marija gimbutas: az istennő világa

7/29/2019 Marija Gimbutas: Az Istenn vilga

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Marija Gimbutas: Az Istenn vilga [The World of the Goddess] (Green Earth

Foundation, 1990)

Ca. 00:18-00:23

Marija Gimbutas: The World of the Goddess. Part OneMarija Gimbutas: Az Istenn vilga. Els rsz

* 00:26-00:30

Ashley Montagu called her work a benchmark in the history of civilization.

Ashley Montague Marija Gimbutas munkjt a civilizci trtnetnek egyikvlasztvonalnak hvta.

* 00:31-00:45

Joseph Campbell, in his foreword to The Language of the Goddess, writes of theevident relevance of her work to the universally recognized need in our time for ageneral transformation of consciousness.

Joseph Campbell a The Language of the Goddess c. mhz rt elszavban arrlbeszl, hogy Marija Gimbutas munkja egyrtelmen hozzjrul a tudat talakulsnaknapjainkban ltalnosan felismert ignyhez.

* 00:46-00:59Numerous writers, scholars and artists have been inspired by her decoding of the

symbolic language of the life-affirming, nature-celebrating Earth Goddess religion

of the aboriginal Europeans.Azltal, hogy megfejtette az si eurpaiak letszeret, termszetet nnepl Fldistennvallsnak szimbolikus nyelvt, szmos rt, tudst s mvszt inspirlt.

* 01:01-01:10The findings that Dr. Gimbutas has unearthed and documented with meticulous

scholarship have revolutionary implications for our time.

Dr. Gimbutas felfedezsei, melyeket alapos tudomnyossggal trt fel s rt le, forradalmikvetkezmnyekkel jr a korunkra nzve.

* 01:10-01.21Her work gives us hope because she shows that we do not have to learn something

new, we only need to remember that which we have tragically forgotten.

A munkja remnyt ad, mert megmutatja, hogy nem valami jat kell megtanulnunk,hanem fel kell eleventennk, amit tragikus mdon elfelejtettnk.

* 01:22-01:36

Her life and career is a fascinating story in itself. Born in Lithuania in 1921, sheabsorbed in childhood something of the reverence for life and nature of her Baltic

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ancestral culture.Marija Gimbutas lete s plyafutsa nmagban egy lenygz trtnet. 1921-ben

szletett Litvniban, ahol mr gyermekkorban elsajttotta az let s az si baltikumikultra irnti mly tiszteletet.

* 01:37-01:47As Europe descended into the nightmare holocaust of fascism and world war, she

fled with her family from bomb raids, invasions and total social collapse.

Amikor Eurpa a fasizmus s a vilghbor rmlomszer puszttsba sllyedt, Marijas csaldja elmeneklt a bombatmadsok, invzik s a teljes trsadalmi sszeomlsell.

* 01:48-01:57

She struggled with enormous financial hardship to pursue her education and hervery independent line of research in Europe and in the United States.risi anyagi nehzsgek rn Eurpban s az Egyeslt llamokban folytatta atanulmnyait s az igen fggetlen kutati tevkenysgt.

* 01:58-02:09Settling down to a professorship at UCLA in 1963, she embarked on her

archaeological and prehistorical research, focused on the cultures of the Neolithic

Old Europe.1963-ban professzori sttuszt nyert a Californiai Egyetemen, rgszeti s strtnetikutatsokbe fogott, melyeknek a neolitikumi Rgi Eurpa kultrit lltotta a

kzppontba.* 02:10-02:22

She has written over three hundred1 articles and more than twenty2 books, including

studies ofThe Balts, The Slavs, Bronze Age Cultures in Central and Eastern Europe ,and The Goddesses and Gods of Old Europe.Tbb mint 300 cikket s 20 knyvet rt, mint a The Balts, The Slavs, Bronze Age Culturesin Central and Eastern Europe, s a The Goddesses and Gods of Old Europe.

* 02:23-02:30

Her magnum opus, The Language of the Goddess appeared in 1989.A f mve, a The Language of the Goddess1989-ben jelent meg.

* 02:33-02:43There is something here of what Carl Jung called synchronicity, an almost uncanny

coming together of individual vision and collective destiny.

Olyasvalami jtszhatott itt szerepet, amit Carl Jung szinkronicitsnak hvott, az egyni

1 Corrected from 200.2 Corrected from 10.

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meglts s a kollekv sors klns tallkozsa.

* 02:44-03:08

This year, in which Marija Gimbutas' work has gained such a wide audience in the

West, is also the time in which the people of the same area of Eastern Europe thatshe has written about, and the peoples of her own country of origin, are throwing off

the shackles of totalitarian oppression and peacefully moving toward a more

egalitarian political structure.Ugyanabban az vben, amikor Marija Gimbutas munkja eljutott a szles kznsghez,Kelet-Eurpa ugyanazon terletein l npei, akikrl a knyvben rt, s a sajtszlhazjnak a npe lerztk magukrl a totalitrius elnyomst, s bksenelmozdultak egy egalitrinusabb politikai rendszer fel.

* 03:08-03:16Please listen carefully to the words of this wise woman of the Baltic lands; she has a

most important message for our time.

Hallgassk ennek a baltikumi blcs asszonynak a szavait; a korunk szmra fontoszenetet hordoznak.

* 03:18-03:29

Ladies and Gentlemen, the archaeological record shows that the most ancientreligion of humankind was goddess religion.

Hlgyeim s uraim, a rgszeti leletek azt mutatjk, hogy az emberisg legsibb vallsa

ni isten kzpont valls volt.* 03:31-03:39

I'm sorry to tell that we do not find a father image in very early prehistory.

Sajnlom, de azt kell mondanom, hogy a legkorbbi strtnetben nem tallunk apakpet.

* 03:40-03:58

Erich Neumann, an eminent psychologist, has hypothesized that there has to be apair, Urfather and Urmother, in the very beginning but we do not find any material

to support that hypothesis.

Erich Neumann, az ismert pszicholgus azt a hipotzist tette fel, miszerint a kezdetekkezdetn minden prosval jelent meg, sapa s sanya, de nem talltunk arra utalleletet, ami ezt altmasztan.

* 04:00-04:15

And why? I think it's quite natural that the earliest society was a matrilineal,

mother's society and not patrilineal.

s mirt? Szerintem nagyon is termszetes, hogy a korai trsadalom anyakzpont volt,anyajog trsadalom, s nem apakzpont.

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* 04:16-04:35

And for a very long time we do not find evidence for the understanding of thefather's role in biological production.

Hossz ideig nincs arra nzve bizonytk, hogy az seink ismertk volna az apa szerepta biolgiai reprodukciban.

* 04:35-04:37

Copulation was not understood.Nem ismertk a kzsls jelentsgt.

* 04:38-04:54Even surprisingly in the early historic times, we still find evidence that this was a

matrilineal society in Old Europe, especially in the areas which were not Indo-Europeanized.De meglep mdon mg a korai trtneti korokban is tallunk bizonytkokat, hogy aRgi Eurpa is anyajog trsadalom volt, klnsen azokon a terleteken, amiket nemrintett az indo-eurpai bevndorls.

* 04:55-05:10

Even Etruscans in Italy still mentioned that boys are mother's sons. On tombstones

we have this evidence.A fikat az szak-itliai etruszkoknl is az anyjuk fiainak nevezik. Errl a srkvekentallhat bizonytk.

* 05:11-05:32

So here we have matrilineal societies probably during the very long time of the

Paleolithic, the Old Stone Age, which continued into the Neolithic, the early

agricultural societies.Az anyajog trsadalom valsznleg nagyon rgta ltezett, a paleolitikumban, azskkorban, folytatdott a neolitikumban, a korai fldmvel trsadalmak korszakban.

* 05:33-05:42

This continued in some areas in the Bronze Age, especially in the Minoan culture of

Crete and other islands.Ez nhny terleten folytatdott a bronzkorban, klnsen a mnoszi kultrban Krtns a tbbi kis szigeten.

* 05:44-05:55

Now we should ask the question: If there was a goddess religion, how old was it? Do

we know the beginnings?

Teht fel kell tenni a krdst: Ha ltezett egy istenn kzpont valls, milyen ids volt?Ismerjk a kezdeteit?

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* 05:57-06:20

Yes, I would guess it is not 10,000 years, not 20,000, not 30,000; it's much more! Weactually cannot answer today the question When is the beginning? Maybe it is one

million years, but this we shall leave for the future.

Igen, ltezett. S azt gyantom, hogy nem 10.000, nem 20.000, nem is 30.000 ves voltakkoriban; sokkal tbb! Ma nem tudjuk megvlaszolni a krdst, hogy mikor kezddtt.Lehet, hogy egymilli vvel ezeltt, de ezt a jv kutatira hagyom.

* 06:21-06:44

But we can see already today that the Acheulean culturethe Lower Paleolithic

culture, which goes down to 500,000 BC and morehas produced many flintfigurines, tiny figurines, which are already symbols, triangles and mother images

holding babies and also animal figures.Ma mr ltjuk, hogy az Acheulen kultra, egy als paleolitikumi kultra, aminek akezdete Kr. e. 500.000 krlre datlhat, rengeteg kis szobrocskt lltott el, amelyekmr szimblumnak tekinthetk: hromszggel dsztett kpeket, gyermeket tartanyabrzolsokat, llatbrzolsokat.

* 06:45-06:53

And this is already a hope that we shall be able to decipher these early objects.

s ez remnyt ad, hogy igenis kpesek vagyunk megfejteni a korai leletek jelentst.

* 06:54-07:23

But today we shall focus on the period which is the Neolithic, the early agriculturalperiod, which started in Europe in the 7th millennium BC and continued throughout

the 7th, 6th, 5th, even the 4th and 3rd millennia in some areas like Western Europe,

where the Neolithic started later than in the southeast.

Ma a neolitikumot rgyalom, a korai fldmves korszakot, amely Kr. e. 7. vezredbenkezdttt, az 5. vezredig tartott, st, nhny terleten, mint Nyugat-Eurpban a 4-3.vezredig, ahol a neolitikum ksbb kezddtt, mint Dlkeleten.

