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SARMATIANS, AVARS, AND MAGYARS

IN POLAND, LITHUANIA, CROATIA, ALBANIA, AND BULGARIA.
INDEX
I. POLAND II. LITHUANIA III. CROATIA IV. ALBANIA
V. BULGARIA VI. UKRAINE, VII. PRESLAV, BG VIII. BYZANTIUM

My research has proved that the Sarmatians were Hungarians according to Genetics, History, Cultural Anthropology,
Archaeology… They were not Indo-Iranians (C. C. Lamberg‐Karlovsky, Harvard University) and there is no evidence at all that
they were Iranian speakers, apart from a speculation of an Indo-Russist. Hence, in the following quotations, I have replaced
the term Indo-Iranian with Hungarian, which is supported by genetics, archaeology and other evidence. Note also that the
Sarmatians (Aorsi, Roxolani, Alans and Iazigs, according to Roman historians) are often named Alans by Slavic sources or
sometimes Sarmato-Alans, by the Hermitage.

I. POLAND
Genetics says that the Poles and the Croats are the most akin to the Hungarians In fact, the Hungarians were in south west
Poland since the Bronze Age:

PANNONICO BRONZE AGE ARCHAEOLOGY IN POLAND

Hungarian Bronze Age Archaeology in south west Poland. See how Poland was part of Pannonia in the Bronze Age on “Magyar
Art” > “Pannonia, definition”. According to a joint Polish Universities research, 84% of the Bronze found in Poland and dated
to the Bronze Age had come from Carpathia.

Ptolemæus, in his Geography, defined the region of the historical Polish territory “Sarmatia Europæa”:

Map of Valgrisi, Venice, 1561 (After Claudius Ptolemæus’ geography)

(Red: Sarmatians, Phinni, and Venedæ; green: reference points)

The Phinni are still in Pomerania (Vistula), where they had used to collect amber for the Mediterranean markets since the Bronze Age. (See
“Pannonia definition”).
Several populations were named Venedae or Vendi (in Pomerania, in Normandy (Armorica, they supplied
ships to the Romans for the conquest of Britannia), in North east Italy (Venezia and Veneto)) and they
were all expert sailors. In Veneto, a market of amber was in Este (the southern amber road terminal in
Roman time), which reminds the name of the Finnic Eesti. In Veneto a runic script was used that did not
derive from the Latin alphabet, as the Raethic also did not (Raethic language is sometime associated to
Etruscan). Vene is ship and Venäjä is Russia, in Finnish. Of course, the Indo-Germanists do have a proto-
Germanic etymology for all these words: *weneđ- (=“Slav”, which comes from latin sclavus = slave)…
hence the Armoricans and the Venedae were Slavs, before the Slavs shall show up in Europe! The Veneti
people inhabited the region of Venetia since the 10th century B.C.! The Veneti were the most blond South
Europeans before recent migrations: Giotto depicted them all blond or red haired in the Cappella degli
Scrovegni, in Padova, as the people of Varese were all depicted red haired in the last millennium art
(Storia dell’Arte a Varese).
Poland is still defined Sarmatia and Scythia by Cluver. 1694, Germany, right. As he was German, he did know who was living out of his garden,
and as he was not yet an Indo-Germanist, he said the truth!
How could the Indo-Germanists falsify the European identity, in the next 3 centuries? Very easy! The Hungarian “Intelligentsia”
does not want to be Hungarian; they prefer to have Mongolic ancestors!
The Sarmatian Aorsi were in Pribaltika, at the time of Ptolemaeus.

Let us see if Ptolemaeus was right:

