(early garden sanctuaries in the Americas, analoguous
to the garden sanctuaries described below, would have
been consecrated to deities of maize instead of cereals
and olives)
covered in writing
Magdalenian word formulae invisibly enveloping mobile
art of the Ice Age would have been succeeded by
decorative inscriptions covering Neolithic figurines
and other clay objects of the Balkans, Old Europe in
the sense of Marija Gimbutas. The (hypothetical) name
of the bird goddess Ki Ri Ke was given as cross line
angle, a cross for Ki, a line for Ri, an angle for Ke,
allowing endless variations of decorative patterns
invoking the bird woman who became Homer's Kirkae
Circe of the lovely tresses, weaving the fabric of life
in her cave, singing beautifully, revealing the nature
of people by transforming them into telling animals,
while she herself could appear as a howering owl
(one of the bird guises of Athene, little owlet Athena
noctua, her other bird guise the sea eagle).
In the shrine of the bird goddess at Sabatinovka,
Southern Bug Valley, Moldavia, Early Cucuteni,
seventy square meters enclosed in wattle-and-daub
walls, among many figurines of the voluptous bird
woman, stood a clay oven. The clay loaf from Banijca,
Early Vinca (Vincha), is covered in signs around a
rectangular spiral, while among the decorative patterns
covering the clay loaf from Vrsac (Vrshac), 7 000 BP,
are round spirals, phonetical value of the spiral
according to my pre-Magdalenian reconstruction
ZO or ZAEO for life, going along with Magdalenian
SAI for life, existence.
Loading Image...Loading Image...Loading Image...Loading Image...The Phaistos Disc, a pair of clay discs baked together,
was deciphered by Derk Ohlenroth in February 1981.
In the center of the Elaia disc appears a clay oven
resembling the one in the shrine of the bird goddess
at Sabatinovka, next to her a wave, sign of Poseidon,
originally the god of rivers. The oven stands for
Demeter Elaia in the local form of Black Demeter
Melaina, a mare, and Poseidon in the guise of a stallion,
parents of Despoina 'Mistress' whose secret name was
Nyx 'Night'. The spiralling text on the Elaia disc instructs
a visitor of Elaia's grove at Phigalia as to how to obtain
the oracle of Nyx:
Enter Elaia's grove, kindle peeled wood,
beat the ground around the smole of the fire,
and neigh suddenly like a pair of horses:
Aio ae! hyauax! Shadowy one, come,
o noble late Night, always born anwew
by the goddess!
Nyx was a powerful goddess feared by all gods,
even Zeus. Her name derives from NYG for night,
inverse of GYN for woman. She was an alter ego
of the Greek earth goddess Gaia whose name
derives from CA AC inverse AC CA wherefrom
the Indo-European earth goddess akka (Julius
Pokorny) and Hebrew Hawwa 'mother of all life'
English Eve, alter ego of the fertility giver BRI GID
who was an emanation of the Divine Hind or Hind
Woman CER -: I -: or CER LIL who called life
into existence (main sanctuary Altamira).
Another emanation of BRI GID was Aphrodite
BRI GID a BRI GID e a phRo dIt e
along a similar development as BRI CA Africa,
the fertile BRI (land under the southern) sky CA,
probably in reference to the Nile Valley
BRI CA a BRI CA a fRI CA
Demeter as mother of Nyx on the Elaia disc
is called SLAS in the genitive of a local dialect,
classical Greek sias, from SIA for being well, alive,
naming the goddess as the Living One, SIA being
a permutation of SAI for life, existence. In the
entrance field of the Elaia disc are offerings to
Demeter: the head of a pig (pigs were offered
to Demeter), two portable beehives (the importance
of bees was already recognized by Ukrainian farmers
seven thousand years ago), a swollen bag (probably
containing unwashed wool, another offering to
Demeter) and a vine twig (honey-sweetened wine
going along with honey-sweetened bread baked
in the oven in the center field of the Elaia disc).
The Neolithic garden sanctuaries of the bird godess
and Elaia's grove at Phigalia would have been early
versions of botanical institutes, maintained by
shamanesses and priestesses and their helpers
and pupils, among the latter a young man from
Lycosoura who became the founder of the Middle
Helladic dynasty of Tirnys in the Argolis, hero
of the Tiryns disc, the other disc or side of the
Phaistos Disc, Eponymous Tiryns, honored by Homer
as the gardener Lord Laertes. In my opinion the pair
of clay discs were maquettes for a pair of gold discs
worn on the shoulders by the Middle Helladic kings
of Tiryns, the lion-wolf-dog-bee kings on the gold
signet ring from a cache at Tiryns, honoring Demeter
Elaia with a raised libation jug, under a rain of grains,
between the kings olive sprouts (a sign also found
on the Phaistos Disc), behind Demeter Elaia the eagle
of TYR Sseyr Sseus Zeus, he who overcomes in the
double sense of rule and give TYR, emphatic Middle
Helladic Ss Ey R or Sseyr on the Phaistos Disc. The
gold signet ring is probably a copy of a wall painting
in the former Middle Helladic palace on the hill of Tiryns.
Both the formula invoking Nyx on the Elaia disc and
the banning formula of archaic power along the margin
of the Tiryns disc may keep a memory of Magdalenian
word formulae invisibly enveloping mobile art of the
Ice Age.