* 07:25-07:44

This period is so rich, full of finds of especially sculptures and tiny figurines between

2 or 3 centimetres and 20 centimetres high.A korszak rendkvl gazdag, klnsen sok szoborlelet kerlt el, szobrocskk 2-3 cm-tl egszen 20 cm-es magassgig.

* 07:45-07:57

There certainly were life-size sculptures of animals and even human beings but they

rarely survived.

Termszetesen voltak letnagysg szobrok is, llatokrl, emberekrl, de ezekbl szintesemmi nem maradt fenn.

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* 07:59-08:03

Then in addition, in the Neolithic there is pottery.Tovbb, a neolitikum gazdag volt a kermiban.

* 08:04-08:24The discovery of pottery is very important for the study of symbolism because vases

were decorated, incised or painted and these decorations are not just geometric

motifs, they are meaningful, they are symbols. They're extended symbols.A kermialeletek igen jelentsek a szimblumok tanulmnyozshoz, mert a vzkatdsztettk, karcolssal vagy festssel. A mintzatok nem csak geometrikus motvumok,hanem jelentssel brnak, szimblumok. Kiterjesztett szimblumok.

* 08:25-08:31In the beginning there was a symbol and then it was extended and the vase wasdecorated around.

Kezdetben csak a szimblumot karcoltk vagy festettk, de aztn kiterjesztettk, stelerajzoltk a vzt.

* 08:32-08:40

And there are temples, and temple models. There are all sorts of cult objects found

in temples.Ezek templomok, templomok modelljei. A templomokban mindenfle kultikus trgyakattallnak.

* 08:40-08:48

So all this is our basic material for the interpretation of the early religion.

A korai valls rtelmezshez ez az alapvet rgszeti anyag.

* 08:52-09:11

I would like to say that it's not only the object that is of importance, and we do not

just look at the object with the eyes of an art historian.Azt szeretnm mondani, hogy nem csak maga a trgy fontos, s nem csak amvszettrtnsz szemvel nzzk.

* 09:12-09:29

It is of utmost importance to know how the object was found. Was the sculpture or

figurine found in a temple? Was it found in a courtyard? Was it found in a grave?Or in a cave?

Igen lnyeges tudni, hol talltk meg a trgyat. Egy szobor vagy egy ni szobrocska, amitegy templomban talltak? Az udvaron? Egy srban? Egy barlangban?

* 09:30-09:35

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All that counts; this cannot be omitted from our study.

Mindez szmt, nem lehet tnzni fltte.

* 09:36-09:57

However, even that would not explain the functions of the Goddess. To a certain

degree, yes, but we need something else to add to be sure that our interpretation isright.

De mg ez sem ad elg magyarzatot az Istenn funkciira. Egy bizonyos mrtkig igen,de a helyes interpretci rdekben mg ki kell egszteni valamivel.

* 10:00-10:18

We have to see what kind of goddess is portrayed. Is she nude or is she dressed? Is

she stiff, or is she with breasts and belly and buttocks?

Milyen istennbrzolssal van dolgunk? Meztelen vagy fel van ltzve? Merevtesttarts, vagy vannak mellei, hasa, nagy fara?

* 10:19-10:30And there are, of course, a tremendous variety of images. The types are numerous.

Rendkvl sokfle brzols, szmos tpus ltezik.

* 10:31-10:43

There is not just one goddess that we can describe and say she portrays something.

No, there are hundreds of images.

Nem csak egy istenn ltezik, akit le tudunk rni, aki brzol valamit. Nem, tbb szzbrzols van.

* 10:43-10:58But we can classify them according to their postures. Are they sitting on a throne?

Are they standing? Are they found in a grave in a very stiff position?

De a testtarts alapjn osztlyozni tudjuk ket. Trnuson lve brzoljk? llva? Egysrban talltk, s nagyon merev testtarts

* 11:00-11:21And then, one more thing is decisive for the decipherment of their meanings and

functions. These are the incisions or paintings of symbols.

Mg valami nagyon lnyeges a jelents s a funkci megfejtshez. Ezek a szimblumok,amiket vagy rkarcoltak, vagy rfestettek a szobrocskra.

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* 11:23-11:26

And what are the symbols?

Mik ezek a szimblumok?

* 11:28-11:46

I should classify them into at least three major groups. They are abstract orhieroglyphic, such symbols like a V, an M, X, Y and others.

Legalbb hrom nagy csoportba tudnm ket osztani. Absztrakt vagy hierografikusszimblumok, mint a V-, M-, X-, Y-betk s hasonlk.

* 11:48-12:18

The second group are representational and they appear on some tombs or ceramicobjects as separate symbols, like eyes or breasts or buttocks or vulvas.

A msodik csoport a reprezentatv szimblumokat tartalmazza, srokon s kermintnnek fel elklnlve, mint a szem, mellek, far s a vulva.

* 12:19-12:41And then the last category are animals. The Goddess appeared as a human being

and she also appeared as an animal: a bear or deer or pig, or any other animal like a

dog or fox or boar.Az utols kategria az llatok. Az Istenn megjelent emberknt, de llatknt is: medve,szarvas, diszn, vagy ppen kutya, rka vagy vaddiszn formjban.

* 12:45-12:55

And all these categories are intertwined. We cannot have borderlines between them,

they're all interrelated.

Ezek a kategrik tfedik egymst. Nincsen kzttk hatrvonal, klcsns kapcsolatbanllnak egymssal.

* 12:56-13:30And this is because in ancient times it was a completely different world of ideology,

of thinking, when there was a very close tie between human beings and animals and

inanimate objects and the Goddess could be a tree, a stone, an animal, and a humanbeing.

Ez azrt van, mert az si idkben teljesen ms ideolgia uralkodott, ms gondolkods,nagyon szoros ktelk volt az emberek, llatok s az lettelen dolgok kztt. Az Istennlehetett egy fa, egy k, llat vagy ember.

* 13:31-13:43

So we are dealing with holistic thinking. This was a period when we were notseparated from nature.

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Teht egy holisztikus gondolkodssal van dolgunk. Ebben a korszakban nem voltunkelklnlve a termszettl.

* 13:45-13:55

Now I would like to start with the slides, because then I can show you the categories

of symbols, which are many.Most szeretnm levetteni a flikat, s bemutatni az emltett, szmos szimblumot.

* 13:57-14:01We shall begin with the goddess whom I call the Bird Goddess.

Kezdjk az istensggel, akit n a Madristennnek nevezek.

* 14:02-14:24

This is a sculpture, about maybe 25 centimetres high, and she is a hybrid between awoman and a bird. She's definitely a woman with developed breasts and a very longcylindrical neck.

Kb. 25 cm magas szobor, egy n s egy madr keverke. Egyrtelmen egy ni figura,fejlett mellekkel s nagyon megnylt nyakkal.

* 14:26-14:36Her head is particularly interesting here because she has a beaka protruding nose

but no mouth.

A fej klnsen rdekes, mert csre is van elrenylt orral, szj nlkl.* 14:38-14:57

She has eyes, she has a headdress, a turban maybe or just her hair, neatly combed.

Then on her right arm there are some incisions and they are chevrons, multiple V's.Van szeme s egy fejdsze, egy turbn, vagy csak a haj, gondosan fslve. A jobb karjnkarcolt vonalak, sevronok, sok V-bet egyms mellett.

* 14:58-15:08

So here is one of the typical sculptures around 6,000 BC or 5,800 BC from Greece.

Ez egy tipikus szobrocska a Kr. e. 6000-5800 krli idbl, Grgorszgbl.

* 15:10-15:29

I myself discovered a series of such images, and if you are hesitant to admit that thisis a Bird Goddess, maybe this would convince you that this is a beaked creature, not

a simple woman.

n magam egy sor hasonl brzolst fedeztem fel, s ha valaki habozna felismernibenne a Madristennt, taln meggyz az az rv, hogy ez egy csrrel elltot kreatra,nem egy egyszer nalak.

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* 15:30-15:45

And from the profile she looks like this. She has, like the first one, a nice hairdo andher whole face is protruding. Its not a natural woman's face.

Profilbl gy nz ki. Mint az els szobrocsknak, neki is szp frizurja van, s elrenylarca. Nem egy termszetes ni arc.

* 15:46-15:57

So I think there is no doubt that many of such sculptures represent Bird Goddesses,and what is of importance, they are found in temples.

Szerintem nem ktsges, hogy az effle szobrok legtbbje a Madristennt brzolja, ajelentsgket meg az bizonytja, hogy templomokban talltk meg ket.

* 15:58-16:12I myself, excavating in Greece, northern Greece and Thessaly, have discoverednumbers of Bird Goddesses within the temples.

Jmagam, amikor Grgorszgban, szak-Grgorszgban s Thesszliban vgeztemsatsokat, szmos Madristennt talltam a templomokban.

* 16:13-16:35There were maybe three or four consecutive temples, and it was possible to count

how many of them are found within the temple, on the altars or maybe fallen down

on the floor next to the altar, and not in the courtyards.

Taln hrom vagy ngy templomot talltunk egyms mellett, ezrt meg tudtuk szmolni,hny szobor kerlt el magban a templomban, az oltron vagy az oltr mellett, s nemaz udvaron.

* 16:36-17:00

So that was a clue to me that the Bird Goddess, also the Snake Goddess, were temple

goddesses and I interpret them as protectresses of the house, because the earliesttemples of Europe, as also of Anatolia, were house-like.

Ez jelentette szmomra a kulcsot, hogy a Madristenn, de a Kgyistenn is templomiistennk voltak, rtelmezsem szerint a hz vdistenni, mert Eurpa legkorbbitemplomai, gy, mint Anatliban, hzalakak voltak.

* 17:01-17:09

Archaeologists to this day discuss and dispute that these are not temples becausethese are houses.

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Kb. egy mter magas vza, piros sevronokkal dsztve. Nyaklncot visel, klns jegyekvannak az vgig az arcn, tovbb csre s szemei.

* 18:40-18:49

Usually if they are vases then the face appears on the neck or sometimes appears on

the lid.A vzkon az arc ltalban a vza nyakn tnnek fel, ritkbban magn a ednyrszen.

