars. For the Romans, it was the orbis s terrarum that the emperors kept under their feet on the coins of the early empire. t 1 i 1 a 9 n

Images: Sarmatia x2 Kievan Rome Isten temple + “tulips” and 3 circles Holy Crown Honfoglalás x2 Hungary, 1849. C In 1849 the Hungarians still knew that a Hungarian Mother Isten should wide open Her legs in order to deliver. In fact, they added 2 r branches to the Cross, they bent them accordingly, and they added a green circle – the offspring. The second, third, and fifth images of o the above line show the amniotic sac, as many symbols of the Mother Isten did. The spirals at the bottom of the Crosses in the images of s the above and below lines correspond to the spirals that decorated the vulva of the Palaeolithic Venuses. s The today design of the Ukrainian orthodox Cross of Rome is still similar to the one of the Geza’s cross. The Pope had nothing to complain with the Geza’s Cross: the Pope was told that the magenta legs of the Mother Isten were a... “decoration”; the cyan Christian cross fully complied with the Popes’ standards. The Cross of Geza shows how the open legs of the Mother Isten became the second horizontal line of the Hungarian Cross. The wide open legs remained not only in the design of the Hungarian Cross, but astonishingly also were kept as fashion design in the 1 S robes of populations of transitional Hungarian culture, when the Mother Isten was anthropomorphised under Indo-European cultural 2 p influence and pressure: 0 i r a l s

I n

1 2 3 4 5 6

F 1. Etruscan, Louvre. 2. Kelermess, North Caucasus. 3. Kazanlak, Thrace, + Turul + Indo- a European phenotype. 4. Ukraine, Hermitage. 5. Tillia Tepe, Afghanistan National Museum (a s tree of life comes down from the vulva, and an Etruscan offspring from the skirt, at the place of the h flower or bud of the tree of life) 6. Hungary, MNM (+ 3 V shapes and 3 “tulips” as crown + ancient i Hungarian phenotype). o Note how similarly the Scythian Heart Isten (left) evolved into Her anthropomorphic Etruscan and n Magyar versions, at a time distance of 1500 years! (1 and 6, shared cultural DNA). The drawn Heart Isten design on the right was a Greek copy: the pregnant Lady had become a bearded God, but a tree of life was still pending from His… vulva! (Speltz Alexander, “Styles of ornament”). The Greeks copied Hungarian designs in the same way as the Mongols did: both peoples never understood what those symbols meant. My opinion is that the meaning of the Hungarian symbols was a secret known only by the Hungarians. Crosses similar to the Hungarian one spread all over the Balkans (see the Slovenian 1 1 Euro coin), Czechoslovakia, Poland, Ukraine, and several other Christian Countries, where 2 the memory of the Bronze Age Mother Isten was still alive (approximately the Gold Idol 1 area). A HOWEVER, I AM SORRY TO INFORM THE HUNGARIANS THAT THE COPYRIGHT OF v THEIR CHRISTIAN CROSS DOES NOT BELONG TO THE MAGYARS. The Hungarian a Avar(-Longobard) prince Adelhis had already registered the copyright of the design of the r Hungarian cross in Beneventum, Italy, by stamping it on his coins (right, 867 – 871). The obverse of the same coin shows the “tamga” of Ludovicus II Imperator: a “faded C tulip” tipped by 2 Hungarian sacred symbols: tree of life and 3 circles design. You do not believe that Adelhis was Hungarian? In this case h you should explain why Adelhis, Ludovicus and Grimoaldus and other “Longobards” were using so many Hungarian sacred symbols on their r churches and on their coins: i s t i a n

C Hungarian kapu r The same Cross that is on the fourth coin had been portrayed by the Byzantine emperor Leontius (695-698) on his o solidus (right). However, the one of Beneventum was correctly placed onto 3 steps instead of 4, as the Hungarian s Cross is often put on top of 3 mountains. s How is it possible that at a time distance of 1.5 centuries and at a space distance of 1,300 kilometres, when they converted to Christianity, both the Avars and the Magyars adopted the same design for their Cross? It was possible, because for both peoples, that symbol was the symbol of the Mother Isten. It was possible as it was possible that the Hungarian Academy of Sciences adopted a composition of 3 Pannonico designs for the logo of their restaurant in Budapest, instead of a Yugran one, as the linguists would have liked he to do. The cultural DNA never lies! HUNGARIAN CHRISTIAN GODDESSES IN EUROPE Not the Christian Cross, but the Mother Isten symbol (the Hungarian Christian Cross, an 1 angular Mother Isten) is still the symbol of the faith of the Hungarians! 2 S (Left: Mátyás templom, Budapest; right: Polish church). 2 z Do you know why that Polish church has the Baby Isten symbol on it? e Jadwiga, the Anjou Hungarian “King” of Poland (yes, she was made “King”, because, at that n time, a Queen could have not been a ruler, as she actually was!), wanted to Christianize her t country. She had a good idea that was quite popular in the Middle Age: she brought to Poland a miraculous painting of the Virgin Mary that had been found in Palestine by Elena, the wife of the emperor Constantine. The painting had been painted by St. Luke on a cypress table top from the house of the Holy Family. The Poles started worshipping the protecting Virgin Mary and they became Christians, Jadwiga became Saint, the painting became the Black Madonna of Częstochowa (or, if you prefer, t͡ʂɛ̃stɔˈxɔva, as the linguists say!). H However, St. Luke had made a mistake! He had decorated the robe of the Virgin Mary with Anjou Mother Istens that e had not yet been invented at his time, in the region he was! d Actually, the above Polish church does not show a fleur-de-lis, but a Hungarian Baby Isten, which may have been v brought there by Sarmatians! i In Hungary (and not only), the most beloved archetype of Christianity is the Virgin Mary that reminds the Hungarians g of their Mother Isten, a protective Goddess, so different from other Gods with their thunders and their fire of the Hell. (The Hell is an Arya-Semitic concept: see Hades and Gehenna on Wikipedia). The Old European pre-Arya-Semite-Mongol Gods were protective Gods, not warriors or punishers. The houses of Avar towns in Insubria are often decorated with lines of Istens. In recent centuries sacred Christian paintings have been A added to the lines of Istens. Taino is a small Avar town in Insubria, IT. Until some decades ago, there were 50 houses decorated with n “devotional” frescoes. In 1995 only some 20 had survived. Out of 22 frescoes, Maria - the Mother Goddess - appears in 16 frescoes, d Jesus Christ on the Cross only on two of them, the other frescoes depict Saints (Saint Stephan, twice). When the male Saint Joseph appears in those frescoes, he is in the background. Most Madonnas and Baby Jesus are blond or red haired. Most Madonnas in Taino are smiling (The Indo-European Madonnas look usually very sad). The Etruscan Gods also were smiling: the same smile of the Gioconda, an enigmatic smile. Instead, when I lived for a year in Indo-German Südtirol, there was a sad and bloody Christian Cross at every road cross E (maybe a “cross connection” made by local linguists!) In Bayern and Austria it was the same. (“Taino, i dipinti devozionali”, Comune di u Taino, Assessorato alla Cultura, 1995). r Astonishingly, one of the paintings of Taino depicts the Spanish Saint Eurosia. Eurosia was o actually not Spanish but Moravian. She had been chosen by the Pope to become princess of s Aragon. She was martyrized by Saracens, in Jaca (ES), in 880 A.D., while she was traveling i from Moravia to Aragon in order to meet her Prince. She was 16 years old. In the seal of a Jaca you can see an Avar/Hungarian Cross and 3 Mother Isten symbols. The religious art of Jaca reminds one of Lombard (Avar) art (right). The Easter procession of Jaca reminds one of the Procession of Avar S. Fratello, Messina, IT, and of Southern France (see “Hungarians in Europe”). Eurosia is also worshipped in other Italian towns were traces of the Avars (“Longobards”) are still visible. (Images: seal, capital, and line of Istens, Jaca). SZENT HEDVIG!! IT IS NOT OF KINGS AND SAINTS TO TELL FAIRY TALES! LEAVE IT TO THE HUNGARIAN INTELLIGENTSIA SEARCHING FOR THE ŐSHAZA! HOW THE MOTHER ISTEN BECAME AN ETRUSCAN*, CELTIC, GREEK AND SCYTHIAN DECORATION*. (NEVER A MAGYAR ONE!) I 1 n Scythia→ 2 d → 3 o → - E Palmette u r → o → p Greece → e a Above: 1st box: Etruria; La Tene, Pannonia; Mycenae. 3rd box: Pazyryk; 4th box: Tarim Basin, M. A. n Stein; 5th box: Honfoglalás time. Left: Greece; Macedonia, larnax of Philip II and of Olympia; Noin Ula, Mongolia (“La route de la soie”). No doubt that this design was Pannonico: it was kept unchanged by the Pannonico cultures until these cultures I faded, when they were Indo-Europeanised. When Indoeuropeanisation was completed, it disappeared also from s all Indo-European cultures. The part that became a palmette may have originally been a tree of life: Hungarian t trees of life had 3+3 branches + 1 bud or flower, and this is how those “palmettes” were designed in the e Pannonico cultures; the other part is a… “tulip”, of course! After Indo-Europeanization (about 500 B.C.), the n Etruscans, the Greeks and the Greco-Scythians kept only the palmette. Instead, the Hungarians, who had s escaped Indo-Europeanization, kept the Mother Isten and the tree of life for the next 2.5 Millennia. CROSS OF ISTENS* C The Crosses of Istens are supposed to be representations of a coitus by some scholars. There is no confirmation of a 1 r similar posture in the Kama Sutra! 2 o I rather hypothesize Them to symbolize a pagan Divine Conception (concept still alive in the Christian faith), or the 4 s creation of humans. s The oldest Cross of Istens is a Vinča sign, right. e Some Crosses can be seen as different combinations of 4 or 2 sacred symbols (offspring, or big belly, or uterus in the s centre):

