JOURNAL OF EURASIAN STUDIES

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January-March 2011 JOURNAL OF EURASIAN STUDIES Volume III., Issue 1. _____________________________________________________________________________________ Not a soaring snake, just an ordinary snake slipping in-between two feathers, the formula (-ban/-ben) we have already used and mentioned as frequent occurring - twice on this ring. The rachis with quill and the blade or vane is well discernible, especially on the right hand feather. • snake slipping in-between feathers: ‘tollakban surranó kígyó’ ToLLaKBaN SuRRaNó KíGYó Not a “goddess approaching from afar”, but a hieroglyph depicting a sorceress: • the sorceress, mage, magus, magician or witch, the 06 sign from the Phaistos Disk, ph06 BűVöLő, B_V_L_, also on the sealstone with CHIC number #264 IRAKLIO S: AM 1938.792 (CS no. ?; 3APr of green jasper), on the illustration to the right, with the same phonetic value. • the scorpion already mentioned: ‘szikeröppentő’ SZiKeRöPPeNTő Note: The descriptive name for the SCoRPioN is a compound word: SZiKe ‘scalpel’ and RöPPeNTő ‘make sg flight/flit’, as a matter of fact, the scorpion makes its scalpel-like sting to flit like an arrow into its pray. As you can see only the affix for the causative wearied off, but not one consonant has changed in the past three and a half thousand years. By the way SCaLPeL itself is compound word: SeCa(teurs)+LeaF+edge ‘SZiKe’+’LaP’+’éL’. Together the three signs, in accusative, as case of the object (-_T), and finishing the sentence by stating that the women are doing the hammering or carpet-beating or finger-pointing on foot (állva): … ToLLaKBaN SuRRaNó KíGYóT, BűVöLőT, SZiKeRöPPeNTőT, á’Va. By resettling the vowels, keeping in mind the already decoded text, we get the following reading: … TaLá’KáBaN SeRéNYü' KeGYéT BeVaLLoTTa SZűK-RoPPaNTaTóVa’. … talá’kában serényü’ kegyét bevallotta szűk-roppantatóva’. … on a date, briskly her favour she confessed with the act of the crush of constriction. Note: ‘The act of the crush of constriction’ is a euphemism for defloration, as the szűk/szűkület ‘constriction’ is the factual description of the hymen. Finally, the whole message on the Isopata signet ring – a coherent, intelligible, to an engagement ring well suited text, put in a roundabout manner so typical for young lovers – reads as follows: Nő vágyakozik fájó szívve’, kitárú’va csókra, pírban álló szeme kutal, szíve sóvárog. Csók nő számára való szerelmi bájital. Kit nő kiszemelt párjaként, annak talá’kában serényű’ kegyét bevallotta szűk-roppantatóva’. Woman is longing with aching heart, open for kiss, standing in glow her eyes pry, her heart longs. Kiss for the woman is love-potion. Whom woman chose as pair/partner, to him on a date, briskly she confessed her favour with the act of the crush of constriction. To complete the interpretation we can now formulate the non-coded iconic messages as well: _____________________________________________________________________________________ © Copyright Mikes International 2001-2011 72
January-March 2011 JOURNAL OF EURASIAN STUDIES Volume III., Issue 1. _____________________________________________________________________________________ This is an ‘engagement ring’ given to the boyfriend by a ‘young woman’ (usually the man is reminded about the sacrificed virginity), and the ‘heart’ a symbol of love. To conclude: - In respect to Cain’s uncertainties of interpretation: the narrative and proper sequence of events can be scrutinized and reinforced in the course of decoding, the right narratives will fall into a meaningful, contextual story line. - As for Barthes’ paradox, according to which the picture is a message deprived of a code, it is not just defeated with the decoding of the message on the Isopata ring, but is shown as an organic wholeness, a unity of tonal and visual expression only picture-writing can accomplish. The description of the picture elements and the textual message of it go hand in hand, as the two support and enforce one another. A narrative of an image is not a demonstration of the interpreter’s free imagination. The description has to be ‘realistic’ whilst makeing note of the highlighted, the extraordinary, and the out of place details (as exemplified by the head with heart or the scorpion on the shoulder of the central figure of the ring): “A drawing (or any other piece of art), even when denoted, is always a coded message because a drawing does not reproduce everything, only what the artist chooses to include.” (Petty). But most importantly, when describing the image, one should exclude his/her imagination and be as concrete and concise as one can be. “Indeed, it causes some concern to discover that the long-held conviction that in Minoan cult an ecstatic epiphany was achieved through the orgiastic dancing of female votaries or priestesses rests almost exclusively on the pictorial evidence presented by the ring from Isopata.” - says Cain, and his footnote, added to this, is also worth of citing, as it is a good example in demonstrating how a baseless hypothesis can become a true “scientific” snowball everybody takes for unquestionable, self-evident fact: “As was noted above, Matz (1958, 6-10) is the seminal champion of the idea of the divine epiphany induced by orgiastic dancing. Matz based his notion on his reading of the Isopata ring, which was in turn taken to explain the activity pictured in the miniature Sacred Grove and Dance Fresco from Knossos. He has been followed by many other influential commentators, including Brandt 1965, 5-8; Hägg 1983, 1986; Warren 1988, 14.” Contemplating the three messages an image contains is one thing and the facts about Minoan picturewriting are another. It would be very foolish, if not utterly stupid, for a Minoan artist to go into such details on a miniature oval-shaped bezel’s surface, and not supply the code-book to read the message conveyed in that picture-writing. The conjecture of G. Petty’s that “no single reading of the image can claim precedence and all are defined by our socio/cultural context” and Barthes demonstration of “how our socio/cultural background enables us to read the ad image for meaning” are very unstable and unjustified claims. Ask yourself, how would you read some of the celebrated artist’s works of our time and socio/cultural context, say masterpieces such as Jackson Pollock’s No.5; Barnett Newman’s Who’s Afraid of Red, Yellow and Blue?; or Lawrence Weiner’s Bits & Pieces Put Together to Present a Semblance of a Whole, …? Ask yourself what the messages are of these contemporary masterpieces? _____________________________________________________________________________________ © Copyright Mikes International 2001-2011 73
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