* 18:51-19:04So here we see the association of this type with a special symbol, the V or multiple V,

which we can call chevron. And it will repeat throughout.

Itt az arcos ednytpust ltjuk, kombinlva a specilis szimblummal, a V-betvel vagy asokszoros V-betkkel, amit sevronnal neveznk. Ez ismtldik vgig.

* 19:05-19:14Now also I would like to indicate that there are about one hundred temple models

discovered in Europe.

Szeretnm jelezni, hogy kb. 100 templom maradvnyt fedeztk fel Eurpban.

* 19:15-19:26

Some of them are quite well preserved, as this one, also from Macedonia, not from

my discoveries, but from Yugoslav excavations.Nhnyuk igen j llapotban van, mint pldul ez, szintn Macednibl. Nem ntalltam, hanem jugoszlv rgszek.

* 19:27-19:38

And many of them have chimneys, with the face of the goddess. She has anecklace spreading around the roof.

Sok templomnak van kmnye, az istenn arcval. Nyaklnca is van, krbeleli a tett.

* 19:39-19:55

This one has a sort of mouth, but I am suspecting that this was a later addition. All

other chimneysand maybe are about thirty discovered in this sitehave nomouth.

Ez tekinthetjk egy szjnak is, de gyanthatan egy ksbbi toldalk. Ezen a teleplsen atbbi feltrt, kzel 30 pletnek nincs szja.

* 20:00-20:11

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This was around the beginning of the 6th millennium, the last one; this is from the

early 5th millennium, 1,000 years later, also from Yugoslavia.

Ez a Kr. e. 6. vezred elejrl szrmazik, az utols; ez az 5. vezred elejrl, 1000 vvelksbbrl, szintn Jugoszlvibl.

* 20:13-20:34That can be described as a more articulate figure sitting on a throne, marked with

tri-lines, three lines, as you can see. She has sort of a bolero dress, she has a crown,

and three lines across her arms.Egy jobban kidolgozott, trnuson l alakrl beszlhetnk, hrmasvonalakkal dsztve.Boleroszer ruht visel, koront, s hrom vonalat karjn.

* 20:35-20:54

And in front, an apron or maybe it was part of skirt marked with chevrons. Thenshe has a duck's mask.Ell egy ktnyt, vagy taln egy szoknya rszlete, sevronokkal jellve. Kacsafej alakmaszkot hord.

* 20:55-20:11And here is another mask, definitely a duck's mask. So the waterbird played a very

important role in this category of images.

Itt van egy msik maszk, egyrtelmen kacsafej alak. A vzimadarak nagyon fontosszerepet jtszottak az ilyen tpus brzolsokon.

* 21:12-21:24And even this mask is marked with V's on the corners of the forehead. The holes

mean that the mask was attached to the face.

Mg ezt a maszkot is V-betkkel jelltk a homlok sarkain. A lyukak azt jelentik, hogy amaszkot tnylegesen viseltk.

* 21:25-21:46

And some of the masks do have many holes, especially in the crown, which Iinterpret as holes for decoration, for feathers maybe. So she was quite impressive, I

think.

Nhny maszkon tbb lyuk tallhat, klnsen a koronn, amit dsztsknt rtelmezek,taln tollakat tztek bele. Szerintem lenygzen nzhetett ki.

* 21:47-22:04

There are masks of life-size. In my excavations in Greece I have discoveredremovable masks, dating to the 7th millennium BC. So the masks have a long life.

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Vannak letnagysg maszkok is. A grgorszgi satsaimon levehet maszkokatfedeztem fel, a Kr. e. 7. vezredre visszamenleg. A maszkok teht hossz lettel

rendeleznek.

* 22:05-22:23

Of course they existed even in the Paleolithic, but here we have a clear proof that inthe Neolithic they were used for re-enactment of certain rituals.

Termszetesen mr a paleolitikum korszakban is lteztek, de itt vilgos bizonytkunkvan arra, hogy bizonyos ritulk jrajtszshoz hasznltk ket.

* 22:26-22:39

The question of the beginning of this kind of symbolism associated with the bird canbe answered by some Paleolithic figurines.

A madrhoz kapcsoldo szimbolizmus kezdett megvilgthatjuk nhny paleolitikumiszobrocska segtsgvel.

* 22:39-23:00

What you see here is a Paleolithic figurine probably from the time between 20,000

and 14,000 BC found in the Ukraine, from Mezin.Ez egy paleolitikumi szobrocska, Kr. e. 20.000-14.000 krl jtt ltre, az ukrajnaiMezinben talltk.

* 23:01-23:10

This is the profile, I would say, of a waterbird.

Ez a kp profilbl mutatja, mondhatom, hogy egy vzimadr.* 23:12-23:20

The upper illustration indicates an expanded extension of the symbols.

A fels illusztrci a nagy kiterjeds szimblumokkal brzolja.

* 23:21-23:25

On the left side is the front, and this side is the back.Bal oldalon szembl, ezen az oldalon htulrl lthat.

* 23:26-23:30

Why am I showing this? For the association of symbols.Mirt mutatom mindezt? A szimblumok rendszere miatt.

* 23:31-23:48

We have a supernatural triangle in front, and then on the side and the back thereare chevrons, meanders, and on the neck parallel lines and again chevrons.

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Ell egy termszetfeletti hromszg, oldalt s htul sevronok, meandroid-vonalakkal, anyakon prhuzamos vonalakkal s sevronokkal.

* 23:49-24:03

So this means that at least for 20,000 years the symbolic association was the same as

in the Neolithic period.Ez azt jelenti, hogy a szimbolikus asszocici legalbb 20.000 vig ugyanaz volt, mint aneolitikumban.

* 24:05-24:30

And this confirms the importance of it. I think I am not making a mistake

associating this group of symbols and I am calling them aquatic symbolismassociated with waterbirdsespecially with meanders, spiral lines, wavy lines and

so on.Ez megersti a szimblumok jelentsgt. gy vlem, nem tvedek, ha ezeket aszimblumokat kapcsolatba hozom egymssal, s akvatikus szimbolizmusnak nevezemket. A vzimadarakhoz ktdnek, a meandroid-, a spirlis, a hullmos vonalak shasonlk miatt.

* 24:33-24:52

The pubic triangle is marked with a net design, and the net design is associated with

uterine moisture. Moisture was mysterious, and water was also sacred.A szemremdombot rcsmintval jelltk. A rcsminta mindig a vizelettel llsszefggsben. A nedv inmagban is titokzatos volt, vz szintn szentsgesnek szmtott.

* 24:55-25:05

Meanders appear on hundreds of figurines and they have beaked faces and

necklaces. These are all attributes of the same Bird Goddess.

A meandroid-vonalak olyan szobrocskk szzain tnnek fel, amelyek szintn csralakarccal s nyaklnccal, a Madristenn attribtumaival rendelkeznek.

* 25:06-25:12This is a temple model from western Romania dating to the end of the 6 th

millennium BC.Ez egy templom modellje Romnia nyugati rszbl, Kr. e. 6. vezredbl.

* 25:13-25:33

Then we go later into the 5th millennium. Again we see meanders decorating the

skirts of the goddess, and this one again is the Duck Goddess. She also wears amedallion that is typical of this kind of goddess.

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Menjnk tovbb a Kr. e. 5. vezredben. Ismt meandroid-vonalakkal dsztett szoknytltunk az istennn, ez a Kacsaistenn. Egy medlt is visel, ahogy ez a tpus istenn

szokta.

* 25:34-25:44

I found medallions in earlier figurines of the 7th and 6th millennia BC in myexcavations in Greece.

A grgorszgi feltrsaimon talltam medlokat a Kr. e. 7-6. vezredbl.

* 25:46-26:02

And here is the head of a very nice figurine from the Vina culture in central

Yugoslavia, and her forehead is decorated with meanders and her eyes are veryimportant.

Ez az igen szp szobrocskafej a Vina-kultrbl szrmazik, Kzp-Jugoszlvibl. Ahomloka meandroid-vonalakkal dsztett, a szemei nagyon fontosak.

* 26:03-26:14

There are three lines, and two lines around. The eyes had the importance of

regeneration, of life-giving.Hrom vonal tallhat rajta, s kt vonal krltte. A szemek az jjszlets, ad letetads szempontjbl fontosak.

* 26:16-26:33

Some of the eyes are exaggeratedsupernaturalas this lid from a huge vase

indicates. And then on the forehead is a chevron, double triangle. This probablyrepresents an eared owl.Nha a szemeket termszetfeletti mdon eltloztk, ahogy ezt az risvza ednyrsze isjelzi. A homlokon sevron tallhat, egy dupla hromszg. Taln egy flesbaglyot brzol.

* 26:36-26:49

Then this same goddess, whom I call Bird Goddess, can appear as a bird. So she can

be a woman, she can be a bird, a bird that wears a human mask, or has a crown.Ugyanaz az istenno, akit Madristennnek nevezek, madralakban is feltnhet. Azistenn lehet egy nalak, lehet madr, egy embermaszkot visel madr, de lehet koronjais.

* 26:50-27:07

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This is an especially beautiful vase from the Vina culture dated to around 4,500 BC

or earlier, made of very thin clay, decorated with black bands.

Ez egy klnsen szp vza a Vina-kultrbl, kb. Kr. e. 4500 krli idszakbl vagykorbbrl. Nagyon vkony agyagbl kszlt, fekete svokkal dsztetve.

* 27:08-27:15Images like this continue for a long time. They were made even in the Bronze Age in

Europe.

Az ehhez hasonl brzolsok hossz idn t kvetketk. Mg a bronzkori Eurpban iselfordulnak.

* 27:16-27:33This one is from Hungary, dating to around the 16 th century BC, so maybe about

4,000 years later. And I would say that they are prototypes of later sirens of AncientGreece.Ez egy magyarorszgi lehet, a Kr.e. 16. szzadbl, teht nagyjbl 4000 vvel ezelttrl.Mondanm, hogy a ksbbi kori Grgorszg szirnjeinek a prototpusa.