O f

H e a ↑ Etruscan, Metropolitan. rt Sun Yat-Sen University,

x4 x2 Canton, CN, where? → The design of the medallion found in England (5th c. A.D.?) could be Sarmatian (do not forget that 5,500 Jaziges were moved to Britannia by Marcus Aurelius). The British Museum, where that artifact is kept, I maintains that it is early Anglo-Saxon because it was “Made in Germany”). However the symbol was a s “Hungarian produce” along 7 millennia. It is very similar to 7th-6th c. B.C. decorations on Etruscan pottery: t both are Crosses of Heart Istens). It can be read as a composition of 4 Heart Istens, or of 2 Istens. I have e separated the Crosses of Heart Istens from the Crosses of Hearts: even being similar, the crosses of empty n Hearts can only be read as a 4 Heart compositions: they lack the heads and the offspring (they are in “Sacred s Symbols”). The Cross of Heart Istens could have become cross of hearts when its original meaning was lost (maybe in Tillia Tepe transitional art). David I of Scotland coin, 1124-1153 (“Made in Germany”!?)→ . The Chinese Cross (last image above) was part of the logo of the homepage of the Department of Anthropology of the Sun-Yat-Sen University. I have no information about where it was found and which is its dating. (The website of the University has been improved in November 2009 and that artifact does not appear any longer in their modern style new home page, but I have the photo of the screen of the “archaic” homepage in my computer). In any case, that design should be Hungarian because it has the same usual asymmetry that the Hungarian Crosses had (see further on). The Heart Istens of the following Crosses are often upside down, if you consider that of the last box of the following line to be upright (offspring in the centre). CROSS OF HEART ISTENS* C 1 r 2 o 5 s s

O f Cimmero-Scythia

H Cucuteni Tarim Basin Tamga Also in Kiev and Ladoga e 1 a 2 rt 6

I s t e n

s Etruria Pannonia Silla, Korea Avar, Italy, Metropolitan Avar, Castellani, IT V 1 r 2 a 7 p ,

A v a Avar, Vrap, Albania r Metropolitan Museum Avar, Vrap, 650 A.D. Avar, HU Tamga, 3 lines Tillia Tepe, Arsia 1 2 A 8 r s i a

Etruria Pazyryk Altai, Benkő Mihai Xin Jiang, Yining M., Arsia Uyghur 1 2 9

C h u d i a Leon V, Lusignan dynasty Herm, Szent László Saint Denis, Paris Honfoglalás Kiev and Moscow, Chudia Kievan Rus, Chudia Szent László is dressed like a Scythian (rhombuses). Inside each rhombus of his robe, there is a Hungarian sacred symbol that the Pope thought to be Christian Crosses. Isten symbols are on the tabernacle and on the crown of Szent László. The beard is combed so to make V shapes. The wrinkles on the front are cut to make a Mother Isten symbol, which reminds one of the Mother Isten on the chin of an Avar lion, of the 2 spirals pending from the lips of a red haired Hungarian in the Tarim Basin, and it is congruent with the Heart Isten on the front of the Etruscan God Laran (previous line; the eyebrows of Laran are represented like they were in Sumeria: low-carved). 1 3 C 0 u l t u r a l Avar, Varese, Insubria, IT Idikutschari, Turfan, 5 Champagne, Celtopannonia Pakistan, folk art, 3 Pillow, Parliament Htl, Pest D The Avar, the Magyar, the Tarim Basin Idikutschari, and the Kievan Rus Crosses of Istens are the most similar to what a Cross of Istens N should look like: the offspring is in the centre. An Indo-Germanist would define the similarity of the above images: ”Coincidences!!” A Nevertheless, astonishingly, there is again an asymmetry in the Crosses of Heart Istens of Champagne and of the Parliament Hotel, which reminds the same asymmetry that was on Etruscan and Hungarian Crosses of Istens. (See further on). The external circle of symbols of the Parliament Hotel design is made of alternate Heart Istens and upside down Avar Istens. The central design is similar to a modern Yunnan (CN) design. THE CROSS OF ISTENS* (OR CROSSES OF “TULIPS” !?) 1 3 1

C Pannonia r o s s e Etruria recon Cross of Heart Isten Tamga, + St. Andrew cross Veliki Preslav, BG, +3 s 1 3 2

O f

Etruria, Metropolitan M. + asymmetry R. Pannonia “mushrooms” Cross Kwarezm, Cross of hearts Rome’s Kievan Isten tem. Orthodox, Isten temple

1

3

3 I s t e n s

Pannoniberia “Phoenician” Etruria, Villa Giulia Mus. Tarim Basin Tarim Basin St. Stephen's Basilica door C 1 r 3 o 4 s s e s

←↑ Scythia Pazyryk Tarim, delivery of twins? O 1 f 3 5

I s SIMILARITY OF THE t ETRUSCAN, PAZYRYK e AND “SWISS HUNS” Aegean, colour stressed Coloured heart shaped n ISTENS AND CROSSES offspring belly ↑ → Tarim Basin, silk s 1 C 3 6 S h a p e

Tarim Basin ↑ → Kiev, Lavra, 1825 A.D. C 1 r 3 o 7 s s Honfoglalás

O f

I s Tarim Basin, 8 Kiev, today Veliki Preslav, BG t In many cases, symbols that had originated in Pannonia and had disappeared from Europe at the beginning of the Iron Age, came back to e Hungary at the Honfoglalás time, just like the Hungarians had spent only one night in Arsia and not 2 millennia! n Those 2 millennia were 2 millennia of isolation and endogamy, in a fortress protected by the highest mountains on Earth, that they shared s with the Chinese (they also endogamic and isolated in their China towns). The Kalash still today ban those of them that convert to Islam; I bet that the Arsi too did ban those of them that converted to Buddhism because not a single Buddhist swastika or symbol has been found in the graves of the Honfoglalás time. 1 3 8

Pazyryk C r o s s Camuni, IT Pannoniberia Sarmatia Vinča Roman Pannonia , +8 Sun “Palmettes” 1 3 9

O f

Avar, HU

Elam Pazyryk Sidak sanctuary, Yatsenko Sarmatia, + asymmetry Avar, Varese, IT

1 4 I 0 s t e n s

Pannonia, Bronze Age “Celtic”, British Museum Avar Longobardic, Pavia, IT “Hittite” Honfoglalás time I have found a number of Mother Istens in Celtic Art, 1 but, I had not been able to find a Celtic Cross of 4 Istens until I visited the British Museum again. 1 You can see on books many different pictures of the vessel on the right (Basse-Yutz, Lorraine, FR; 360 B.C.), but they are always frontal. By chance, I took a picture from the top of the case where the vessel is exhibited and… when I zoomed “ the picture, at home, I found it!