“One of the Slavic groups, the Poles, called themselves Sarmatians; this name was recorded very early in Western Medieval chronicles (27.
Ulewicz, T., "Okolo genealogii sarmatyzmu," Pamietnik slowianski, I, (1949), 105-107), which lends credence to the traditions recorded in
Polish chronicles edited at the waning of the Middle Ages, according to which they were in touch with the Iranians. [28. Bohomolec, F., Zbior
dziejow polskich (Warszawa, 1767-68), III, Cromer M., Kronika, 5, 17, 19, 28; IV, Guagnino, A., Kronika Sarmucyey europeyskiey, 1 f., 7, 13,
16, 513.; Magistri Vincenti ep. Cracoviensis, Chronica Polonorum, ed. A. Przeidziecki (Krakow, 1862), 76 (cf. Paszkiewicz, op. cit., 360);
Bielski, M., Kronika Polska (N. ed., Krakow, 1597), Introduction, passim., cf. Chrzanowski, I., Marcin Bielski (Lwow, 1926), 101-108, 504.].
In Antiquity the Sarmatians, as is well known, were the Alans. [29. Vernadsky 1952] The meaning of the name "Sarmata" in Iranian is the
"council." [30. Vernadsky, G., and Dzanty, Dzambulant, "The Ossetian Tale of Iry Dada and Mstislav," Journal of American Folklore, LXIX
(1956), 234, n. 39.] It refers not to the nationality or language, but to the social organization of the Alans, ruled by a supreme council,
appointing the king (the Kurultai: the Iranians may have learnt a different way from theirs (swords and arrows) of appointing the
king and they have named it after the name of the population who used it!). [31. Strabo, XI, ix, 3.]. The role of the council in early
Slavic history is well known, especially among the Western Slavs. Thus the social, or political, organization of the Hungarian Alans and Polish
Slavs offers evidence of their affiliation." (Lozinski 1964).”
In ancient maps the Baltic Sea was correctly named “Sarmaticus”: they have Indo-Europeanized even the seas! Samogitia
(“Dacian” Sarmizegetusa” is a similar geoname) was possibly the region where the Sarmatians dwelled in Lithuania, where
Ptolomaeus had placed the Aorsi in his maps, and where Sarmatian archaeology and Horse burials have been found.
IMPORTANT NOTE FOR OBRUSÁNSZKY BORBÁLA: if you find Mongolic DNA in Lithuania, do not start screaming
“Banzai!”. When the Lithuanians and the Poles joined in a single empire, the Lithuanians defeated a Tatar (Golden Horde) army
and they brought back home several thousands of Tatar prisoners: there are still “Tatar Associations” in Lithuania; they were
NOT HUNS, you can ask them! Sorry.
________________

“THE OCCULT MEANINGS BEHIND POLISH HERALDIC DEVICES”

Rafal T. Prinke, Poland.
“The Polish nation possesses a body of such symbols which are much older than its known history. The national colours white and red, as well
as the arms of Poland, the white eagle are at once recognized as important occult symbols frequently used in alchemical imagery. Less known
however and far more interesting are the coats of arms of Polish nobility.

As can be seen from some examples of these coats of arms in their earliest known forms (Table I) there is a striking resemblance to some
magical sigils from medieval and later grimoires. In later times under the influence of the West European heraldry, the elements of the coats of
arms were conventionalized and represented as realistic objects such as stars, swords, arrows horse shoes etc. but it is still possible to
reconstruct the original forms of these signs.
A distinctive feature of Polish heraldry is that one arms could have been used by dozens and in some cases by hundreds of families, all of
which were believed to be related to one another though the exact genealogical links were so remote that they were no longer remembered. In
fact they preceded the formation of family names. On the other hand, families of the same name may have used different arms which was the
sign that they were not related and having the same name was just a coincidence.
There are two main theories concerning the origin of these typically Polish coats of arms. Both of them are very interesting and meaningful
from the occult point of view, though the first one is considered historically incorrect. They are shortly as follows:
1) The runic theory: it was developed by Prof. Piekosiziski at the end of the past century. He believed that the heraldic signs evolved from the
Scandinavian runes brought to Poland by the Viking invaders who later settled in this country and became the noble class. Several books of his
expounded a very elaborate system showing the way in which the coats of arms were generated from runic letters claiming for instance, that
the crosses were added after adopting-the Christian religion as a sign of "sanctifying" the symbols. (B.S.!).
2) The Sarmatian theory: 'This is a current theory saying that the coats of arms of Polish nobility developed from magical
characters of the Sarmatians which were called "tamgas". According to tradition, Polish nobility were the descendants of the
ancient Sarmatians, and in fact Poland was often called Sarmatia or Sauromatia. In the 19 th century this traditional belief was
regarded as a myth, but now it is held to be based on truth. The tamgas were magical signs the exact purpose of which is not
known. They were found on various objects of everyday use, on weapons, jewellery, etc. and were brought to Europe by the
Sarmatians in the early centuries A.D, from their homeland on the Black Sea and the Caspian Sea where they bordered with the
Persian Empire the land of the Magi.
It is easy to see the similarity of the tamgas and the coats of arms of Polish nobility (Table II).