* 27:34-27:50Now we can begin the second category, which is very closely associated with the Bird

Goddess, and this is the Snake Goddess. She appears as a woman or she appears as

a snake.Hozzltunk a szimblumok msodik kategrijnak, aminek nagyon sok kze van aMadristennhz. S ez a Kgyistenn. Egy n vagy egy kgy alakjban jelenik meg.

* 27:51-27:57

There are many snakes found, sculptures of snakes and also painted on pottery.

Rengeteg kgybrzolst tallunk, kgyszobrokat, a festett kermin gyszintn.

* 27:58-28:18

This is a very clear example. She is decorated with snakes, her arms merge with the

body, and her legs are not even shown. But her head is a snake head. This is fromAnatolia from the 6th millennium BC.

Ez egy nagyon vilgos plda. Kgykkal dsztettk, a keze sszeolvad a testvel, a lbaitnem is mutatjk. De kgyfeje van. Ez Anatlibl val, a Kr. e. 6. vezredbl.

* 28:19-28:28

Now another example, from Central Turkey, is from Hacilar, from the first half ofthe 6th millennium BC.

Most egy tovbbi plda Kzp-Trkorszgbl, Hacilarbl, a Kr. e. 6. vezred elsfelbl.

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* 28:30-28:48You see the legs are snake coils. The arms are also probably snakes just like arcs,

and her head is decorated with an aquatic design.A lbai olyanok, mint a feltekeredett kgy. A karjai valsznleg szintn kgyk, de csakegyszer vek, a fejt akvatikus elemekkel dsztettk.

* 28:49-29:15Other images are simply women, but here are also hybrids. Her legs are snakes, her

arms are also almost snakes, her mouth is long, her nose is not much of a woman's

nose, and then she wears a crown.A tbbi brzols szintn nalak, de vannak hibridek is. A lbai kgyk, a karjai szintn

majdnem kgyk, a szja hossz, az orra nem nagyon hasonlt egy n orrra. A figurakoront visel.

* 29:16-29:33

The crown is especially typical of Snake Goddesses. The crown appears in later

times, like here in an example from Crete around 2,000 BC.A korona klnsen jellemzi a Kgyistennt. A ksbbi idkben is feltnik, mint ezen akrtai pldn, Kr. e. 2000. krnykrl.

* 29:35-29:53

And in front we see the crown, but in the back are a mass of snakes. This I think is

the beginning of what we still have in folklore.Szembl ltjuk a koront, htulrl viszont kgyk tmegeit. Szerintem ez annak akezdete, amit most is megtallunk a folklrban.

* 29:54-30:14In folklore the crowned snake is very important to this day, and is the leader of

thousands of other snakes. If she appears then expect the other snakes to appear, or

if you touch her, the other ones will follow you.A folklrban a korons kgy mindmig igen fontos elem, az ezer tbbi kgy vezetje.Ha megjelenik, akkor szmtani kell a tbbi kgyra is. Ha megrintjk, a tbbi kgykvetni fog.

* 30:15-30:29

And if you happen to catch the crown in order to be happy, to know everything andunderstand animal language, that will be dangerous because the other snakes will

follow you for a long time.

s ha sikerl vletlenl elkapni a koront abban a remnyben, hogy boldogsgot tallunk,mindent tudni fogunk, rteni fogjuk az llatok nyelvt, az veszlyes lehet, mert a tbbikgy hossz ideig a nyomunkban lesz.

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* 30:30-30:43The most beautiful Snake Goddesses are very well-known from Knossos and Crete,

dating from around 1,600 BC.

A legszebb Kgyistennk nagyon ismertek Knosszoszrl s Krtrl, a Kr. e. 1600.krli idbl.

* 30:45-31:03These are beautiful ladies, but all over their bodies you can see snakes winding up

their arms, around the belly and one on the left is holding snakes in her hands.Gynyr nk, a testkn, a hasukon s a karjukon kgyk tekergznek, a baloldalikgyt tart a kezben.

* 31:04-31:19

They have beautiful headdresses, the tiara and the other has even a monkey, I think,sitting on her head. So these can be goddesses, they also can be priestesses

worshipping the Goddess.

Csods fejkeik vannak, tiara, s az egyik fejn - gy hiszem - egy majom l. Lehet, hogyistennk, de lehet, hogy papnk, akik az Istennnek hdolnak.

* 31:21-31:43Now we are entering another group of symbolism: the Goddess as Creatrix, who is

creating from her own body. Her body parts are life-giving.

Most belpnk a szimblumok harmadik csoportjba: az Istenn, mint Creatrix, aki asajt testbl teremt. A testrszei letet adk.

* 31:44-32:00

This one is a Paleolithic figurine dating from 23,000 BC found in Lespugue in thesouthern part of France, near the Pyrenees.

Ez egy paleolit kori szobrocska, Kr. e. 23.000-ra datldik, a Franciaorszg dli rsznlev Lespugue-ben talltk, kzel a Pireneusokhoz.

* 32:01-32:39

I like it very much. To some people this is a monstrosity; to me it is a harmonioussculpture showing the essence of Paleolithic art.

Nekem nagyon tetszik. Nhnyan azt gondoljk, hogy durvn elnagyolt; de szerintem egyharmonikus szobor, a paleolit mvszet esszencijt mutatja.

* 32:30-32:46

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This is a symbolic art, not the portrayal of a woman, definitely not. Not a single

sculpture or figurine portrays a simple woman, no. They are all symbols.

Szimbolikus mvszet, nem egy ni portr, egyltaln nem. Egyetlen egy szobor vagyni szobrocska sem brzol egy konkrt nt. Ezek szimblumok.

* 32:47-33:02And what we see here are breasts and buttocks, definitely exaggerated. The legs and

head and the arms are reduced because they do not play a big symbolic role here.

Amit itt ltunk, ersen tlhangslyozott mellek s far. A lbak, a fej s a karvisszafogottak, mert nem jtszanak klnsebb szimbolikus szerepet.

* 33:03-33:25It was important to show the breasts and buttocks which are symbolically

interrelated. Both are in pairs, and two has more strength than one.

Fontos volt megmutatni a melleket s a fart, mert szimbolikusan sszekapcsoldnak.Prosval vannak jelen, s a kett tbb ert testest meg, mint az egy.

* 33:27-33:45

Symbolically, this impressed our ancestors and was considered important, so there isa repetition of this doubleness throughout time.

Szimbolikus rtelemben ez fogva tartotta az seink kpzezett, fontosnak gondoltk,

mindvgig a kettssg ismtlsvel tallkozunk.* 33:46-34:02

Here is another example from Malta in the Mediterranean and this is much later.

The other was 23,000, this is 3,000 BC, but again, the buttocks symbolism is ofimportance.

Ez egy tovbbi plda Mltrl a Fldkzi-tenger vidkrl, de sokkal ksbbrl. Azelbbi Kr. e. 23.000-re datldik, ez Kr. e. 3000-re, s ebben az esetben is hangsly a farszimbolizmusra esik.

* 34:03-34:33This is found in a temple of the same shape, with the buttock-shape in the plan of

the temple. Here I interpret the importance of such figurines for regeneration. The

Maltese temples to me mostly mean regeneration.Egy olyan templomban talltk, aminek az alaprajza far-alak volt. Ebben ltom az ilyentpus szobrocskk jelentsgt az jjszlets krdsben. A mltai templomokszmomra nagyrszt az jjszletst testestik meg.

* 34:34-34:49

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Although some temples, as I told you, where Bird Goddesses were found, were not

connected with this motif. Their function was protection and life-giving. Here it is

regeneration.Habr egyes templomok, ahogy mondtam, ahol a Madristennket talltk, nem lltakkapcsolatban ezzel a motvummal. A szerepk a vdelem s az letet ads volt. Ebben azesetben az jjszlets.

* 34:50-35:09In some Upper Paleolithic rock engravings hundreds of buttocks figurines appear.

The figures have just buttocks and a cylindrical neck and nothing elseno arms, nolegs.Nhny fels-paleolit kori sziklafaragson szzval tnnek fel a faros nalakok, ahol csakexponlt far- s megnyjtott nyak-brzolsokat ltunk.

* 35:10-35:26So here again I think, the regeneration motif dominated. And perhaps in the

buttocks, there was an egg, the symbol for regeneration.

Itt is azt gondolom, hogy az jjszlets motvuma dominlt. A far belsejben tojs volt,az jjszlets szimbluma.

* 35:28-35:44Some other images maybe will be more clear, like this one from around the first half

of the 6th millennium BC, found in the former Yugoslavia near Belgrade.

Nhny tovbbi kp taln vilgosabb teszi, mint pl. ez, a Kr. e. 6. vezredbl, az egykoriJugoszlvia terletrl, Belgrdhoz kzel.

* 35:45-36:07

This is a seated figurine with the weight in the buttocks and nothing else. No arms,the legs are also reduced, facial features dont exist, but she has hair. Here the

buttocks are egg-shaped.

Egy l szobrocska, hangslyozott farral, semmi egybbel. Nincsenek karok, a lbakatredukltk, nincs arc, haja viszont van. A far tojsalak.

* 36:09-36:25In some figurines like this, the protruding buttocks are hollow, and the space is egg-

shaped.

Az ehhez hasonl szobrocskk esetben az kinyl far homor, tojsalak.

* 36:37-36:47

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So here we have two possibilities: that this is a regeneration motif or that this is a

cosmic egg, connected with an existing myth of the beginning of the world.

Teht kt lehetsg van: az jjszlets motvuma vagy a kozmikus tojs, sszefggsbena vilg keletkezsrl szl mtosszal.

* 36:48-36:56These myths still continued in the classical period, and up to the modern times.

Ez a mtosz kitartott a klasszikus korszakban, egszen a modern korig.

* 36:59-37:22Most of these buttock figurines are decorated in the Neolithic period with such

symbols as spirals or snake coils or four-corner designsdynamic symbols, which

probably enhance life and regeneration.

A neolit korszakban a legtbb faros szobrocskt spirlokkal, feltekeredett kgykkal,ngyszgletes formkkal dsztettk: ezek dinamikus szimblumok, taln az letet s azjjszletst szorgalmaztk.