C Twined design and e double crown of spirals. l Crown of spirals on t neck. 2 opposing double i spirals A Heart Isten c has become the mask of a ” Celt. Baby Isten similar to the one delivered by the “Celtic” Isten of line 091. Source of these details: www.Virginia.edu Martin A. Guggisberg comments the above artifact on page 200 of the book “Art of the Celts“ of Felix Müller. He concludes writing: “the various elements of the ornament clearly have their origin in Greek vase painting”. I am afraid Martin has not clear ideas about ancient and “Celtic Art”! Here are the ornaments, starting from the foot of the artifact to its top: C The Basse-Yutz flagon was a ritual vessel, because it would have been unpractical and difficult to keep it upright on an Iron Age lunch r table: such unsteady ritual vessels have been found all along the Silk Road from Basse-Yutz up until Korea. (See o the next line, as an example). s The oinochoe was the most popular ritual vessel in Bronze Age Pannonia and in early Iron Age Etruria, where it s evolved into a flagon in the 6th-4th c. B.C.. The Etruscan oinochoe or flagon, together with the lituus, were the most important tools of the Etruscan Haruspices (see the Roman coin on the right). “Coral was appreciated by the Celts for its alleged power to ward off evil”. To ward off evil was a Hungarian care and cultural marker. Coral probably came from Naples, where a non Celtic population, still today, walk with small coral horns in their pockets in order to ward off evil. A Pannonico Bronze Age twinned design that the Etruscans also extensively used in the early Iron Age. The only Indo-European influence on that artifact is that the twinned design is slightly angular. A Pannonico/Etruscan double crown of spirals that the Etruscans and the Helladics also used in early Iron Age, before O Indoeuropeanization. It became the Greek Key in Indo-European art. (You cannot see it on the above low resolution image). f The profile of the flagon is angular, an ancient Pannonico marker; see “Art Designs”) The handle is a Scythian animal style design (Martin knows, but he considers a “speculation” the possibility that the Scythians could have influenced the Celts! Martin, not the Scythians, but the Pannonici did it, at the time the Celts were acculturated and intermingled with them! The cultural DNA of the Celts in the middle of the last millennium B.C. was still essentially Pannonico. The “vacuum” of the animal image is filled with Pannonico symbols of sacredness in the same way as it was filled by the Hungarians along 5000 years (see “horror vacui” in the “Art Designs” abstract). Similar animals with the same Hungarian sacred spirals on their ears, have been found in North West China, and they were not Greeks or Celts there! (Metropolitan Museum of Art →). Three (a sacred Hungarian number) leopards (a sacred Çatalhöyükian/Hungarian animal) protect the Cross of Istens. The Greek I totemic animal was the lion (or the griffon), not the leopard. Domesticated Leopards (or lynxes?) are supposed to have been used by s the Etruscans for boar hunting. t A duck is on the spout, an animal linked to the Finno-Ugric myth of creation. e The circles on the beak appear to be dotted circles, a Hungarian sacred symbol. n A Cross of Istens, derived from the Bronze Age Pannonico one that you can see on the previous line, first box (the Etruscan crosses of s Istens were different). The Cross is stressed by the colour of Gold as the sacred symbols were in Hungarian Art and still today in Avar folk Art in Insubria, IT. That Cross is a tamga, an identity and religious symbol that is still in the cultural DNA of the Hungarians. THE CROSS OF ISTENS ALONE WOULD SUFFICE TO MAKE THAT ARTIFACT NOT GREEK, NOT CELTIC, BUT PANNONICO! (See “Carrier Theory” in F.A.Q.) In the same book, page 202, Felix Müller comments the Delivering Mother Isten of line 091 that he associates to “Greek pottery” motifs! Felix raises a “crucial question”: “The Celtic vegetal style may in fact have been generated in upper Italy”! Felix! In Hungary, not in Italy! and not vegetal! (I have only browsed the book so far, what shall I find when I read it? SEHR GEEHRTE MARTIN A. GUGGISBERG UND FELIX MÜLLER! FORGET THAT YOU ARE INDO-GERMAN. FORGET YOUR DREAM TO BE BORN IN A 100% INDOEUROPEANIZED WORLD. PLEASE TELL ME… AM I WRONG, OR ARE YOU WRONG? Martin! Felix! Show me the Greek vases with the same ornament! Are you sure that they are Greek and not “Geometric Greek”, i.e. Helladic, or rather Hungarian? NOTE: this table is about the ethnogenesis of the Hungarians, not about the Celts, or the Huns, or the Germans… I have hundreds of other images of “Celtic” artifacts that I would like to comment with Martin and Felix!

Istens, Heart Istens and Crosses of Istens in the Kiev Historical Treasure Museum, Honfoglalás time! ↑ All sacred Leopards, not lions! 1 Pazyryk, Hermitage, table 4 leg. 2 Eastern Zhou dynasty, 4th- 3rd c. B.C., British Museum, horror vacui. Petroasa, RO Flagon, British Museum, horror vacui. Petroasa, RO. Turul at the place of the Leopard.

Silla, Korea, 300-668 A.D. P The “Romanian treasure”. (Read the entire story on Wikipedia). e On the eve of the German invasion of Romania, in 1916, the Romanian government sent to Russia 2 trains loaded tr with gold, documents, art masterpieces, and “3,500-year-old golden jewels found in Romania” (Wikipedia is correct: o not “Romanian”, but “found in Romania”). In 1956, USSR returned a handful of objects including the Petroasa a treasure, which consists of 3 Turuls, a couple of cups (one is shown above), a kind of flagon or oinochoe, a patera and s 2 rings similar to rings the Magyars and the Avars came back with to Europe (with spiral finials). The a “Romanian” artist, who made the poster on the left, left his signature on it, where the signature should , be, at the bottom right corner …a Heart Mother Isten→! The people with a surname with a -u ending cannot cheat or hide that ancient part of their DNA! Among the artifacts of the Petroasa treasure, there is a patera with anthropomorphic designs (below, transitional) and Hungarian decoration: see the abstract “The Avars in Europe” and you understand from where that patera had come! The “Romanian treasure” would have been very useful today in order to reconstruct the true history of the Balkans! …but, do not worry, what we have is enough! THE PETROASA TREASURE WAS A HUNGARIAN TREASURE. R The image of the Petroasa Avar patera (left) and of the Avar o tamga right (with 9=3x3 lines) have been taken from the book m “Attila und die Hunnen”: this book is the worst I have in my a library! The authors have collected artifacts from Museums all n over Europe and have generously connected them to the Huns, i in the same way as some Hungarian fans of the Huns do! (See a the book “The Huns” for more). I have been told by Romanians that the Hungarians, during their occupation of Romania, changed the Romanian surnames into Hungarian ones. I have been told by Hungarians that the Romanians are now deleting the surnames on the stones of Hungarian dead buried in Romania. Mussolini pushed Italian “foreigners” to change their names and banned foreign words from the dictionary. ALL THOSE PEOPLE, WITH THEIR LINGUISTIC STUPIDITY, DO NOT UNDERSTAND THAT THE FALSE LINGUISTIC EVIDENCE THAT THEY CREATE CAN CHEAT A STUPID OR AGENDA DRIVEN LINGUIST, BUT NOT A SERIOUS HISTORIAN, OR ARCHAEOLOGIST! “STUPIDITY OF PEOPLE IS ENDLESS, AS THE UNIVERSE IS”, EINSTEIN. THE SARMATIA*N AND AVAR* CROSS OF ISTENS* 1 4 3 T r a n s i t i Sarmatia Este, IT, Avar/Longobard Caucasian Avar Byzantium Avar, Varese, Insubria, IT o The above Crosses of Istens are all transitional Crosses: n Sarmatia, J. D. Kimball; the offspring could be a square: this would be the only square offspring that I have found, in the 10,000 years a of Hungarian history. The usual asymmetry is present! l Avar/Longobard, Este National Museum, IT. The offspring is an 8 ray Sun and the cross is inside a square. The left side of the frame is still a crown of spirals. Caucasian Avar. The heads are lacking, the offspring is a 4 spiral ray Sun, similar to the one found on the Niya oinochoe. Byzantine, Istanbul Museum, Exhibition of “Byzantine” art. A square instead of a circle or rhombus surrounds the sacred symbol. Varese, Insubria, IT, Via Cesare Paravicini, 1952 A.D.. Square instead of circle. B 1 u 4 l 4 g a r i a

Vila Armira, Ivaylovgrad, BG, II-VI C. A.D.: the house of a Sarmatian, who had come from the Tarim Basin