Another interesting and magically significant feature of Polish heraldry is that each coat of arms has a special word associated
with it. This word is known as "zawolaniell” which means "a call" or "a cry" and very often its meaning and etymology is not
known. (i.e. non Slavic etymology).
So having a magical character (coat of arms) and a word of power ("zawolanie"), it seems possible to apply traditional magical techniques in
order to get in contact with the "genius" of the family or its collective unconscious. As every individual has his Holy Guardian Angel similarly
every family may be said to have its "Holy Guardian Archangel", which may be contacted in this way.
These heraldic signs may also be looked upon from a different angle. They may be considered to be sigils which used to express some kind of
a desire when they were created as the emblem of the family and later the desire itself was forgotten on the conscious level activating the
unconscious level. This is similar to the technique used by A.0 Spare, but on a grand scale and with the difference that the sigil itself is not
forgotten only the desire is.
Besides the magically looking, typically Polish, coats of arms, Polish nobility use also a number of arms of the Western European type. These
include several familiar occult symbolic figures, as for example raven, pelican, long serpent, unicorn, griffin, salamander, sphinx, etc. Of
special interest may be two kinds of Caduceus, one of which is a conventional representation with the winged wand of Hermes, surmounted by
a triangle of three stars, reminding us of the three Supernals (Kether, Chkmah, Binsh) of the Tree of Life. The other is a pair of black snakes
and a golden elemental cross above them (incidentally its "zawolanie' may be translated as "Golden Freedom"). There is also a Pentagram with
a fleur-de-lis on its upper point. The fleur-de-lis is symbolic of the spirits and this is the elemental attribution of that point of the Pentagram.
Next comes a red rose surmounted by a golden cross placed on a cross of silver feathers and finally a man opening the jaws of a lion,
reminding us of a similar Major Arcanum of the Tarot”.

II. LITHUANIA, PANNONICO AND SARMATIAN AORSI ARCHAEOLOGY

PANNONICO AND SARMATIAN AORSI ARCHAEOLOGY IN LITHUANIA AND PRIBALTICA

Lithuania “Baltic leading motiv of embellishment”, “Lituanus”. The Balts, Gimbutas, 2nd-3rd c. A.D. Palanga, Sarmatian spears and
2000 B.C. The hair pin is the same that was used in Varna, in Double Spiral: Crown and necklace. Samogitian, tamgas (on the way to
“Rise of…” Carpathia, and by Honfoglalás Magyar women Not embellishment, Sacred Symbol! 7th-12th A.D. Indo-Europeanization)
In the Indo-European Lithuanian language, sword is kardai, because the sword was brought to Lithuania by the Sarmatians
and in Lithuanian it took a Sarmatian name – kard. Kard is the Hungarian name of the sword:
the Sarmatians spoke Hungarian.

HU

Papuosalas, 1st m. A.D.? Lithuania.

Pannonico style bracelet and Madona, Letgallia, Latvia,800 A.D. I.E.
Sarmatian Horse burial, Lithuania Abashevo style Gold Idol Dotted circles on the comb. Kaliningrad and Lithuania

Late Middle Age, Lithuania: 4 ray Sun. Apparently not a Christian Cross, but a Saint Andrew Cross, similar to Crosses in Cividale and
Szekelyfold (3 circles). Typical Magyar rattle and Cross of Istens. Finnish design of fibula. 6 ray Sun.
In the “cellar” of the Hermitage, where Sarmatian and Pazyryk artefacts are kept, there is a lot of Pannonico style archaeology from
Pribaltica (Finnish, not Sarmatian).
Suicide rate in Lithuania, 1995: 45.6 per 100,000 people; in Hungary: 1983: 45.3: the two highest rates in recorded human history
(1950-2005).

PTOLEMAEUS WAS RIGHT:

THE HUNGARIAN PANNONICI (PHINNI) AND THE SARMATIAN AORSI HAD SETTLED IN PRIBALTIKA!
… but the Sarmatians may have migrated from there to Norway! (See “The Sarmato-Hunnish Vikings”). In fact the
archaeology of the Finns remained essentially Pannonico, while the Sarmatian archaeology migrated to Skandia.