* 37:24-37:39

More of these are found in the Neolithic, especially during the 6 th millennium BC.

This one is from Hungary and is clearly a bird.A legtbb a neolitikumban kerl el, a Kr. e. 6. vezredbl. Ez Magyarorszgon kerltel, egyrtelmen egy madr.

* 37:41-37:59So here I see that the buttocks figurines are in many cases birds, which carry

perhaps a cosmic egg in the buttocks, or just an egg, which is a symbol of

regeneration.Azt ltjuk, hogy a faros szobrocskk legtbbje madr, a farukban taln a kozmikus tojsthordozzk, vagy csak egy egyszer tojst, az jjszlets szimblumt.

* 38:01-38:27

If we go to the Bronze Age, the middle of the 2 nd millennium, there are vases from

the Aegean islandslike Phylakopi3 or Thera4that show vultures or birds of preywith an egg inside.

3

Milos4

Santorini

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A bronzkorban, a a Kr. e. 2. vezredben, az gei-szigetekrl, pl. Phylakopirl vagyThrrl szrmaz vzk keselyket vagy ragadoz madarakat brzolnak, a belsejkben

tojssal.

* 38:28-38:40The left one has a red egg, and there are many more. Some vases are decorated with

beautiful flowers or sprouts, which also mean regeneration.

Ebben egy piros tojs, de tbb ms is ltezik. Nhny vzt csods virgokkal vagyrgyekkel dsztettek, ezek szintn az jjszletst jelentik.

* 38:41-38:53But it is interesting here to mention that the red egg is associated with the bird of

prey, not with the waterbird in this case, and why?rdekes, hogy a piros tojs sszefggsben ll a ragadoz madrral. Mirt nem avzimadrral?

* 38:54-39:16

Because we shall see later that the Goddess of Regeneration is the vulture who

attacks human beings after death, but she is also concerned with regeneration.Mert ksbb ltni fogjuk, hogy az jjszlets Istennje maga a kesely, aki emberekettmad meg a halluk utn, de egyben jelenti az jjszletst is.

* 39:17-39:41

Another example is on a vase from Phaistos, in the southern part of Crete, which is

decorated with an egg and spirals. The vase itself is egg-shaped and the upper part

is clearly the head of a bird. Within the bird, within the egg, there are spirals.Ez a plda egy phaistosi vza, Krta dli felrl. Egy tojssal s spirlokkal dsztettk. Avza maga tojsalak, a fels rsze egyrtelmen egy madrfej. A madr belsejben egytojs van, s spirlok.

* 39:42-39:53

I call such a symbol a column of life: something is beginning or becoming.Az ilyen szimblumot n az let oszlopnak nevezem: valami elkezdik, valami valamivvlik.

* 39:56-40:12

Now from the buttocks we move to the pubic triangle or the vulva, and these are the

earliest symbols so far known. Vulvas and triangles are very early symbols.

Most a faros szobrocskkrl trjnk t a szemremdombra vagy a vulvra, ezek alegkorbbi ismert szimblumok. A vulva s a hromszg igen rgi szimblumok.

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* 40:14-40:32

Some art historians decided that men created the symbolism because they were thefirst to touch vulvas and they had to show it. But I don't think this is the right

interpretation because our ancestors were more philosophical.

Nhny mvszettrtnsz gy dnttt, hogy ezeket a szimblumokat frfiak hoztkltre, mert k rintettk meg elszr a vulvt, s meg akartk mutatni. Nem gondolom,hogy ez a helyes magyarzat, mert az seink ennl sokkal filozofikusabbak voltak.

* 40:37-40:52

If you studied all the vulvas in existence in the Paleolithic and later, you will notice

that they are always associated with sprouts, with seeds, with branches.Ha tanulmnyozzuk a vulva megjelenseit a paleolit s a ksbbi korszakban, mindig

rgyekkel, magokkal s gakkal trstottk.* 40:53-41:02

So this is the beginning of life, which is sprouting and growing. It's not

pornography.

Teht az let kezdett jelenti, a szaporodst, a nvekedst. Nem pornogrfia.

* 41:04-41:37

This figurine is 23 to 21,000 BC from southern France, from Monpazier. Some

scholars describe such figurines as monstrosities because the vulva is supernatural

and swollen, the buttocks are also not natural, and the belly is in a full arch.

Ez a szobrocska Kr. e. 23-21.000-bl szrmazik, Franciaorszg dli rszrl, Monpazier-bl. Nhny tuds azt mondja r, hogy durvn elnagyolt, mert a vulva termszetellenesmdon meg van duzzadva, a far-brzols sem termszetes, a has teljesen kidomborodik.

* 41:39-41:56

This is a very tiny figurine and there are many of them like this. So what is it? Ithink the importance is life-giving; probably birth-giving is emphasized.

Ez egy nagyon kicsi szobrocska, sok ilyen fordul el. Teht ez micsoda? Szerintem azletet adst hangslyozza; taln a szlst.

* 42:00-42:12

The swollen vulva in association with the buttocks on the other side continues for 15to 20,000 years.

A duzzadt vulva trstva a far-brzolssal, 15-20.000 ven keresztl visszatr motvum.

* 42:14-42:32I will show another example, from 3,500 BC from Hungary. Here we see the same

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thing: a swollen vulva on one side with the buttocks on the other. This is the handle

of a vase.

Mutatok egy msik pldt Magyarorszgrl, Kr. e. 3500-bl. Ugyanazt ltjuk: duzzadtvulvt, a msik oldalon far-brzolst. Ez egy vza fle.

* 42:33-42:58Here is a very good example from Italy. An incised bone plate figurine with the

vulva associated with a fir tree. On her breasts is a crescent, a symbol of

regeneration.Ez egy nagyon j plda Olaszorszgbl. Egy karcolt csontlemez bra, egy vulva egyfenyfval trstva. A melln sarlalak vonal, az jjszlets szimbluma.

* 43:00-43:14

There are many figurines which I call birth-giving that are associated with thegoddess who brings life.Sok szobrocska ltezik, amiket letadknak nevezek, mert a szl istennvel llnaksszefggsben.

* 43:15-43:41

This is from my own excavations dating to 6,300 BC in Thessaly, northern Greece.

She is portrayed in a natural birth-giving posture. The birth-giving posture in

prehistory was in a seated position, there are no others.Ez a sajt satsombl szrmazik, szak-Kelet Grgorszgbl, Thesszlibl, Kr. e.6300-ra datlhat. A termszetes szlpzban brzoljk. Az skorban a l pzbanszltek, msik nem ltezett.

* 43:43-43:59

In the Paleolithic, some of these types are radiocarbon dated to 20,000 or 21,000 BCin France, which also continue into later times.

Rdikarbon meghatrozs alapjn a franciaorszgi leletek kzl az ilyen tpusbrzolsok akr Kr. e. 21-20.000-ig is visszamennek.

* 44:00-44:18

This is from a temple in Malta originally described as a pathological figurine. I

think this is clearly a birth-giving posture with a swollen vulva.Ez egy mltai templombl szrmazik, korbban beteg szobrocskaknt rtk le. Szerintem

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ez egyrtelmen egy szlpz, megduzzadt vulvval.

* 44:19-44:32On her back there are nine lines, perhaps associated with nine months of gestation.

Her hands are perhaps typical of a birth-giving posture.

A htn kilenc vonal tallhat, taln a terhessg kilenc hnapjt jelenti. A kztarts aszlpzra jellemz.

* 44:35-44:42From birth-giving we move to protection of new life.

Az letad brzolsoktl tovbb lpnk az j let vdelmezsre.

* 44:43-44:59

There are many madonnas discovered in the Neolithic period. They are not knownfrom very early times, but they begin around 5,000 and continue for severalmillennia.

A neolit korszakbl sok madonnt fedeztek fel. A nagyon korai idszakbl nem ismertek,Kr.e. 5000. krl indulnak, s sok vezreden keresztl folytatdnak.

* 45:00-45:11

So the madonna, the mother-holding-child, does not begin with Christian Mary, but

is much earlier.A madonna, agyermekt tart anya nem Szz Mrival kezdik, hanem sokkal korbban.

* 45:12-45:26However, the difference is that the protection of life belongs more or less to the

animal mother. Most of these images have masks, which are either birds or bears.

A klnbsg az, hogy az let vdelmnek a kpzete tbb-kevsb az llatanyhozktdik. A legtbb madonna-kp maszkot visel, vagy madr- vagy medvealakt.

* 45:28-45:39Perhaps this comes from the observation that the bear mother was a very good

mother, and that birds also take care of their young.

Taln abbl a megfigyelsbl addik, hogy a medveanya nagyon j anya, s hogy amadr is gondoskodik a fiairl.

* 45:42-45:59

This is an example of the bird mother holding a little bird, and both are masked.Then there are images of bear nurses with masks.

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Ez plda egy madranyra, aki tartja a kismadarat, mindketten maszkot viselnek. Aztnlteznek dajkl medve-brzolsok, szintn maszkkal.

* 46:00-46:23

I call them nurses because they are taking care of babies with a pouch on their back

probably for carrying babies. I think the mask is of a bear.Dajkknak hvom ket, mert a gyermekket gondozzk, s egy zsk van a htukon, talna gyermek szlltsra. Szerintem egy medvemaszkot visel.

* 46:24-46:50

There are other images I am not showing today of real bears holding babies. And

this belief in 'mother bear' still continues. In my own country, Lithuania, theexpecting mother was called a 'bear'.

Vannak mg kpeim a sajt bocsaikat tart medvkrl, de ezeket most nem mutatommeg. A medveanya kpzete mg most is tart. A hazmban, Litvniban, a vrands ntmedvnek nevezik.

* 46:54-47:08

When the expecting mother was approaching to the sauna, for instance, the group ofwomen would chant a formula: Oh here, the bear is coming. Also, the newborn

baby was laid on a bear fur.

Ha egy vrands n rkezik valahova, pl. a szaunba, azt mondjk, hogy J, jn amedve. Az jszltt csecsemt medvebrre fektetik.

