THE VINCAN CODE ...OLDER THAN SUMERIAN
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The  Lost Secret Code of the Goddess worshippers and possibly Star Visitors may have been discovered in Transylvania. The script was inscribed on such religious items as figurines and
vases, indicating that these signs were intented to be read as sacred hieroglyphics. These same type of symbols are now mysteriously appearing in  crop circles.

Although in 1875 it came to light that the Sumeria was not the cradle of civilization and the Sumerians were not the inventors of writing, many documentaries and archeologists are still
giving them the credit .  In truth, an archaelogical excavation led by Zsofia Torma at Tordos (now Turdas) in Transylvania unearthed a chache of objects inscribed in an unknown script. A
similar cache was found during excavations conducted in 1908 in Vinca, a suburb of the Serbian city of Belgrad, some 120km from Tordos.  Later more fragments were found in Banjica,
another part of Belgrad.  To date, more than a thousand fragments with inscriptions have been found on sites throughout south-eastern Europe. It was out of this area  that the great family
of the Pelasts developed, whose branches were to touch the shores of the Mediterranean, Caspian, Baltic, North and Tyren Sea. Herodotus says that the Venets in Illyria lived in the
neighbourhood of the Dardans and Macedonians. The  Venets  joined the Dardans together with the Peons and Brygians (Phrygians) and went to Troy where they partook in the Trojan
War.
The Romans killed all the Dacians in the 2nd century wars and withdrew all the population to South of Danube  *See top  of page

The  VINCAN ALPHABET and its diffusion, testifies to the high degree of literacy and culture linked to this area,  who's people could have been the foundation of the Creteous-Mycenaen
civilization. The importance of these archeological findings lies in the fact that the oldest of them are dated around 4000 BC, around a thousand years before the proto-Sumerian
pictographic script from Uruk (modern Iraq),   leading some to think that they  probably arose independently of the Sumerian civilization. There are some similarities between the symbols
and other Neolithic symbologies found elsewhere, as far afield as Egypt, Crete and even China. However, Chinese scholars have suggested that such signs were produced by a
convergent development of what might be called a precursor to writing which evolved independently in a number of societies. The nature and purpose of the Vinca-Tordos symbols is still
something of a mystery. It is not even clear what kind of writing system they represent, whether an alphabet, syllabary, ideogram or some other form of writing. Although attempts have
been made to decipher the script, there is no generally accepted translation or agreement as to what the symbols mean.

Crop Circles point to Ianna and Mysterious Planet Associated with the Cross (X)

It may be for the reason that the Goddess and her worshippers were agriculturists, that the crop circles are carefully laid out over large areas of agricultural land, created in vast fields of
wheat and grain,  always in locations where the Goddess had been worshiped.  Where ever you find a crop circle , it is almost certain you a sacred site area close by in the form of ancient
temples, earth and rock mounds.

When we examine the crop circles, we first need to realize the meaning behind the 'circle' itself.  The large elliptical 'circle' symbol used to create the crop circle patterns most likely stands
for the numerical/name having the value  one (monad ) and  zero  = 1/ 0 = 10 (ten =decad) =  'To the One who grows bright - Venus, the heavenly planet of Anu' who is Inanna.

You also find that many of them have two elliptical half circles joined together. These half-circle signs, along with other key symbols, can be found in the sacred core script. The Ubaidians
were known to inscribe their pottery with this sacred script, as did all Goddess worshipping societies.  According to certain archaeologists, bands of parallel lines, the doted meander, single
of multiple Vs , rows of striated triangles , groups of two or three diagonal lines and framed columns of banded Vs  designate the Bird Goddess, Ianna. This Goddess was associated with
geometrical configurations such as the pentagonal star figure also  representing Venus, as well as the 'near-perfect' circles, ellipses, egg shapes, or enclosures .

Ancient Britain, particularily England where many of the crop circles are located, is exceptionally rich in enclosures - henges with standing stones made from natural boulders of quarried
stones or with timber rings ie. Stonehenge, Avebury and Woodhenge. (Altogether no fewer than one thousand are known.) These are linear features composed of two parallel ditches
(sacred script symbols) and banks of very great length. These circles, ellpses and cursuses were observed and marked by the Neolithic farmers - sacred as manifestations of the power of
the Goddess.