(the long spear was typically Sarmatian). S The images above come from the musiv decoration of a floor in south East Bulgaria. a Every single image of that mosaic is Hungarian and you shall find it in the line of the r abstract it belongs to. Here I want to stress only some details: the first upper image is a Cross of Istens from the m rd Tarim Basin (see next line 3 image); the second one is Sarmatian as the first one a of the previous line is; the third one is a Vinča sign. The capitals have the same t double spiral that the Honfoglalás time capitals in the MNM of Budapest have, and i that the capitals of the Italian Avar churches have. The sword of that Sarmatian has a been found in the Holy town of Stara Zagora, 100 kms north of his home: How do I know it was his? n Because the decoration of the sword (left), that the Bulgarians do admit to be Sarmatian, is the same of the decoration of the mosaic and s it is an Etruscan typical motif (colour image, right)! I know that you are still skeptic because you have not seen the hat of the Sarmatian yet. Here it is, on the right, and it is a conical hat. Satisfied? There is only one symbol in that mosaic, which is not Hungarian at all, the swastika; many, many of them. It did not come from Rome anyway, but from the Tarim Basin: only there, at that time, you could see as many swastikas in the Buddhist temples and caves. The swastika could have been a tamga of the Sarmatians: see the spears on the left where 3 swastikas are mixed with 10 Hungarian sacred symbols. All the spears show the same 3 rings as the Pannonico, “Celtic”, Avar and Magyar swords did. I am grateful to Rossitza and Stevan Olson for their “Album of The Traveling Frog” on Flickr, from where I copied the images of the mosaic. What language did that Sarmatian speak? You can choose: Greek, Thracian, Turkish, Indo-Iranian, Esperanto… Whichever! However, the cultural DNA of that Sarmatian had been speaking Hungarian for at least 6 millennia and had been worshipping the Mother Isten all along that time. THE ARSIAN AND MODERN HUNGARIAN CROSS OF ISTENS*

1 4 5

A r s i a n The first image is taken from “Altbuddhistische Kultstätten in Chinesisch-Turkistan”, vol. 1, Indo-Buddhist-Germanist author. It is from the Tarim Basin. The cross is inside a rhombus: in Europe the Pannonici had always encircled their sacred symbols, but the Cross of Istens started being put inside a rhombus in the Tarim Basin, at the time of the Han Dynasty (see “Legacy”). The other images are from Chinese books and are all from Arsia, Xin Jiang. Note the colour asymmetry in the Yingpan man trousers image (3rd image) and in the 5th image. The asymmetry of the 6th image is in the offspring rosette, similar to rosettes found in Han dynasty Niya, and on modern Khotan carpets. 1 4 6

H u n g a ri a n THE RECURRENT ASIMMETRY OF THE HUNGARIAN CROSSES OF ISTENS IS FINALLY EVIDENT IN THE ABOVE DESIGNS: THE HUNGARIANS, SINCE THE BRONZE AGE, WANTED STRESS, WITH THAT ASIMMETRY, IN A NON FIGURAL WAY, THE FACT THAT THE COITUS WAS NOT HOMOSEXUAL, BUT BETWEEN A MEN AND A WOMEN: IN FACT, THE MAN IS FINALLY DEPICTED IN HUNGARY WITH ITS OWN PECULIAR ATTRIBUTES, BETWEEN HIS THIGHS (Ethnographic Museum, Budapest, HU). ALL THE FLOWERS HAVE 6 PETALS. IN THE 19th CENTURY THE HUNGARIANS STILL KNEW! 1 4 H 7 u n g a r i a

n Arsia, tamga Budapest Trees of life (6)+vegetal I. Officials badge, ↑↓ Hungary

Boxes 2 and 3: Ethnographic Museum, Budapest: Crosses of Istens, 6 petal rosettes, trees of life (6 + 6 +1), and rhombuses. Moreover, mind your steps on the walkways of Budapest… you can trample on sacred symbols (last box: Cross of Istens and trees of life (3+3+1). Some pseudo-archaeologists are convinced that the symbol of the Mother Isten was imported in Hungary together with the Anjou (Armorican) king Robert: HOW IS IT THEN THAT ALL THESE ISTENS RESEMBLE TO THE BRONZE AGE HUNGARIAN SYMBOLS AND TO ARSIAN TAMGAS AND NOT TO THE ANJOU FLEUR DE LYS? Sarmatian, ↑ (British Museum, Anglo-Saxon, 680 A.D.) HOW, AFTER THE HERMITAGE, A CROSS OF TURULS* HAS BECOME AN INDO-EUROPEAN* “SWASTIKA SHAPED GRIFFIN” ← A naive attempt to Indo-Europeanize a Pazyryk Cross of Turuls: the 1 caption explains: “GRIFFONS, zoomorphic SWASTIKA”!!! 4 (The “griffon” could be a Eurasian Horned Eagle Owl). 8

C r o s s

Horned eagle Pazyryk, 3 Shajing, Gan Su, CN 1 4 O 9 f

T u Scythia Tagisken, Qwarezm Tagar, Minusunsk , J. D. Kimball Shajing, Gan Su, CN ARE ALL THE ABOVE IMAGES SWASTIKAS? NO! THEY ARE ALL HUNGARIAN SACRED SYMBOLS! r ← Inanna and Athena were associated to the owl: was the initial Turul an owl? The Turul was the u messenger between the Humans and the God in the sky, as the winged Angel (an anthropomorphised .(מלאך l Turul) will be in Etruria and in the Bible (ἄγγελος = messenger, translation of Hebrew s NEVER, A HUNGARIAN TURUL HAS BEEN REPRESENTED AS A BIRD OF PREY. BIRDS OF PREY (AND ANY ANIMAL OF PREY) WERE ARYA-SEMITE-MONGOL DIVINITIES. The Turul became a bird of prey in Hunno-Pazyrykia, in Greco-Scythia, and in Iranian Perso-Parthia. The above image of the “swastika shaped griffin” is from the book “Властители Степей”, Е. Ф. Королькова (who dreams swastikas at night, instead of…), Эрмитаж, page 122. Tarim Basin: Stein ↑; Bezeklik cave → ТОВАРИЩ ЭРМИТАЖ, DO NOT BEHAVE LIKE AN INDO-GERMANIST, PLEASE!

THE “CHRISTIAN CROSS*” OF ISTENS ← Roman orthodox priest, 1 S.Maria, Grottaferrata, RM. 5 0 Ukrainian Orthodox. C See h Avar Cardinal Tettamanzi, line r Insubria, IT → 152 is t Cardinal Bertone, secretary i of State of the Vatican City a (Deputy Pope), Abruzzo n earthquake funeral. Christianity not only adopted pagan holidays as Christian holidays (Xmas replaced the Roman Saturnalia and the “Sol invictus” festivals), but also adopted several pagan symbols, which are now considered to be Christian symbols. E.g.: the Pannonico-Etruscan lituus became the crosier, the German Pope wears habits decorated with 6 ray Suns; during the Holy Mass, the priests drink wine from chalices whose shape is still the same one of the drink rite cauldrons, the wine is kept in a sacred Etruscan oinochoe, the insignia of the Templars was a Mother Isten design, which even appears in the Saint Peter Basilica... CARDINAL BERTONE! WHY YOU CARRY WITH YOU THE IMAGE OF A PAGAN DIVINE COITUS IDOL!? THE LINE OF ISTENS* AND THE CROSS OF ISTENS* OF THE AVAR*S OF INSUBRIA (WEST LOMBARDY, IT AND TICINO, CH) Linguistic note: the western dialect of Lombardy is different from the Eastern one. 1 5 1