III. CROATIA
A cultural marker is common to the Hungarian and Croatian brothers (Croats and Poles are the most akin - as far as genetics is
concerned - to the Hungarians): both peoples have a “dogma” of origin invented by anti-Hungarian intelligentsias:

“In the aftermath of the agreements reached in the gathering and from 1890 the pro-Karadzic Slavists launched their activities for the
elimination of all signs of cultural and lingual differences between the Serbs and the Croats. To this end, they changed the past history of the
Croats and eliminated all the terms with Hungarian roots that did not exist in the Serbian language. Such a trend continued until 1918 when
Yugoslavia was formed. The process for the change of the spoken language of the Croats of ancient Iran to the language of Slavs that was
started in the 7th century continued up to the 20th century and was forcefully followed by former Yugoslavia”.

“One of the articles has quoted some police reports that the then government in former Yugoslavia mounted pressures on Iranologists within
the period 1918 to 1990. The article further proves that upon official instructions by the then government, Croats had to be considered as the
middle ages Slavs. For this same reason, all the research works conducted over the origin of the Croats were considered as criminal acts and
thus prohibited for a period of 70 years. All the research papers compiled by Iranologists were confiscated as documents against state
interests and the researchers were imprisoned or sent to detention camps. Even four researchers were killed by the Yugoslav secret police for
making investigations over the issue”.
__________________
"The Sarmatians" (Sulimirski 1970, p.190-1) also makes mention of the referral of the Emperor's to the Belochrobati or White Croats who
"exhibited certain Sarmatian characteristics ... [they were] of Hungarian origin". Their interest to history stems from the fact that their
matriarchial Scythian society probably formed the basis of the Greek legends of the Amazons. In this connection, it is interesting to note
numerous reference to the fighting ability, combat skills, bravery and great freedom of Jat women - the Jat amazons”.
__________________

“Forschungen im Gebiete der alten Voelkerkunde. Die Skythen” (Cuno, J. G., Berlin, 1870, pp. 225-286) was the first, in modern times, to
suggest that the Slavs had direct Hungarian antecedents.
__________________

“Ties with the old-time Slavs in the 4th century was first established in the Red Croatia under the title Sarmatskim-Horitima and also after
the 6th century in the realm of the Carpathians within the boundaries of the Great, or White, Croatia under the patronage of the Hungarian
Croats who had been turned Slavs due to the largeness of the population of the Slavs”.
__________________

“Research studies on the style of dressing of the Croats show that they were dressed up as the Sassanid (Indo-Iranianized Avars) and most
of the local costumes of women were exactly similar to those worn by women at the time of the ancient empire”.
__________________

“The early Croats were distinguished by a different colour corresponding to the 4 cardinal points”: this is a Chinese cultural marker that
can have been brought to Europe, in the Middle Age, only by Hungarians, who lived in the Chinese protectorate of the Tarim
Basin.
___________________

“Indeed, philologists trace the migration of the Croats from Harahvati (Arachosia, Sarasvati) in the following manner using fossil place-names
along the path of migration:
· Harahvaiti and Harauvati in Iran and Afghanistan
· Hurravat and Hurrvuhe in Armenia and Georgia
· Horoouathos in Azova and the Black Sea
· Present day Croats Horvati and Hrvati along the Adriatic”
The route Afghanistan > Northern Caucasus > Tanaïs (Azov) > was exactly the one travelled by the Sarmatians on their way,
along the northern silk route, to Europe! The route Afghanistan > Iran > Northern Caucasus > Tanaïs (Azov) was the route
travelled by the Avars! The Archaeology of Azov is Sarmatian, See “Caucasus Hungarians”!
Arachosia was under the rule of the Hungarian Parthians in the 1st century A.D. ("Parthian stations", Isidorus of Charax) and
later on under the Hungarian Kushans.
Furthermore, as the Croats use linguistic speculations, I also will. They maintain that their Iranian ancestors were the Jats
(“Indo-Scythians”), hence they may have been the Jazigs (or Jaxamatae, Ixibatai, Iazygite, Jászok, Ászi, Jassic, Iazones…) who
have given their names to several towns in Carpathia! (E.g.: Iaşi, RO; Jászberény, Jászárokszállás, Jászfényszaru…, in
Hungary…).
___________________
"Ancient Croatian folk art bears eastern and Iranian traces, particularly the Croatian "troplets". The Croats also brought over from Iran their
national coat of arms with its 64 red and white checkers. (11: Strzycowskyi, 15-63, 156-181; Dado-Peranic, op.cit., 21-24; Mandic Hrvatski
kockasti grb, 639-652)" (Mandic 1970, Ch.1)”.