* 47:11-47:35Even in Greeceand this is surprising, because there are no bears anymore in the

Mediterranean areabut in the western part of Greece, to the middle of this

century, there was a celebration on the 2nd of February of the 'bear mother'.Meglep mdon mg Grgorszgban is, mert a Fldkzi-tenger trsgben mrnincsenek medvk; de Grgorszgban nyugati rszn egszen a 20. szzad kzepigfebrur 2-n ltk a medveanya nnept.

* 47:38-47:48

And it is described, not as Mary, but as the bear mother, although it is a Christian

country.Nem Mria-nnep volt, hanem a medveany, habr egy keresztny orszgrl van sz.

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* 47:50-48:04

Now let us go again into another class of symbols: fertility and multiplication.Menjnk tovbb a szimblumok tovbbi osztlyra: termkenysg s sokszorozds.

* 48:06-48:23For a long time the so-called Venuses and the Paleolithic madonnas were called

fertility goddesses.

Az n. Vnuszokat s a paleolit kori madonnkat hossz ideigtermkenysgistennknek neveztk.

* 48:24-48:44Neither the term fertility goddess nor Venus is a good term, because this is a

misunderstanding. There is only one category of sculptures that can be associatedwith fertility.Sem a termkenysgistenn, sem a Vnusz nem egy j kifejezs, mert ez egyflrerts. A szobroknak csak egyetlen kategrija trsthat a termkenysggel.

* 48:45-49:08Of course many figurines are associated with fertility, but not all of them. Venus, of

course, is a beauty, a wife or a bride, but not birth-giving or life-giving.

Termszetesen sok ilyen szobrocska ltezik, de nem mindegyik. A Vnusz a szpsg, afelesg, a menyasszony, de nem a szl, nem az letet ad.

* 49:10-49:32Here is one of the very early images from the Paleolithic, again from southern

France, from Laussel. This is a pregnant woman holding her hand on the pregnant

belly and holding a crescent or a horn in the other hand.

Ez egy nagyon korai brzols a paleolit korbl, Franciaorszg dli rszbl, Lausell-bl.A terhes n egyik kezt a hasra teszi, a msikban egy sarlt vagy egy szarvat.

* 49:33-49:42Therefore I would say she is concerned with fertility, with multiplication, with

bounty.

Ezrt mondnam, hogy a termkenysgre, a sokszorozdsra, a bsgre utal.

* 49:45-50:13

And particularly, because we have the continuity of the same image in the Neolithic

period. Here we have a clearly pregnant woman with a very prominent belly andthen under it is the supernatural triangle. Shes from Neolithic Greece, from around

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6,000 BC, or somewhat later.

Klnsen azrt, mert ugyanez az brzols a neolitikumban is elfordul. Ez egy

egyrtelmen terhes n, ersen kidomborod hassal, alatta a termszetfelettihromszggel. A neolit Grgorszgbl szrmazik, Kr. e. 6000. krnykrl, vagy kicsitksbbrl.

* 50:16-50:52

In those days it was probably important to show the image of a pregnant woman

because at that time when agriculture was just in the beginning, earth fertility wasof enormous concern and the production of such pregnant images enhanced the

earth fertility.

Valsznleg azrt volt fontos akkoriban megmutatni a terhes nt, mert a fldmvelsppen csak elkezddtt, a fld termkenysge risi krds volt, s a terhes n brinak

ellltsa hozzjrult a fld termkenysghez.* 50:53-51:05

But not only earth fertility, fertility of animals, fertility of human beings. As I said,

there was no separation between earth, animal or human being.

De nem csak a fldhez, hanem az llatokhoz, emberekhez. Ahogy mondtam, nem voltklnbsg a fld, llatok s emberek kztt.

* 51:09-51:37And I would add that in my own excavations, the pregnant goddesses were found

not in temples, but in courtyards next to the bread ovens, for she also can be called

the Bread Mother. She's the one who secures the bread.Hozztennm, a sajt feltrsaimon a terhes istenn nem a templomokbl kerlt el,hanem az udvarokrl, a kenyrst kemenck melll. Teht Kenyranynak isnevezhetjk. az, aki biztostja a kenyeret.

* 51:39-52:06

And such images are not identical everywhere, here is a pregnant figure from

eastern Romania, from the Hamangia culture. Of course the style is different but itvery probably portrays the same image.

Az ilyen brk nem mindig azonosak. Ez egy terhes szobor Romnia keleti rszbl, aHamangia-kultrbl. Persze ms stlusban, de nagy valsznsggel ugyanazt brzolja.

* 52:07-52:30If we go into a later period, around 4,000 BC, here is an example from northeast

Romania, the Cucuteni culture, of an open shrine where the goddess is seated.

Itt egy plda egy ksbbi korszakbl, kb. Kr. e. 4000-bl. Romnia szakkeleti rszrlszrmazik, a Cucuteni-kultrbl. Egy nylt templom, ahol az istenn lpzbanhelyezkedik el.

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* 52:31-52:46

She is flanked by young figures, probably portraying a ritual, dancers or somethinglike that, and in then front of her there was a hole for libations.

Fiatal alakok veszik krl, lehetsges, hogy egy rtust brzol, tncosokat vagy hasonlt.Ell egy mlyeds az adomnyok szmra,

* 52:48-53:02

And if we know the traditions of European peasants, there were libations forMother Earth up to the 19th20th century.

Az eurpai parasztok krben a 19-20. szzadig szoks volt az Anyafld rszre ldozatiadomnyt vinni.

53:05END OF PART ONEVge az els rsznek

Ca. 54:13-54:19

Marija Gimbutas: The World of the Goddess. Part TwoMarija Gimbutas: Az Istenn vilga. Msodik rsz

* 54:22-54:43Now we have to rush through the other half of our lecture. I am starting with the

symbols of death. First of all the vultures, owls, crows, and ravens.

Gyorsan tvesszk az elads msodik rszt. A hallszimblumokkal kezdek.Elssorban a keseklyk, a baglyok, varjak s hollk szmtanak.

* 54:44-55:06

One of the best examples comes from the temples of atal Hyk from the 7 th

millennium BC, painted on the walls of shrines. Here are seven or so vultures

attacking headless bodies.

A legjobb plda atal Hyk-bl szrmazik, a Kr. e. 7. vezredbl, a templomifalfestmnyeken lthat. Ht-nyolc kesely fej nlkli holttesteket tmad meg.

* 55:08-55:19Presumably the heads were removed immediately after death and then the rest of

the body was left for excarnation by the birds.

A fejeket felteheten rgtn a hall utn eltvoltottk, a test tbbi rszt tengedtk amadaraknak.

* 55:20-55:45

The skulls are found in other shrines, placed under the heads of the bull. We alreadyknow that the head of the bull represents the uterus, so this is for regeneration. The

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skull was the most important part of the body, the seat of the soul, and they always

gave attention to it.

A koponyk ms templomokbl kerltek el, egy bikafej alatt helyeztk el. Ma mrtudjuk, hogy a bikafej az anyamh szimbluma, teht az jjszlets. A koponya a testlegfontosabb rsze, a llek szkhelye, mindig klnsen gyeltek r.

* 55:46-56:08

Now, other images are owls. For instance, this is a painting in charcoal found near

Paris in a hypogeum, which is a subterranean tomb. She has a necklace, she hasbreasts, these are her attributes, and shes clearly an owl.

A tbbi kp baglyokat brzol. Ez pldul egy ksznre festett festmny, Prizskzelben talltk egy hypogeumban, egy fldalatti srban. Nyaklncot visel, melleivannak, de egyrtelmen egy bagoly.

* 56:09-56:20Owl images appear all over Western Europe, and also in the Aegean area, in Central

Europe and in Northern Europe.

A bagolybrzolsok Nyugat-Eurpban mindenhol feltnnek, az gei-tenger vidkn,Kzp- s szak-Eurpban egyarnt.

* 56:21-56:48

Here is one example from the famous tomb in Ireland, from Knowth. There is a longcorridor going into the middle of the mound and this was found engraved on a stela

near the inner chamber. The date is around 3,500 BC.

Ez a hres roszgi srbl szrmazik, Knowth-bl. Egy hossz folyos vezet a srhalombelsejbe. A rajzot a bels kamra egyik oszlopra karcoltk. Kr. e. 3500-re datlhat.

* 56:49-57:11

I would like to compare that with another from Bulgaria. Possibly an owl image, itsalso decorated with a labyrinthine design, which probably are intestines and I think

symbolically they are life-giving.

ssze szeretnm hasonltani egy bulgriai pldval. Lehetsges, hogy egybagolybrzols, labirintusszer vonalakkal dsztve, taln az emsztrendszerre utal, sszimbolikus rtelemben az letet adsra.

* 57:12-57:22

And here are owls as vases, as urns. One is from Troy, the other is from Poliochni on

the Greek island of Limnos.Itt a baglyok vzaknt s urnaknt jelennek meg. Az egyik Trjbl, a msikPoliochnibl, egy Limnos nev grg szigetrl.

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* 57:24-57:38

These have wings and are clearly owls, but what is interesting here is that they are

not really death symbols, they are associated with vulvas and with umbilical cords,or snakes.Szrnyuk van, egyrtelmen baglyok, s ami rdekes, hogy nem is igazihallszimblumok, mert vulvkkal s umbilical cord-okkal, kgykkal vannak trstva.

* 57:39-58:02

So there was never in the Neolithic period a death symbol produced without anotherattribute indicating regeneration. Death alone was not shown. It was always in

association with regeneration.

A neolitiumban a hallszimblum soha nem fordult el nmagban, valamilyen, azjjszletst jelz attribtum nlkl. A hallt egyedl nmagban nem mutattk. Csak az

jjszletssel trstva.* 58:13-58:22

Even if the symbol is bone, a simple bone found in graves, the bone has owl eyes and

the eyes are symbols of regeneration. Eyes have moisture and this moisture is

regenerating.Ha a szimblum csak egy csontdarab, amit egy srban talltak, mg akkor is bagolyszemevan. A szem az jjszlets szimbluma. A szem knnyezik, a knny, mint nedvessgregenerl.