I n s u b r ↓ i a The designs of the above line, all Hungarian, are from the , Mother Isten Temple of Gemonio (S. Pietro) and from churches in Cuveglio and Germignaga (a few km. away from each other, I in Insubria, IT); the design in the 4th box is part of a line of T Istens that loudly decorates the City Hall of Cuveglio, as lines

of Istens decorated the Arsian yurts, the buildings in Central Asia, and the façade of the Vigado concert Hall in Budapest ↑. Crosses of Istens decorate the columns of the Vigado. An upper floor of the Cuveglio City Hall is decorated with a line of dotted rhombuses (formerly dotted circles) as a line of Istens and a line of dotted rhombuses decorate the Duhany synagogue of Budapest. The last design of the above line is not upside down: the ← Avar Mother Istens had arms longer than their legs. Compare it with the Szőreg Mother Isten →, whose head still has the same shape as the Çatalhöyük and Pannonico Bronze Age Mother Istens heads had. Important: the black and white Christian Cross – a Cross of Heart Istens – on top of the bell tower of the Isten Temple of Gemonio (above line, 3rd box) shows the usual asymmetry of the Hungarian Crosses of Istens, in particular the same one as the one on the pillow of the Parliament Hotel of Budapest! … and, consider also that the Hearth Isten was an Avar tamga. The opposing Heart Istens (below) of the Gemonio temple decoration have become a Heart, as many others did. If the 6 designs on the left had been found in Bayern and in West China, an Indo-Germanist would 1 L have “inferred” (and later on, made his fans believe it) that the Chinese spoke an Indo-German 5 i language (somebody has tried it already! See “Honfoglalás…”). The fact that those designs are not 2 n linked to an Indo-German language makes their similarity be a “mere coincidence”. e The first design is Etruscan (Amphora, Louvre); the second design is on the flag of s Kazakhstan, 6000 km away, 2 millennia later; the third design is from the Avar Mother Isten temple of Gemonio, Insubria, IT (The Gods and Saints depicted in that temple (16th century) O were all red haired. The monks of that temple had come from Pavia, the Capital of the f Avar/Longobard Kingdom. From Etruria to Arsia and back to Italy, via Hungary!), As I am not an Indo-Germanist, I “infer” that the first design was the archetype stored in the H memory of the cultural DNA of 5 Avars: A Kazakh Avar. An Italian Avar, who had come e from West Arsia back to Hungary, and had reached Italy with the Longobards. An Albanian a Avar, A Hungarian Avar. An Islamic Avar? r When they drew those designs, one of them was Turkophone and he has spoken Russian for t some time; another one spoke Latin (as it appears from the inscriptions on the temple), but he speaks Italian now. Out of the other three ones, one only still I speaks Hungarian: so what? They could not be all Hungarians? Other s Hungarians now speak Romanian or Uyghur, so what? They are not Hungarians? t Isten save the proud English speaking Hungarians of USA, Canada and Australia from the linguists! e The last 3 images on the left are on an artifact of the Avar Vrap (Albania) treasure, on the Vigado Concert Hall façade of Budapest, and in n the Muslim mosque of Saint Sofia in Istanbul. s The opposing Heart Istens of the Gemonio temple decoration had become Hearts, as many others had. DIONIGI TETTAMANZI, ARCIVESCOVO DELLA DIOCESI INSUBRICA! WHY YOU HAVE A HUNGARO-AVAR AND A GREEK CROSS IN YOUR PALLIUM→? WHY YOU USE A HUNGARIAN LITUUS? WHY YOUR ← HABIT IS DECORATED WITH REPRESENTATIONS OF A PAGAN DIVINE COITUS AND EVEN WITH AN ETRUSCAN PAGAN RELIGIOUS SYMBOL? THE LINE OF ISTENS* 1 5

3 Begram, Afghani., ivory

Pazyryk carpets Sarmatian, BG Byzantium Tarim, Nagyszent, Cividale Mosuo, Yunnan, CN Avar, Insubria, IT, today If you enter an Iranian shop they tell you that the Pazyryk carpets were Iranian carpets and they show you books where it is written so. Actually, the Pazyryk knotted carpet (the oldest in the world) was not 100% Hungarian because, maybe for the first time in the history of the Hungarians, they depicted knights in anthropomorphic style on that carpet: the Huns had already arrived there. However, the carpet of Pazyryk had a frame made of lines of a symbol that stayed with the Hungarians for the next 2 millennia. LINE OF ISTENS* 1 5 4

Camuni, IT, the maybe oldest line. Alexandropol, Scythia, UA. Jaca, ES, see the book “Hungarians in Europe” The patriarchalists, who insist believing that between the thighs of the Orantes there was a penis, are clearly contradicted by the Camuni image: it was an amniotic sack. The Jaca design is a double design as the following ones: 1 5 5

Etruria Plovdiv, BG, Museum Avar Nagyszentmiklós, found in RO, kept in AT. Etruscan decoration of figural scenes (“The Etruscans”, A. Magagnini): Heart Isten and Delivering Mother Isten - a double design: very Hungarian! In the Etruscan Isten design the offspring is still in the right place. Plovdiv Museum, Sarmatian (Ivaylovgrad), or Avar/Magyar (Veliki Preslav). Again a double design. A millennium after the Etruscan design, the Nagyszentmiklós Mother Isten has lost the offspring: the process of patriarchal shifting was already in progress or the hemisphere on the belly indicates that the Mother Isten was pregnant, ready for delivery, but not delivering yet. The Heart Isten has separated from the Isten and is now a heart, or a Gold Idol, as in Isfahan, Iran. 1 5 6

“ [Etruria], la necropoli arcaica”, page 137, A. Minto, wrought iron. The yellow colour of the background is the real colour of the old paper: the book was printed in 1922, by Bemporad, a well-known editor of Florence, Etruria. I have found the most important images for my work in “antique” books. In 1922 archaeology was at its beginning: everything they found was worth publishing. Nowadays, in museums and on books, they have a large choice, and you can only see large paintings of sea battles, figural hunting scenes, large craters with scenes of somebody killing someone… This fragment tells much more than all the “Greek” craters exhibited in the Museum of Villa Giulia, about who really were the Etruscans, but you do not see it in modern books! Note: there are 3 lines on the belly of the Mother Isten, as they were on the Istens of Pannonico, “Celtic”, Avar and Magyar sword hilts, and on the Sarmatian spears. 1 5 7

Gemonio, Insubria, IT, a wrought iron gate, today. The Avars of Insubria depict their iron gates and fences the colour they like, but they often stress the sacred symbols in white or gold so that a linguist who passes by may recognize them. Note that the Hungarian sacred symbols that make the Etruscan, Sarmatian, and Avar lines of Istens are two, as in Etruria, not one, and they are separately shown in the above 2 lines (Typical Hungarian double design). If you read about wrought iron, they tell you that the design of modern wrought iron decorations is as ancient as the Roman Empire. Do not trust them! It is much older and certainly not Indo-European! Left: wrought iron fence of a Hungarian house, white symbols. ← Bottom of the kaftan of an Altaian (Benkő Mihai). 1 Bottom of the kaftan of King Arpad, Nemzeti Történeti Emlékpark 5 (National Historical Memorial Park), Ópusztaszer, HU. → 8 Up until the day Trefort Ágoston, pushed by linguists, sold out the Hungarian identity, the Hungarians knew exactly who they were, where they had come from, who was their Mother Isten: at least the designers of the Saint Stephen Cathedral and of the Emlékpark did know. At that time the Hungarians still behaved as Magyars: the Turul was not yet a bird of prey. Was Arpad Etruscan, Avar, Turkish or Hunnish? The people of Arpad was a Hungarian population, who descended from Pannonici (not Yugrans), who had spread their civilization to Europe (Old Europe, Magna Pannonia) and to Central Asia (Pazyrykia and Arsia). That people came back to Europe in the first Millennium A.D. in 3.2 waves. Not all the Hungarians could come back home with Arpad; the descendants of some of them and their Hungarian cultural DNA still survive in Japan (Ainu), Altai, Tuva, Kirgizstan, west Kazakhstan and Uzbekistan, Afghanistan, Kashmir, Korea, China (Xin Jiang, Gan Su, Yunnan (Before I forget to write it somewhere, I better tell you that a city by the name Kunming was listed by Ptolomaeus as a Silk Road town: Kunming is the capital city of the Yunnan province, where the matriarchal Mosuo live), west Siberia (Xanty Mansy), Middle East, Italy (Friuli, Insubria, Sannio, Puglie, Sicily (after a migration from Lombardy)…, Central Europe… I forgot: … Finland, Pribaltika, Russia (Carelia, Mordva, Mari El, Kalinin, Perm… and the Volga/Kama region), Romania, Moldova, Ukraine… U.K. and France! See the book “Hungarians in Middle Age Europe”. ↑ Bottom of the kaftan of Salomon, Strasbourg cathedral, FR, stained glass. Bottom of the robe of the Madonna, tympanum of the Szent István Bazilika in Budapest: Istens and Crosses of Istens ↑ 1 5 9

Tarim Basin yurt Avar bible, Venice Kalash, Dodo Kot, Kashmir,Arsia Avar, Varese Detail → 1 6 0

Kalash, carved door frame, Shakanande, Rombur Valley Avar “Longobardic” church, Cividale del Friuli, IT 1 6 1

↑Duhany Synagog. HU ↑ Avar, Varese, Via Sanvito Silvestro, Insubria, IT. 1 Avar, Gavirate, Viale Verbano, Insubria, IT ↑ 6 Notre Dame, Paris, FR (Compare with the Avar circle of Istens of Bitonto). Florence, IT 2

