EurasianStudies_0110..

January-March 2010 JOURNAL OF EURASIAN STUDIES Volume II., Issue 1.
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For the reassurance of the unconvinced, the above interpretation of the text doesn’t need any special
proof, since it is only a simple transliteration, from an ancient set of characters and methods of writing
the text is transcribed to modern day characters and methods, interpreting in the meanwhile the pictures
and the pictorial inherences, when they were perceptible, self evident and unambiguous.
The first and last hieroglyph is composed from other signs, in these hieroglyphs not just the individual
elements, but the whole picture counts as well, they are talking ligatures and marked with {} + . It is hard to
tell beforehand when a ligature is a talking one, but the picture talks for itself, its appearance is out of
ordinary, looks dissonant.
The six different signs denote 19 consonants, out of these the scientific world, after hundred years of
research, had recognized nearly two!
The arc (íV), the burning (éG) candle, the eye (SZeM), the crest (TaRaJ) are signs that are using the rebus
principle to denote one consonant (uniliteral), two consonants (biliteral) or three (triliteral). (The rebus
principle, in essence, is when the picture of an eye could stand for the English words eye and I [the first
person pronoun]). These root-words can be pronounced with different vowels designating a hard to
depict object or word: a concept or an idea. Sir Alan Gardiner named this very important element of
hieroglyphy the rebus principle of writing, Borbola János calls it the ancient Magyar vowel-shifting.
Due to the restricted length for this article, we cannot reproduce the whole sign-table of Cretan
Hieroglyphs, we only list the ones used in the examples. The positional appendixes are explained in the
notes to the reading of inscriptions.
Note that every single dot, every “picture” counts, there is no worthless, useless “decoration” on hieroglyphic
documents.
#072. MA/M He (HM 1654 [ Mu I, 8]), medallion [