* 58:23-58:42

Now we move to Sardinia. This is the plan of a rock-cut tomb from the 5

th

millennium BC. There is a figurine in front of the skeleton, right in front of the

chest, next to the vases.

Tovbb megynk Szardnira. Ez egy kbe vjt sr alaprajza a Kr. e. 5. vezredbl. Acsontvz eltt egy szobrocska fekszik, kzvetlenl a mellcsont eltt, mellette vzk.

* 58:43-59:07

Some of the vases were decorated with regeneration symbols and there was one dishin which shells were found with red ochre. So this is a series of symbols of

regeneration and here, in detail, is the figurine found in this grave.

Nhny vzt az jjszlets szimblumaival dsztettk, az egyik ednyben kagylkat svrs okkert talltak. Teht az jjszletsnek egy sor szimblumt ltjuk itt. s ez az aszobrocska, ami elkerlt a srbl.

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* 59:05-59:33

It is a stiff woman of quite another type. I call this series of figurines stiff nudes.They are found in graves and they continue through millennia. This is the 5th

millennium and they are not very slim, as they are later on, anyway, they are stiff.

Itt van egy msik tpus, egy merev testtarts n. A tpust merev aktoknak nevezem.Srokbl kerlnek el, tbb vezreden keresztl. Ez a Kr. e. 5. vezredbl szrmazik.Nem olyan karcs, mint ksbb, de a testtartsa merev.

* 59:34-59:47And here we switch to the end of the 5 th millennium, beginning of the 4th. This is a

well-known image of alabaster, also from Sardinia.Tovbb megynk az 5. vezred vgre, a 4. vezred elejre. Ez egy kzismert szobrocska,alabstrombl kszlt, szintn Szardnirl val.

* 59:50-59:58

It is liked by many authors and we can find it on book covers, and so on, but whatdoes it mean?

A sok knyv szerzjnek tetszik, sokszor szerepel knyvek bortjn meg hasonlhelyeken, de mit jelent?

* 1:00:00-1:00:14

Well, the white colour I mentioned is the colour of death and therefore they wereproduced of alabaster, of marble, of bone, bone plates and also light coloured stones.

A fehr szn, ahogy mondtam, a hall szne, ezrt a szobrocskkat alabstrombl,mrvnybl, csontbl, csontlemezekbl, ill. vilgos szn kvekbl ksztettk.

* 1:00:15-1:00:36

Here the stiffness is reaching its culmination. It's a very abstract figurine, the lower

part is just a cone, the arms are always this way and then the head is featureless.But sometimes the heads are shown with masks.

A merevsg is elri a tetpontjt. Nagyon absztrakt figura, az als rsze csak egy cscs, akztartsa igen jellegzetes, a fej kifejezstelen. Elfordul, hogy maszkot visel.

* 1:00:37-1:00:52

Later figurines like this one, also from Sardinia, has a round head, which is a roundmask and again the lower part is suppressed entirely. The hands are the same.

Ksbb a szobrocskk, mint ennek a szardniai pldnak, kerek feje van, kerek maszkotvisel, az als rsze szintn teljesen elnagyolt. A kztarts ugyanolyan.

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* 1:00:54-1:01:15

The same image continues in the Aegean area, in the Cyclades. These are probably

best known in literature and to the art historians. For a long time they wereconsidered to be ideals of beauty and were never interpreted as death symbols.

Ugyanez az brzols folytatdik az gei-tenger vidkn, a Kkldokon. Taln ezekfordulnak el legtbbszr az irodalomban, s a legismertebbek a mvszettrtnszekszmra. Sokig azt gondoltk, hogy ezek szpsgidelok, soha nem rtelmeztk

hallszimblumoknak.* 1:01:18-1:01:40

In my understanding they represent the Goddess of Death, leading the dead to the

underworld. However, they are also concerned with regeneration because in most

cases the supernatural triangle appears on these figurines.Az n rtelmezsemben a Hallistennt brzoljk, aki a halottakat tvezeti a alvilgba.De sszefggsben llnak az jjszletssel is, mert feltnik rajtuk a termszetfelettihromszg.

* 1:01:42-1:02:00

From the Aegean area we switch now the geographical region, and this one is fromBulgaria. I would say that they differ a little bit although they are also stiff and they

are also nudes.

Az gei-tenger vidkrl most tlpnk Bulgriba. Az szobrocskk itt egy kicsit msok,de szintn merevek s meztelenek.

* 1:01:01-1:02:24

The head here is broad and the mouth is long and there are some dots, maybe thefangs of a poisonous snake. I would connect this series with the poisonous snake,

whereas the other series in the Cyclades, in Sardinia, with birds of prey.

A feje szles, a szja hossz, pttyk vannak a fejn, taln egy mrgeskgyharapsnyomai. Ezt a tpust a mrgeskgyhoz ktnm, mg a Kkldokon s Szardnintallt darabokat a ragadozmadarakhoz.

* 1:02:25-1:02:43

Even life-size masks are found in graves. This is a very interesting discovery from

the 1970s in Varna, which is east Bulgaria, right at the Black Sea coast.

A srokban mg letnagysg maszkokat is talltak. Ez egy nagyon rdekes felfedezs az1970-es vekbl, Varnabl, ami Kelet-Bulgriban tallhat, kzvetlenl a Fekete-tenger

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partjn.

* 1:02:44-1:03:01In the cemetery there were found at least three well-preserved life-size masks of

clay, decorated with gold. In this cemetery about 3,000 or more pieces of gold were

found.A temetben legalbb hrom letnagysg, tkletes psgben megrztt agyagblkszlt maszk kerlt el, amit arannyal dsztettek. Ugyanebben a temetben tbb mint3000 aranydarabkt talltak.

* 1:03:03-1:03:25

So here is the same image I have shown you before with a broad face, and a largelong mouth. Some dots here like pins under the mouth are perhaps teeth. The round

eyes are typical of the snake.Ez ugyanaz a maszk, amit korbban mutattam, az arc szles, a szj nagy. A pttyk a szjalatt szegecsszerek, taln a fogakra utal. A kerek szem jellegzetes kgyszem.

* 1:03:26-1:03:35

I would say these are the precursors of the later Gorgon heads and Pandora maybe,in Greek mythology.

Monhatnm, az brzols a ksbbi grg mitolgiban szerepl Gorgon-fej eldje, staln Pandora eldje is.

* 1:03:38-1:03:54

Now the next image in the series of regeneration is the frog. Again, the bestrepresentations are found in relief in atal Hyk shrines in Anatolia from the 7th

millennium BC.

A kvetkez brkon az jjszlets jelkpe a bka lesz. A legjobb pldkat atal Hyk-ben talljuk, a templomok reliefjein, Anatlibban, a Kr. e. 7. vezredbl.

* 1:03:55-1:04:12

She's portrayed on the wall with upraised hands, upraised legs next to the horns orbull heads and next to life columns painted on walls.

Egy falfestmny, az istenn a kezeit s a lbait szttrva felfel emeli. Mellette a falonbikafejek s letoszlopok kpei.

* 1:04:14-1:04:37

Sometimes such figures are covered with geometric motifs, which look likehoneycomb, but also there are columns of lozenges and a concentric design on her

belly, which is a symbol of regeneration.

Elfordul, hogy a hasonl figurkat geometrikus mintk bortjk, a lpre hasonlt, a hasnrombuszalap oszlopok s koncentrikus krk, az jjszlets szimblumai.

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* 1:04:38-1:05:00

Here is from my own excavations from Achilleion in northern Greece, dated 6,300

BC, carved out of black stone. I call this type the Frog Woman. The frog symbol islong-lasting, of course, from folklore.

Ez a sajt feltrsombl szrmazik, Achilleionbl, szak-Grkorszgbl, Kr. e. 6300-radatlhat. Fekete kbl faragtk. Ezt a tpust Bkannek nevezem. A bka szimblumahossz ideje ltezett, a nprajzbl is ismerjk.

* 1:05:02-1:05:18

And here I would like to show from Lithuania a tombstone from a cemetery I visitedmyself in this century. It is a frog with a head in the shape of a lily.Szeretnk mutatni egy srkvet egy litvniai temetbl, szemlyesen lttam. Egy bka,liliomalak fejjel.

* 1:05:19-1:05:32And this little figurine is from Greece from 6,000 BC, also has a head in the shape of

a lily.

Ez a szobrocska Grgorszgbl szrmazik Kr. e. 6000-bl, szintn liliomalak fejjel.

* 1:05:33-1:05:58

So, the frog is associated with flowers, with buds, with sprouts, and originally thefrog was probably associated with the fetus and uterus. This image is as old as the

Upper Paleolithic some 20,000 to 30,000 years ago.

A bka a virgokkal ll sszefggsben, rgyekkel, bimbkkal, eredetileg a magzattal saz anyamhvel. Maga az brzols a fels-paleolit korba, 20-30.000 vvel ezelttrenylik vissza.

* 1:05:59-1:06:26The other image, which belongs to the class of regeneration and uterine images, is

the hedgehog. The hedgehog was probably associated with an animal uterus, which

has warts. So this is one possibility. Maybe I am wrong, but it could be.A tovbbi bra, ami az jjszletshez s az anyamhhez ktdik, a sn. Lehetsges,hogy a snt az llati anyamhhez trstottk, ami szintn tsks. Ez csak egy lehetsg.De lehet, hogy tvedek.

* 1:06:28-1:06:40

Linguistically it is proved because in German language 'Igel' is 'hedgehog' and

'eagle' is also 'uterus'.Nyelvszetileg bizonytott, mert nmetl az Igel azt jelenti, hogy sn, de anyamhet

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is jelent.

* 1:06:47-0:06:58Here is a lid in the shape of a hedgehog and the face of the Hedgehog Goddess.

Ez a trgy egy edny snalak fedele, a Snistenn arcval.

* 1:07:00-1:07:27

The association between the hedgehog and regeneration is seen in the later

cemeteries. For instance, this vase is from Rhodos dated to the 8 th century BC in theshape of a hedgehog, in which a skeleton of an infant was discovered.