1 6 3

Avar, Cuveglio City Hall, Insubria, IT. Some Avars of Insubria, who have forgotten their Mother Isten, anyway still decorate the space below the roof with a line of symbolic designs. 1 6 4

Vigado concert Hall Budapest, HU: line of Baby Istens (“tulips”). 1 6 5

“An iwan is a vaulted space, walled on three sides, with one end entirely open. Iwans were a trademark of the Sasanid architecture of Persia, M later finding their way into Islamic architecture. During the Seljuki era, o the iwans became a fundamental design unit in Islamic architecture.” s (Do iwans look like the arcade of the Dodo Kot building, with its double q line of Istens? → Please note that Islam entered the Tarim Basin only u after the departure of the Hungarians; with a Uyghur prince). e Left and above: iwan of the “Friday Mosque, Isfahan, Iran (771 to 17th s c.). The Buyyids (934–1062) added the façade and the two minarets that are the earliest example of the double minaret on record. Iwans were added in stages under the Seljuqs (11th – 14th c.), giving the mosque its current four-iwan form, a type which subsequently became prevalent in Iran and the rest of the Islamic world”, (similar to the Semitic Phoenician Baal temples!). On top of the arch of the Friday mosque iwan - a Hungarian wave arch → - there is a A Hungarian 6 ray Sun, a Hungarian frame of Mother Istens, and a Sasanian floral decoration. Flowers are typical n of Muslim art and represent the Paradise, which the Muslims imagine to be a flowered garden, populated by 70 d virgins for each martyr. On top of the iwan, a line of Hungarian Mother Istens. The Friday Mosque proves that the lines of decorations on top of the Islamic iwans and of the Uyghur and Hungarian temples, were originally lines of Istens. Note that the above line of Istens is made of 3 Hungarian sacred symbols: the Mother Isten and the upside down Gold Idol, Who is delivering a Baby Isten. !PUNISH THE INFIDELS OF ISFAHAN ﻲﺍﻟﻬﺎﺷﻤ ﺍﻟﻤﻄﻠﺐ ﻋ ﺑﺩ ﺑ ﻥ ﷲ ﻋ ﺑﺩ ﺑ ﻥ ﻣﺣﻣﺩ ﺍﻟﻘﺎﺳﻢ ﺍﺑﻮ

1 S 6 y 6 n a g o g u e s Uyghur, Tarim Basin Uyghur, Tarim Basin.

White sacred symbols Kvár/Cluj, synagogue Duhány Synagogue Vigado, Budapest THE DUHÁNY* SYNAGOGUE, BUDAPEST, HUNGARY In the second half of the 19th century, orientalism became fashionable and the European architecture tried to revive the Moorish 1 architecture. Some churches and many synagogues were built in Europe, whose façade and decoration reminded Islamic art. As I am not 6 willing to believe that the designers of the Synagogues of Budapest, Kalosvár, and of several other places, copied the above design of the 7 D line of Istens from a Muslim Mosque in Iran, I am convinced that this design already existed in Arsia before the Magyars left. In fact, u most of the Moorish buildings show a line of undefined decorations onto their roofs, but only the Jewish Magyars of Budapest and the h Jewish Etruscans of Florence did know that that line of decorations had to be a line of Istens (see line below)! á Maybe the Kalash wood building found by Stein is elder than the 11th century, when the line of Istens was designed in Isfahan? Or did that n design derive from the Hungarian custom of decorating the top of the yurts with a line of Istens? y Furthermore, the Avars had already brought lines of Istens to their “Longobardic” church in Cividale del Friuli, IT → half a Millennium before the line of Istens of the iwan of the Friday Mosque was designed, and 1300 years before the Hebrews of Budapest shall use them again! That design is in the Hungarian cultural DNA.

S y n a g Florence synagogue, o Etruscan line of Istens g (similar to a Notre Dame u one). Same as in Avar Cuveglio: e Duhány synagogue, → 1 line of Istens and 1 of Apse: Isten + 2 Turuls, Cupola: lines of gold and Zutu Garla Mare Pregnant Istens. dotted rhombuses. as in Sanchi, India white Istens Friday Mosque, iwan !AGAIN IDOLS IN YOUR TEMPLE ,יהוה

THE ROW OF ISTENS* AND THE NET OF ISTENS* 1 Roman 6 R Pannonia, 8 o Dorottya G., w (“tulips” at s beginning and end of O line, to fill f the vacuum, dotted circles I Mycenae Pannoniberia Arsia, A. Stein Avar, + Turuls s t The Hungarian rows and nets of Istens clearly show their meaning: an Isten which gives birth to another Isten (whose head is the offspring of the upper one), which gives birth to another… the dream of immortality through procreation. e n The patriarchalist linguists modified the concept: immortality would be given by the survival of the father’s surname: in Magna Grecia, s until a few decades ago, women had to continue procreating until a male baby would be born so that the surname could survive. The same rule applies even to empresses: In Iran, the beloved Empress Soraya was repudiated by Rehza Pahlavi because unable to generate a Baby Emperor. Did you know that Soraya was not Indo-Iranian? She belonged to a nomadic tribe; maybe her ancestors slept on tribal carpets, and lived in yurts: she could have had Hungarian or Hunnish blood in her veins! Actually, also the Indo-Iranians are not very Indo: the main component of their Y chromosomes is the same “I” haplogroup that is the main component also for the Scandinavians and Yugoslavs (also present in Finns and Hungarians)! THE NET OF ISTENS* ON TARSOLYS – OTHER “PALMETTE*S”! (See for more: “palmettes”, in this abstract). 1 6 9 N e t s

↓ The first tarsoly is decorated with the Pleiades, which in Central Asia had become a 7 design. The below detail of the last tarsoly shows O another Mother Isten giving birth to an Etruscan Isten, which gives birth to a Sicilian double spiral Baby Isten: all the 3 have a conical hat f on their heads as the “Hittite” and Etruscan Baby Istens had, since delivery! The conical headdress was such an important identity symbol that the Hungarian women delivered babies with their conical hat already on top of their heads! detail of ↑ : 1 7 0 I s t e n s ← ↑ Galgoc, Nyitra, HU Niya bow case, Tarim Basin Leopards, not lions! +3 I. The Niya (Tarim Basin) design is from the silk cover of a bow case (line 172, “Legacy of the desert King”, page 49; the same kind of bow case was used by the Sarmatians in Europe). 1 7 1

T a Avar Vrap treasure r Detail of box below, (see “Vrap” for more). Niya, Tarim Basin, s Honfoglalás time, tarsolys, Han Dynasty o Cucuteni, -4000 “palmettes” → l 1 y 7 ’s 2

M

o Niya bow case Weisskirchen, Saar, DE Witham shield, British M. Pakistan “tulip & palmette” folk art t The above 2 lines show the 6000 years continuitas of the Isten design on the tarsolys: h The Venus of Cucuteni (New York, “The Lost World of Old Europe” exhibition) tells us what the 2 circles e were: the vulva and the umbilicus (represented by 2 dotted circles), from which a tree of life starts, in the r strictest Hungarian multimillennial tradition. The design common to most tarsolys had come from Niya, Tarim

Basin, and had been previously used by the Pannonici and the Celts. The two central designs above are

“Celtic”. The Celts learned to use it from the Pannonici, who had used it since 4000 B.C..