One of the most fascinating crop circles was discovered in England at Barbury Castle. Here we can see the winged Goddess, or, as the priestesses were called who dedicated their lives to
her, the Melissae  ...also known as  bees.  Bees indeed! ... in the crop circle called 'the Bee' we find a simple yet intriguing combination of crescent shapes, circles and rings and we can
also see the sacred script symbols used to create this major event. Throughout the ages, the Goddess has been represented by the bee. In 1653, no less than three hundred gold bees
were recovered from the tomb of the Merovingian priest king Childeric and even Napoleon had sewn them onto his coronation robes.

Other crop circle symbols include large and small scrolls (meander symbols) and a triangle with four squares or boxes, all signs found with the core script associated witht he Goddess.
Both the triangle and the V are symbols of the regenerative powers of the Goddess, representing her pubic or birthing area. The coiled or winding meander signs are interchangeable with
a single or multiple image of spirals or snakes.

Goddess was associated with geometrical configurations such as the pentagonal star figure representing Venus, as well as the 'near-perfect' circles, ellipses, egg shapes, or enclosures .

Ancient Britain, particularily England where many of the crop circles are located, is exceptionally rich in enclosures - henges with standing stones made from natural boulders of quarried
stones or with timber rings ie. Stonehenge, Avebury and Woodhenge. Altogether no fewer than one thousand are known. These are linear features composed of two parallel ditches
(sacred script symbols) and banks of very great length. These circles, ellpses and cursuses were observed and marked by the Neolithic farmers - sacred as manifestations of the power of
the Goddess.

One of the most fascinating crop circles was discovered in England at Barbury Castle. Here we can see the winged Goddess, or, as the priestesses were called who dedicated their lives to
her, the Melissae , or bees. Indeed, in the crop circle called 'the Bee' made with a simple yet intriguing combination of crescent shapes, circles and rings, one can see the sacred script
symbols used to create this major event. Throughout the ages, the Goddess has been represented by the bee. In 1653, noless than three hundred gold bees were recovered from the
tomb of the Merovingian priest king Childeric and even Napoleon had sewn them onto his coronation robes.

Other crop circle cymbols include large and small scrolls (meander symbols) and a triangle with four squares or boxes, all signs found with the core script associated witht he Goddess.
Both the triangle and the V are symbols of the regenerative powers of the Goddess, representing her pubic or birthing area. The coiled or winding meander signs are interchangeable with
a single or multiple image of spirals or snakes.

More symbols found in crop circles representing goddess:

Bi-lines , Power of Two - Two parallel lines, constitute a sign representing the power of two, where marking the buttocks with two lines, parallel or crossed, is traditional. The pregnant
mares and bisons of Paleolithic cave paints were quite consistently marked with bi-lines  and P signs, most likely signs of pregnancy.

In the Neolithic, images of the seated Goddess are frequently marked with two dashes over thehips or arm stumps or between the breasts.
Often two horizontal or verticallines are painted or incised across the mask of the Goddess. In addition, a double line on the forehead over the eyes marks images of the Snake Goddess,
who is according to Hopi, the Great Mother Goddess, who came toearth and gave birth to mankind.

Lunar Crescent - The lunar cycle is represented by a right crescent, full moon, or left crescent on Old European ceramics created by goddess worshippers. Opposed spirals, crescents
and snake heads may also be configurations intended to stimulate the process of becoming .


The Hook - The hook is a simplified single spiral and in origin probably inseparable from it. From the Neolithic onward, thehook appears as an independent symbol.

The Comb - The divine powers of the brush/comb can best be perceived in images where the comb appears as the Goddess with breast and head. To this day, the comb is used for
protection against diseases and other evils  and for healing purposes.

Hands and Feet - The hands and feet of the Goddess have appeared painted on cave, shrine and megalithic tomb walls and vases and carved in stone. Red and black silhouettes of
hands appear on Upper Paleolithic cave walls continously fro around 20,000 to 10,000 B.C.  The majority of hands painted in postive and negative in the caves are the hands of women.
Hands are portrayed singly, in rows and in groups.


When considering the distinct possibility that the sacred script is not only a symbolic alphabet used to create messages, but the mathematical language associated with
the Pythagorean brotherhood, it is entirely possible that , by connecting the small dots discovered within or near the larger crop circles, a precise mathematical formula
may be discovered.
(Mars/Earth Enigma)

CONTINUED ON NEXT PAGE
Mary Sutherland is the author of the following books
  • Living in the Light: Believe in the Magic
  • Mysteries: Exploring the Mysteries of Burlington and Southeastern Wisconsin
  • Revelations: Truths Revealed
  • In Search of Ancient Man: Lost in Time
  • The Red Haired Giants
  • Haunted Burlington Wisconsin

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