JOURNAL OF EURASIAN STUDIES

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January-March 2011 JOURNAL OF EURASIAN STUDIES Volume III., Issue 1. _____________________________________________________________________________________ Note: on close examination one can see the inter-connected pot-holes making up a long channel. The heart standing at the end acts as if it is the cause which brings about and creates the channel. • a stripe of salt crystals deposited on a string out of saturated water [recalled from a chemistry experiment in my primary school years]: ‘sóvirág csík’ SóViRáG CSíK Note: On the photograph is a naturally occurring sóvirág csík ‘salt crystal stripe’, lit. ‘salt-flower stripe’ from the Sóhegyek ‘Salt Hills’ area in Transylvania. Now, who in his or her right mind would draw a hard to recognize SóViRáG to a miniature bezel of a ring? Only someone who looks for an easy way to depict the word SóVáRoG ‘longs/yearns for sy/sg’, just two vowels apart! Put together, the three picture-signs reads as: SZeM KoTuLó SZíV SóViRáG CSíK Keeping in mind the contextual value of the text we have already decoded, by resettling the vowels and by setting the words we can finish a sound and well turned phrase and start the next one: SZeMe KuTaL, SZíVe SóVáRoG. CSóK … … szeme kutal, szíve sóvárog. Csók … … her eyes pry, her heart longs. Kiss … Note: “a kutat eredetileg kutal, mint mutat hajdan mutal volt, pl. a Münch. codexben a képmutató mindig képmutaló.” Czuczor-Fogarasi szótár (The original form for kutat ‘look for’ was kutal.) Now, the central figure is a goddess in the imagination of many researchers, but even the less devout are seeing her in an ‘epiphany pose’ and not noticing the sorrowfulness and pain expressed with her bent over and away from the right shoulder pose and the unnatural position of her right arm, which comes from the pain caused by the scorpion on her shoulder. As a matter of fact, researchers are so obsessed with religious interpretations that they ignore this large scorpion, well discernible by its pincers in the neck, the long, jointed stinging tail and the four pair of legs, as it does not fit their preconceptions. Woman is sorrow from the troubled shoulder-scars … Nő szomorú váll-sérelem bajától … Nő SZoMoRú VáLL-SéReLeM BaJáTóL … By applying the rebus principle and adding the word after the question mark in the previous part, we get a further fully fitting sentence: _____________________________________________________________________________________ © Copyright Mikes International 2001-2011 70
January-March 2011 JOURNAL OF EURASIAN STUDIES Volume III., Issue 1. _____________________________________________________________________________________ Nő SZáMáRa VaLó SZeReLMi BáJiTaL. (S>SZ) Csók nő számára való szerelmi bájital. Kiss for the woman is love-potion. Here actually the text logically follows the line of the narrative and is coded into the description incorporating what the woman has on her shoulder, because from the miniature picture it is very hard to see the cuts, but we can imagine what a scorpion can do. The trouble with that shoulder is obvious from the lifeless, inert position of the hand … but the four pads are too big for scars and scars don’t have tail. What? Tail! Than what we see is not the scars, but their cause! … the rest logically falls into place. Without proper control this doesn’t work: the linguistic and iconic message have to complement each other. A drawing or carving is never the real thing, it only depicts what the artist chooses to include, what is part of the message. The right description when decoded fits the story line, like a jigsaw puzzle cut, interlocks fully with a contextual, meaningful content or moral of the whole story. What we see next are two women with both their arms raised. C. D. Cain asks if the two women “hold their arms up in gestures of worship, address, or invocation” (after Matz, Sourvinou-Inwood, Krattenmaker and Wedde). The gesture is actually that of lifting something as hammer into or against the poor woman’s troubled shoulder. Not exactly a ladylike activity, although it should be said in their favour or against – a matter of taste – that they not using sledgehammers, but about the strange thing they hammer with later. … two women’s hands easily lift against as hammer … … két nő keze emelít pörölyként neki … … KéT Nő KeZe eMeLíT PöRöLYKéNT NeKi … Note: This can be more prozaic, to the same affect: the hands easily lift against as carpetbeater (PoRoLóKéNT), or even more ordinary but women-like: finger-pointingly in a quarell (PöRöLőKéNT) With the rebus principle applied we get the following: KiT Nő KiSZeMeLT PáRJaKéNT aNNaK … (Z>SZ, LY=J) Kit nő kiszemelt párjaként, annak … Whom woman chose as pair/partner, to him … Note: in Magyar the noun stays in singular after numerals (sing. ‘nő’; pl. ‘nők’; but two women is ‘két nő’). That the women are easily lifting ‘emelít/emelint’ can be concluded from the fact that they only touch the objects with their fingertips. At the end, we have some smaller picture elements and hieroglyphic signs, not “unidentified flying objects” (UFO-s), as Kyriakidis sees them. _____________________________________________________________________________________ © Copyright Mikes International 2001-2011 71
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