The Witham shield design is on the way to become anthropomorphic: you can distinguish the head and the I eyes, the 2 spirals represent the breast, as in early “Geometric Greek” art, a dot represents the umbilicus s and it is part of a 3 circle design; in the uterus, the offspring is symbolized by a 7, midway from 6 to 8, ray t Sun. (British Museum, 4th c. B.C; the shade of the head of a boar, a Pannonico sacred animal, was visible e before fading). Am I right when I call the early Celts “Celto-Pannonici”? n THE CELTS STARTED DIFFERENTIATING FROM THE PANNONICI NOT EARLIER THAN 500 B.C.. ALL THEIR ARTIFACTS, s BEFORE THAT DATE, WERE PANNONICO AND EVEN THE LATEST DESIGNS WERE EVOLUTIONS OF PANNONICO DESIGNS. WHO STARTED SMELTING IRON IN EUROPE IN THE EARLY 1ST MILLENNIUM B.C.? THE PANNONICI, WHO HAD A MILLENNIAL EXPERIENCE OF , OR THE CELTS, WHO WERE STILL IN THEIR STONE AGE WHEN THEY ARRIVED IN EUROPE? …OR WERE THE INDO-EUROPEANS ALSO ABLE TO MAKE MIRACLES? LEGACY, FAIRY TALES, AND AMENITIES THE LEGACY OF THE HUNGARIAN CULTURAL DNA ALONG THE SILK ROAD* See also the Abstract “The Silk Road” T 1 a 7 r 3 i m

B a Uyghur Istens identical to s Natural History Museum, those of a Han Dynasty i New York exhibition: carpet (Khotan, Tarim Han Dynasty carpets, “Desert King” Niya,Tarim Basin: n “Travelling the Silk Road” Basin, Yining Museum →). Found in a horse pit Crown of spirals, rhombuses, Istens, triangles 1 7 4 T r i b a l Altai Kazakh Tarim Kirgiz HU 6 The above carpets are from Pazyrykia and Arsia. Their designs are the most similar to those of the sacred symbols that the Hungarians brought with C them back to Hungary and Ukraine. In the 4th carpet, the 2 Istens are a different in shape (asymmetry), and the magenta background of the cyan r cross of Istens is a crown of spirals or 2 opposing hearts: this trick is a p marker of the design of Hungarian sacred symbolic images: each symbol is e the background of another one. t Exercise yourself now with the other carpets and images! s (The orange/beige/golden background colour is typical of Silk Road carpets). ← Ukraine, today. (“Corriere della sera”; double symbol: Isten + heart). Karakalpakstan, Isten + crown of spirals, Moscow Oriental Art Museum → 1 A 7 n 5 d

R u g s Pictures of tribal carpets taken at an Iranian friend’s shop. 1 7 6

Images from the covers of books on sale at rugbooks.com. Second image: one Isten is pregnant; the other one is not - asymmetry! I 1 s 7 t 7 a n b u l

Images taken by a visitor at the Istanbul Turk ve Islam Museum. The first image shows a Pregnant Mother Isten with the Baby in Her uterus (Birth symbol). The second image is a detail of the fifth one: if you see this orange Isten in the 5th box, look now for the opposing white Baby Istens: 2 lines of white Baby Istens, or “tulips”, or mushrooms… as you like! Whatever they were, they migrated from Carpathia to Arsia and from there to Hungary. The third image also has double symbols. How you can see other similar carpets: enter any oriental carpet shop, better a Persian or “ Pakistani one, and ask for “tribal carpets” or “geometric style”, or carpets made along the T Silk Road. They shall show you hundreds of carpets made in the area from Turkey to r Mongolia (the Mongolic ones are usually cheap Kilim copies (no knots!), industrially made). i The design of the carpets may change slightly, but the sacred Hungarian symbols shall b always be there. Note the predominant, almost exclusive, use of cyan and magenta. The a Hungarians learnt about the existence of the green colour very late! (If you have cyan and l yellow you can make any tone of green! So, they could, but they did not do it.). Image on the right: Khotan, Tarim Basin carpet factory: do you see any green? Only magenta, cyan and the colour of gold, notwithstanding they are C now Muslims, whose sacred colour is green. You can instead still a recognize the crosses of Istens, of hearts… and the white small r design in the outer frame of the carpet is still the same the p Hungarians used in Niya, in the Han Dynasty! e Nothing better than folk-art and religion can help trace the continuitas of cultures, they are the most t conservative cultural markers of all. In antiquity, religion was the only ingredient of the only art: religious art. s Language can be replaced within a generation or two, but religious symbols have survived after many language ” replacements: Élites and Empires come and go, but cultures stay in place. ← Traditional Hungarian cross-stitch, cyan and magenta (knitgrrl.com). C 1 a 7 r 8 p e t

T a m g “Tulip” tamga “Faded tulip” tamga Asymmetry Double Isten shapes a Images: some of the Hungarian tamgas that are represented on carpets and everywhere along the Silk Road. QUIZ* 6 These 2 lines of Crosses of 1 0 Istens are published in 2 7 0 books as typical motifs of 9 0 two cultures very far away from each other, at a K distance of 6.000 Km from i each other. Note that the l background of the 2 carpets o on the right is the same. m e Left: now I know why I love t the Hungarians: I have r been living among them! e Right: Benkő M., who s shares this and many other pictures in the Inet. A Distance from the previous w one: 5000 Km. a Where are they from? y Find the reply at the bottom ! of this table. ROME* ISTEN TEMPLE 1 8 I 0 s t e n What I call the Isten Temple is in fact an orthodox church erected in Rome in the ‘60s of the last century, by a Kievan Ukrainian T Archbishop after his liberation from Soviet gulags in Siberia. Is that temple Siberian? Scythian? Magyar? Soviet? No! It is part of the e legacy of the Hungarians in Europe. The power of the Hungarian sacred symbols was such that, even if the Church banned them for mcenturies, at the end, those symbols didn’t disappear at all, but they did even “contaminate” Christianity, and, later on, also Islamic and p Jewish art and religion! Sources for the above Rome Kievan Isten Temple’s images: church of S. Maria del Monte, Rome, Vincenzo Naddeo. l СВЯТІШИЙ ПАТРІАРХ КИЇВСЬКИЙ І ВСІЄЇ РУСИ-УКРАЇНИ, ФІЛАРЕ́Т! e ARE YOU AWARE THAT CHURCHES IN YOUR PATRIARCHATE ARE DECORATED WITH PAGAN IDOLS AND WITH SYMBOLIC REPRESENTATIONS OF PAGAN BIRTHING WOMEN AND OF COITUSES? 6 RAY SUN*/ISTEN See the book “Szkíta ӧrӧkség”, page 298, for more 6 ray Suns The Sun Isten was a Goddess: the ancient gender is still preserved in German, die Sonne, (and, consequently, der Mond). 1 The Sun Isten is in this page because it could also match a symbolic representation of the Mother Goddess. In fact the 6 rays could well 8 correspond to the 6 components which make a Mother Isten symbolic representation (head, 2 arms, 2 legs, 1 amniotic sac or offspring. 1 The possible meaning of the rows of Istens strengthens this hypothesis: the 6 ray Sun actually plays the role of a Mother Isten in those rows, where the offspring of an Isten is the head of the next one (see line 168, row of Istens). In any case, 6 was a sacred number for the pagan pre-Christians. This is why the number 6 was associated by the Christian Kaballah to the Devil, i.e. the pagan God; and the symbol of the Antichrist was 666. Similarly, the Tatars became Tartars in Christianity: Tartar being another name of the Devil. 6 With the emergence of the Arya-Semite-Mongols the number 6 was replaced by the number 8.

R a y

S u Delos, GR + crown of spir. Roman Pannonia n 1 8 2

Etruria Pannoniberia Parthia Tarim Basin 1 8 3

6

R Mycenae, +spiral as vulva Mesopotamia, 6 a 1 y 8 4

S u n

Mycenae Berel, Altai Sarmatian, Britannia,+3line Sarmatia, +3 lines RO 1 8 5

Etruria →

Tamga Avar, Insubria, IT Hungary, Kiszely István B 1 y 8 z 6 a n t i u How to draw a perfect Quranic 6 ray Sun. m (The 6 days of the Quranic creation!) (The Pannonici knew since 1500 B.C., in Mycenae!) THE MACEDONIA*N 6 RAY SUN* 1 8 7

M A

C Mycenae, Pannonico, 6x2 Mycenae, Greek, 8 Olimpya’s, transitional, 6+6 Philip’s, Greek, 8+8 Celtic, Transitional, 7 E The Hungarian 6 ray Sun changed its number of rays every time it was incorporated in an alien culture: the number of Her rays conformed D to the sacred numbers of the new culture. In Central Asia it became a 7 ray Sun because 7 was a sacred number there. The Celtic 7 ray O Sun above is on the way to become an Indo-European 8 ray design. N We know that the Macedonians were not Greeks, but descendents of those pre-Indo-Europeans that built the Aegean civilization, which I was destroyed by the Myceneans. A The Macedonians were right when they wanted have the Sun on their flag, but they should have chosen the “Mycenaean” 6 ray Sun (or, in

case, the Olimpia 12 ray Sun), not the Philip’s 16 ray Sun. In fact, the original 6 ray Sun was a pre-Indo-European symbol that did not

belong to the Greeks, but to the Pre-Indo-European Macedonians. Instead, the Philip’s 16 ray Sun had originated from the same Pre-

Indo-European 6 ray Sun, but it was later Indo-Europeanized (6>8>12>16) and it started speaking Greek, after that evolution. (12 could

be Pannonico (12 = 6x2 = 6+6) and Indo-European (4x3). In fact, Olympia was not Indo-European; she was the ruling Queen of Epirus

and also the commander of her army).