A sn s az jjszlets kapcsolatt a ksbbi temetkben is lthat. Pldul ez a rhodosivza Kr.e. 8000-bl. Snalak, a belsejben egy gyerekcsontvzat talltak.

* 1:07:29-1:07:57

And even in 20th century cemeteries in Austria or Bavaria the images of hedgehogs

or red balls with spikes were laid by women who had uterine problems. They were

also brought to churches as votive offerings for the same purpose.Ausztriban s Bajororszgban mg a 20. szzadban is vittek nk a temetkbe snreemlkeztet tsks piros gmbket, akiknek a mhkkel voltak gondjaik. De ldozaticlokra a templomokba is vittk.

* 1:07:59-1:08:24

Now this is a fish sculpture of about 50 cm high found at Lepinski Vir. It is of stone,egg-shaped, painted in red and decorated with a labyrinthine design.

Ez egy halalak szobor a Lepinski Virbl, kb. 50 cm magas. Kbl faragtk, tojsalak,pirosra festett, labirintusszer mintval dsztett.

* 1:08:26-1:08:50

In this place, which is called Lepinski Vir in northern Yugoslavia, there were found

over 50 shrines, triangular in shape, having red floors, and inside each one was analtar and at the end of the altar there was a sculpture.

Lepinski Vir szak-Jugoszlviban van, itt tbb, mint 50 templomot talltak,hromszges alaprajzzal, piros padlval. Mindegyikben volt egy oltr, az oltr egyikszln pedig egy ilyen szobor.

* 1:08:52-1:09:04Most of these sculptures were either egg-shaped or fish-shaped, or these fish-shaped

sculptures have also the features of a woman.

A szobrok legtbbje tojs- vagy halalak. Ez egy halalak szobor, nies vonsokkal.

* 1:09:05-1:09:28

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Next I will show you in detail the decoration of the sculpture, a labyrinthine design

which, to me, is a symbol of regeneration. Her mouth is clearly a fish mouth but the

eyes and nose can be interpreted as human.Most bemutatom a szobordszts rszleteit. A labirintusszer dszts szmomra azjjszlets szimbluma. A szja egyrtelmen egy hal szja, de a szeme s az orraegyrtelmen emberi.

* 1:09:30-1:09-51

Another sculpture, which is egg-shaped, has fish attributes, especially the mouthand round protruding eyes. They're all of stone found in the Danube. This site is

located right on the bank of the Danube.

Mg egy szintn tojsalak szobor, a hal jellegzetessgeivel, klnsen a szja, s akidlled szeme. Mindkett kbl kszlt, a Dunban talltk. A telep a Duna jobb

partjn volt.

* 1:09:53-1:10:37One more of the series is extremely important because here is the combination of

fish, woman and vulture. The hands of this fish lady are vulture claws. Here is a

combination, typical in Neolithic art, of several classes of woman, animal, and birdin one.

A kvetkez tpus rendkvl fontos, mert egy hal, s n s egy kesely keverke. A hal-n

hibridnek keselykarmai vannak. A neolit mvszet jellemz kombincija, llat, madrs n keverkei.

* 1:10:39-1:11:08

An example from another part of Europe indicates almost about the same thing.Here her hands are with three fingers. I think these are not human hands but

vulture claws. She has a V, and her round eyes may be fish eyes, and the mouth is

very peculiar.Ez a plda Eurpa msik rszbl majdnem ugyanazt brzolja. A keze hrom ujjbanvgzdik. Szerintem nem emberi kz, hanem keselykarom. V-betvel dsztettk, aszemei kerekek, taln egy hal szemei, a szja nagyon szokatlan.

* 1:11:09-1:11:25

This is a 52 centimetres high stone figure from France dated from the first half ofthe 5th millennium BC. And the egg-shaped fish sculptures from Lepinski Vir date

from around 6,000 BC.

Ez a szobor Franciaorszgbl szrmazik, a Kr.e. 5. vezred els felbl, 52 cm magas. Alepinski vir-i szobor Kr. e. 6000-re tehet.

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* 1:11:30-1:11:54

In addition to all these fetuses and uterine symbols, the other regeneration symbols

are triangles or double triangles. They feature in the tomb architecture, especially inIreland, where we find very good examples.

A magzat s a az anyamh szimblumaihoz ktdnek az jjszlets szimblumai, ahromszgek vagy a dupla hromszgek. A srptszetben jelennek meg, klnsenrorszgban, ott nagyon j pldkat tallunk.

* 1:11:55-1:12:15Here is a triangular kern, if you can see it, and stones. If this is removed then the

tomb is found to be a round chamber with a corridor.

Ez egy hromszgalak kern, kvekkel. Ha elmozdtjk, akkor lthatv vlik a sr, aerek kamra s a folyos.

* 1:12:17-1:12:33In architecture I interpret these also as vagina and uterus. Coming back to the

womb, tomb and womb are related.

ptszetileg a vagint s az anyamhet brzolja. A mh s a sr nyelvszetileg issszefggsben ll egymssal.

* 1:12:36-1:12:53The Old Europeans didn't build houses for their dead to continue the same life as

the Indo-Europeans did who believed that life continues in the same way.

A rgi eurpaiak nem azrt ptettek hzat a halottaknak, mint az indo-eurpaiak, akik azthittk, hogy az let ugyangy folytatdik a hall utn.

* 1:12:54-1:13:00

The Old Europeans didn't. They returned their dead to the womb or to theirancestors.

A rgi eurpaiak nem. k visszahelyeztk a halottakat az anyamhbe, vagy az seikkz.

* 1:13:01-1:13:20

The megaliths of Western Europe have collective, communal burials in them and thebones are mixed up. The bodies were excarnated and then at certain times the bones

were collected and put in the tomb.

A nyugat-eurpai megalitok kollektv temetkezsi helyek, a csontok ssze vannakegymssal keveredve. A holttestekrl leszedtk a hst, aztn bizonyos idkznkntsszegyjtttk a csontokat, s belehelyeztk a srba.

* 1:13:21-1:13:40Individuality didn't matter, whereas in the later patriarchal culture, the hero, the

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individual, the glory of the person was most important, but not in this earlier

period.

Az egyn nem gy szmtott, mint a partriarchlis kultrban, ahol a hs, az egyn, aegyn dicssge volt a legfontosabb. Korbban viszont nem.

* 1:13:42-1:13:51Some of the plans of the graves are definitely anthropomorphic, probably

portraying the Goddess herself.

Nmely srok alaprajza egyrtelmen emberformj, taln magt az Istennt brzoljk.

* 1:13:52-1:14:10

Now here is the symbol of the double triangle, or hourglass shape. This definitely isthe Goddess of Regeneration with vulture claws instead of human hands.

Ez egy dupla hromszg-szimblum, vagy homokra alak. Egyrtelmen az jjszletsIstennje, emberi kz helyett keselykarmokkal.

* 1:14:12-1:14:21

That is a vase from the Cucuteni culture dated to 4,000 BC. Cucuteni culture is in

northeast Romania.A vza a Cucuteni-kultrbl szrmazik, Romnia szakkeleti rszsbl, Kr. e. 4000-redatlhat.

* 1:14:22-1:14:46And here is an incision on a vase from Hungary from around 5,000 BC. Also if you

see, her hands are not human, she's very abstract, an image containing a series of

symbols. Her head is just three lines.

Ez pedig egy vzakarc, magyarorszgi lelet, Kr. e. 5000-re tehet. A figurnak nememberi kezei vannak, nagyon absztrakt, tbb szimblumot tartalmaz. A fejt csak hromvonallal rajzoltk meg.

* 1:14:48-1:15:17

This is the next image where we see the combination of this goddess, of two triangles

incised on the head of a bull. This is a bone plate figure, and its a beautifulcombination of the Goddess of Regeneration and the head of a bull, dated to around

4,000 BC.

A kvetkez kpen ltjuk az istennbrzols egyik varicijt, kt hromszg egy bikafejre karcolva. Egy csontlemez figura, csodlatos kombincija az jjszletsIstennjnek s a bikafejnek. Kr. e. 4000-re datlhat.

* 1:15:18-1:15:46The symbolism will continue in later times, especially in the Minoan culture where

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we have many bull heads, bulls, and so-called sacred horns. The symbol of sacred

horns begins much earlier than in Crete. Actually it begins in atal Hyk in the 7 th

millennium or before.A szimblum folytatdik a ksbbi korban is, klnsen a mnoszi kultrban, aholrengeteg bikafejet, bikt s n. szent szarvat tallunk. A szent szarv szimbluma sokkalkorbbi, mint ahogy Krtn megjelenik. Tulajdonkppen atal Hyk-ben kezddik, aKr. e. 7. vezredben, vagy annl is korbban.

* 1:15:46-1:16:1:16:02And here are some examples from the atal Hyk shrine, where three bull heads

are portrayed on one wall of the shrine with a labyrinthine design on top.

Ezek a pldk a atal hyk-i templombl valk, hrom bikafejet brzolnak a falon,labirintusszer dsztssel.

* 1:16:04-1:16:20Then below there are hands, and hands probably were symbols of the goddess'

hands. Her presence, or her power was there, and the bulls were there for

regeneration.

Alatta kezek vannak, lehetsges, hogy az istenn kezt jelentik. Az istenn jelen volt, azereje jelen volt, a bikk az jjszletsre utalnak.

* 1:16:21-1:16:43

Then there are vases decorated with bullheads and the design usually is a whirlingpattern, snakes, S-shaped spirals turning around. These are enhancing, stimulating

life powers.

Ezeken a vzkon bikafejek vannak, a kering dsztmintkkal, kgykkal, forg S-alakspirlokkal. Lendletet ad, stimull leterk.

* 1:16:44-1:17:10The bull head usually appears at the entrance of tombs. Here are examples from

Sardinia, where above the entrance there is a bull head in relief. The design on the

walls on the inside of this subterranean tomb, is also bull horns.A bikafej leginkbb a srok bejratnl tallhat. Ezek szardniai pldk. A sr bejratafltt egy r

marija gimbutas: az istennő világa

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