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Klára Friedrich




Part 3. 


Ferenc Badiny-Jos, Professor of Sumerology, in his book, Igaz történelmünk vezérfonala Árpádig (The Guiding Thread of our True History to Árpád) (Orient Express, KFT 1966) provides plentiful analyses for us, not only about the artifacts of  Tatárlaka but also about the territory and the age in which it was found.   In his introduction, he refers to Zsófia Torma. He writes about the observations of foreign experts and, with justifiable indignation, rejects the opinion of Sinclair Hood, the  English archeologist, about ritual cannibalism and human sacrifice. We learn that the C14 measuring was done by Dr. Hans E. Suess, Professor of San Diego University, who dated the origin of the artifacts to 5500-5000 B.C.  He states that Vlassza did not find 26 clay statues and two stone  figurines, but 26 clay statues of the Mother Goddess and two alabaster figures. He points out that, on the disk, Proto-Sumerian  pictographic ideograms can be seen, which we cannot equate just to  runic writing, expressing sounds. He supports his statements with examples taken from the Sumerian cultural groups of Jamdet-Nasr and Uruk, and the following table.





"L” = René Labat: “Manuel d’Épigraphie Akkadienne”

(Paul Guethner S.A. Paris 1976)


Dr. Ferenc Badiny Jos’ decipherment of the disk:
”Our Protectress! The glorious Goddess of all secrets!
May your watchful eyes protect us in the light of our Sun-Father.”

Although we cannot totally renounce the runic writing on the disk, we quite agree with the following statement of  Ferenc Badiny-Jós: “This amulet from Tatárlaka is the first written relic of the human race to follow logical and grammatical rules. So, history began in the Carpathian Basin with this use of writing.”

Veronika Marton in her book: A sumir kultúra története (The History of the Sumerian Culture, privately published in 2000) mentions the artifacts based on the writings of Ferenc Badiny-Jós. She complements it with a note that Zsófia Torma may have been right when she stated that the religious views of the population of Tatárlaka and Jamdet-Nasr originate from the same source. She acquaints us with the observations of Leonard Woolley (the archeologist and excavator of Uruk) who states that the  people of Jamdet-Nasr arrived in Sumer from the Carpathian Basin, by way of the Balkans.


Mária Tóth Kurucz, a poet, translator of poetic works, and researcher in ethnography, who lives in Cleveland and in Komárom, refers to the memory of Zsófia Torma in her book: Erdélyi festett edények (Painted Pottery of Transylvania published in Clevelend in 1996).  This little book is truly a treasure of information about the Tatárlaka finds and it belongs among those rare books in which the exact drawing of the disk can be found.  Her opinion is:  “Nothing contradicts the theory that the tablets were brought from the South more than the emblem of the Transylvanians, which can be seen on it, which later became the Tree of Life.  The bough of the fir-tree cannot possibly be Sumerian, Mediterranean or Egyptian.  This ancient emblem followed the ancient population of the Carpathian Basin, wherever they went.”


We can thank Dr. István Erdélyi for the best three-dimensional photographs of the tablets, which appeared in the April-May 2001 issue of the Turán review.  From his writing, we learn that the leading archeologist of the dig, Nicolae Vlassza, was not present when these important materials, which are inseparable from his name, appeared.  He did not even prepare detailed documentation of the finds in the ditch.  It is newsworthy that a clay model of an anchor was among the finds.  Although the writing of István Erdélyi is very short, he does not neglect to mention that the first Hungarian female archeologist, Zsófia Torma, also found similar written relics in Tordos.


Lizett Kabay, ethnographer and cultural historian from Kolozsvár, has at her disposal an enormous amount of material and imagination for a convincing  “decoding” or decipherment of the secret messages of our ancestors.  In her book:  Kulcsképekhez kulcsszavak (Key words to Key Pictures, Debrecen, 2000, between pages 49 and 52, we can see symbols, which make some of the drawings on the disk understandable.  For example, the Sumerian sign for the number 10 and the cuneiform sign for the Sun, as well as the depiction of the Sun and the Moon together.



6000 year-old pot-shard

(Kabay Lizett: A szelet vető táltos, Debrecen, 2001, p. 79)


The author sees two altars in the lower right quadrant of the disk, which serve to honor the Sun and the Moon.  The drawing on the disk that is most difficult to understand is the drawing of a comb-like object in the upper right quadrant.  In her book: A szelet vető táltos ( The Táltos (priest) who is Sowing the Wind), she pictures a  shard of a pot, on which this drawing appears three times, as the sign representing the rain and this may bring us closer to the decipherment of the disk.


The mathematician, György Mandics, completely agreed with Zsófia Torma’s conclusions regarding the connection and importance of the Tatárlaka finds.  I quote from his short but very important book Réjtélyes írások (Secret writings, Akadémia Kiadó, 1987): „The discovery of the European Neolithic Age began in April, 1875, when András Vén, a teacher from Tordos, knocked on Zsófia Torma’s door, with a bag full of artifacts. Seeing the surprising shapes and unfamiliar designs of this collection of unusual objects, the world’s first female archeologist questioned the old man in detail about the place where he found them.  She found out that on the border of the village of Tordos, the bank of the Maros was full of such pots, some of them intact . . .”


Géza Varga in his book: Bronzkori magyar írásbeliség (Written records of the Bronze Age, Budapest, 1993)  presents the following table to compare the signs of Tatárlaka, Mesopotamia, Tordos and those of the Székelys. 




He also presents a table in his book:  A székely rovásírás eredete (The Origin of the Székely Runic Script, Budapest, 1998)  which demonstrates that of the 32 signs of the Székely-Magyar runic script of today, 26 signs can be shown to be related to the Tordos-Vinca culture, to which the Tatárlaka tablets also belong. 


József Gyenes, a retired chemical engineer, and the developer of the FDC runic writing system, together with ten other writers, in the Dec. 19, 1996 issue of the review, Kötött kéve (Bound Sheaf), were asked to provide answers to the questions regarding the disk, the most important of which was: “For what goal was it crafted, what was its purpose and what kind of signs can be seen on the disk?”  He replied:  “The amulet served to protect against despair and faint-heartedness in the Age of Darkness, and included astronomical signs, pictographs and Magyar runic signs.”


Atilla Szathmáry,  in the periodical Kötött kéve (Bound Sheaf) (Sept.3, 1997),  also established our most important tasks in regard to the Magyar script. In his opinion, the decipherment of the disk is the following:


„Our one sublime wholeness is descending,

But the face of our Father of Light is ascending,

He is again resplendent and fills his glory.”


He also displays an illustration of the (Tatárlaka) disk, regrettably without the little V sign. At the same time he shows a clay duplicate in the original size with the decipherment by Szathmáry which he offers for sale as a Christmas present.


In his book Eredetünk és őshazánk (2002) (Our Origins and Ancient Home), Géza Radics ranks the Tatárlaka find to be equal in importance to the discovery of Rawlinson in the 19th century that the Sumerian and Scythian languages were identical.


(Sir Henry Rawlinson (1810-1895) was an English archaeologist who deciphered the Ancient Persian cuneiform scripts and also achieved significant results in the transliteration of the Mesopotamian cuneiform writings.) According to our present knowledge, the ancient inhabitants of the Carpathian Basin were the inventors of writing – concludes Géza Radics and, according to the archaeological data, he is absolutely right.