The Greek supporters use also Pannonico designs in order to prove that the 8 ray

Sun belongs to them: right: a Pannonico 9 (3x3) ray Sun, with a spiral in the centre

and rhombuses around! A Pannonico 12 ray Sun in the background of a Hungarian

Mother Isten! The oldest 8 ray Sun I have seen in Greece (apart from the one of

Mycenae, above), is the one in the 3rd box: 7th century B.C.. It is certainly very

Greek: the Hungarians would have never placed a sacred symbol on the ass of an

anthropomorphic warrior (but they did place them on thighs of sacred animals. The M warrior could be the Greek Neoptolemus killing Astianax, the baby son of Hector, 2000 B.C., 9 “Delphian epsilon” Mykonos 8 A war of Troy). C I am sure that the one I have mentioned was not the reason that obliged the Macedonians to withdraw their Vergina Sun from the flag E that they had chosen, because, in any case, even if the Macedonians had chosen the 6 ray Sun for their flag… the Indo-Germanists would D have insisted that the 6 ray Sun was Mycenaean, therefore Greek! Mycenae was a Greek town only for the little time that was necessary O to bring the town to the disaster of Troy; after that, Mycenae disappeared. N Furthermore, the Muslims also shall enter the querelle! I have been taught by them how to draw a perfect 6 Ray Sun: the drawing of line I 186 is taken from “Islamic design, a genius for geometry” where David Sutton explains the Muslim meaning of the six rays Sun: “the A Quranic six days of creation”! However, the Amerindians… Hungarians, be careful! If the Indo-Germanists will ever visit one of your cemeteries, they could try to convince the Den Haag court of Justice to oblige you delete all the 6 ray Suns from the stones of your ancestors, because they shall say that it is an Indo-German copyrighted symbol! Instead, I think that the Hungarians could have the right to ask Mr. Bossi, leader of the Lega Nord in Italy, to change his flag (left) because using an Etruscan/Sarmatian/Avar/Hungarian sacred symbol as the symbol of freedom of Padania is a cultural nonsense as long as Bossi claims his origin from the Celts! Bossi shall defend himself by saying “Everybody told me that it was Celtic!” Bossi may have copied that design from the Avar church of Gemonio: he lives very close to that church. I am afraid that some pages of the European history should be rewritten, and should be taught in schools! Hungary, 1837 A.D. ↑ THE ISTENS OF THE ARSIA YURT*S 1 8 8 T a r i m

B a s i n

Pazyryk ↑ Tarim Basin yurts at the time of M. A. Stein and today. No change in the last century... why Y should they have changed in the last 2 u Millennia? In fact, the Istens of the lines of rt Istens on the roofs are still the same as the ones s of Pazyryk and Niya (left)! The doors are still decorated with the same ancient Crosses of Yining M. Istens found in the Tarim Basin, derived from the one of Pazyryk (right). K 1 a 8 z 9 a k h

Y u r t s

CONTINUES FROM… 1 …LINE 002: ÇATALHÖYÜK* 9

Ç 0 a t a

l h (↑↓Parthian S shape Crowns of spirals) Oh my God! It’s really a “cock”… such a big “cock”! Finno-Ugrists, Bravo! ö y ü k

1 …LINE 179: QUIZ* 9 LINE* OF CROSSES OF ISTENS 1

1 2 3 4 5 6 7 1. “Celtic, Indo-German”! (“Celtic papers”, Search Press Ltd, Kent, UK). It was copied from a Pannonico design: therefore Celto- Pannonico, if not Sarmatian, hence 100% Hungarian! 2. “Buddhist”! (“The pattern arts of ancient Buddhism in Xinjiang China”, Mu Shunying, Xinjiang People’s Publishing House). Q It belongs to the red-haired Arsi who depicted this and other Hungarian symbols in the Kizil cave, Tarim Basin: therefore, Arsian! U Note also the usual asymmetry. I 3. “Indo-French”! It belongs to the Notre Dame de Paris: Armorican? Celto-Pannonico? Avar? Magyar? In any case Hungarian! Z 4. “Christian Catholic”! It belongs to the Avar Mother Isten Temple of Gemonio, Insubria, IT, therefore, Avar! Those 3 “pagan” symbols are on the altar. A Catholic priest, every Sunday, still celebrates service in front of that altar, in front of those… Catholic Crosses or pagan coituses! 5. “Hunnish”! (Kara-Tal, Kazakhstan’s Tien Shan, Benkő Mihai). Note that the background of these lines of Crosses of Istens is the same as those found in the Tarim Basin (2) and in Caucasus (6): therefore, Arsian! Note also the usual Hungarian asymmetry. 6. “Caucasian”! It belongs to the Caucasian Avars, hence Avar, i.e Hungarian! The Cross of Istens was replaced by the 4 ray Sun of the “Desert King” of Niya, Tarim Basin, but the background is the usual Hungarian one. If you have doubts on what I state, see the similar line, strictly cyan and magenta, from the Tarim Basin (cited Indo-German-Buddhist author!) →. 7. “Christian orthodox”! “Indo-Ukrainian”! It belongs to the Ukrainian Orthodox Isten Temple, Santa Maria del Monte, Rome: it could have derived from any Eastern Pannonico (Scytho-Cimmerian), Sarmatian, Avar or Magyar design, therefore Hungarian! Note also the usual asymmetry. 8. ← “Hittite”, Indo-German! It belongs to the Etruscan slaves of Anatolia. 9. ↓ Varese, IT, “Indo-Italian”! It is an Avar line of Crosses of Istens, just under the roof of a house, in Via Manzoni, Varese, IT. The house is dressed with Scythian rhombuses and is also decorated with two birth symbols!

Now, do you understand why the German Pope is striving to unify all religions in one? Because most religions of the world have a lot in common: the legacy of the Old European Hungarian religion; the same values: egalitarianism, love for peace, solidarity, and… the Cross of Istens! WHAT DID I WORK FOR? 1. In her youtube video apologia for the Huns, Obrusánszki Borbála claims that archaeology confirms her hypothesis - the Hungarians were 1 bloody Huns. 9 OBRUSÁNSZKI BORBÁLA! HOW IS IT THEN THAT I HAVE NOT FOUND ANY TRACE OF ANY HUNNISH ARTIFACT 2 RESEMBLING THOSE THAT THE HUNGARIANS USED IN THE 10 MILLENNIA OF THEIR HISTORY? I’ll tell you why. Because the Mother Isten was not the divinity the Huns worshipped. Because the Huns were not a matriarchal society. Because the Huns were not an egalitarian society, but a society based on slavery. ….Because the Huns were Mongols and the Hungarians were Hungarians and have been Hungarians throughout 10 millennia! Borbála, send me the images of all the artifacts of your “Hunnish archaeology”; I promise I shall publish all of them on this website. Do you think that the Hsiung Nu could be Hungarians because bronze Hungarian sacred Horses and Stags have been found in their territories? Those Stags and those Horses were always preys of bloody Hunnish tigers, of Hunnish birds of prey, of Hunnish dragoons, of Hunnish griffins, who were the true Hunnish Gods, …or they were depicted in situations that the Hungarians, so respectful of their own privacy and of the privacy of their Gods, would have never depicted:

The Hunnish Tiger God lunch: The Hunnish Tiger God dinner: After dinner: Sacred Stag pornoshow! a Hungarian sacred Horse another Hungarian sacred Horse “Art of the Steppes” page 33, “Art of the Steppes” page 69, Belt Plaque, Inner or Outer Mongolia. inner or outer Mongolia, North West China, 4th century B.C. Read my book “The Huns” for more! 3rd-2nd century B.C. Metropolitan Museum (Coming soon!)

QIN, MAO TZE DONG, POPE ALEXANDER VI… WERE RIGHT: FROM TIME TO TIME YOU HAVE TO BURN OLD BOOKS! (Alexander VI burnt the books and the author - G. Savonarola - all together!).

SOMEBODY IN HUNGARY MUST TAKE THE DECISION TO BURN BOOKS! …and don’t forget the videos; but, please, save the authors: your ancestral religion would have not allowed you to burn or execute them.

IT IS TIME FOR THE HUNGARIANS (AND THE EUROPEANS) TO CELEBRATE BETTER ANCESTORS!