“The Croatian wattle, also known as the pleter or troplet, is an important pattern of medieval Croatian culture. The wattle is found in virtually
all examples of Croatian culture of greater or lesser importance of the time. It is mainly found on and within churches built by the Croats
between the 9th and 12th century as well as monasteries from that time. The ornamental strings were usually grouped together with animal
and herbal figures. The most beautiful medieval examples are located near Knin, in Ždrapanj and Žavić by the Bribir settlement, Rižnice near
Solin, and in Split and Zadar.” Wikipedia > “Croatian wattle”, which is also the source of the following images except the 4. one: for the
Croatians, every interlaced design is Croatian!
1. The famous Baščanska ploča, oldest evidence of the glagolitic script. Found on the island of Krk, Croatia (where Avar genetics has
been found).
2. Pluteus located in the baptistery of St. John in Split, Croatia, marble, 104 x 63 cm; produced by the Split-Zadar workshop.
3. Croatian wattle bordering the emblem of the Armed Forces of the Republic of Croatia.

4. Illiria, 8th A.D., crown of spirals and interlaced motif on the “Croatian Cross”.

1. 2. 3. 4.

1. The undulating vine motif has been found in the Middle Age wherever the Avars arrived in Europe from Bulgaria and
Byzantium, up to Italy, France and Spain, and it decorates the Budapest Millennium square buildings. (See: “Twinned Spirals
Design” and “Crown of Spirals” in “Sacred Symbols”, “Székely Varese”, and “Hungarians in Europe”).
2. The interlaced motif is typical of the Avars in Italy, but was also used by the Germanics, and it reminds one of the interlaced
motif on the pommel of the sceptre of the regalia of Hungary.
3. This design (Croatian wattle) is one of the most peculiar Hungarian
designs, since the Etruscan time, through the Tarim basin, to today Avar
Varese and all of Transylvania. Note also that the swords have the 3 rings,
which most Hungarian swords had, that meant the consecration by the
Mother Isten (See the Perechshpina Avar sword further on).

4. The two worshipping birds at the sides of the Cross, possibly peacocks, are
a Hungarian motif since the Cimmerians, typical of Hungarian art in Arsia,
that can also be seen on the Holy Crown (on the Holy Crown there are Indo-
European worshipping lions: transitional art), similar to Avar (they say “Longobardic”!) plutei in Pavia, and Vicenza (right),
IT, with 2 worshipping peacocks and 6 ray Suns, never seen in Germanic art. As far as the Cross is concerned see further on.

If the above archaeology is not enough to convince you, then read “Genetics” > References > “Y chromosomal heritage of
Croatian population and its island isolates”, Lovorka Bara: the genetics of the Island of Krk
(where the above glagolitic script has been found!) and of Hvar “indicate a connection with
Central Asian populations, possibly the Avars”. The fact that Avar genetics is nowadays found in
the islands points to a presence of the Avars in Croatia before the Slavs: the Avars were pushed to
refugia in the islands by the conquering Slavs. Note that the Hungarians, along 10 millennia, never
settled close to the sea: if the Avars settled in the islands in front of Croatia, they must have been
forced and pushed to do so, in order to defend
themselves and survive.
If you do not believe me yet (because you feel Slavic!) I
shall show you a “Croatian” (because found in Croatia)
artefact that gives you a way out of the Hungarian link
(that you may dislike). It adds other evidence to the
fact that your sacred “Croatian wattle” is NOT (NOT) a
Croatian symbol: left, Roman mosaic, Pula
archaeological museum, the punishment of Dirces. The
mosaic is bordered with your “Sacred Croatian wattle”, a
symbol that the Romans had inherited from the
Etruscans, a millennium before the Slavs show up in that area!
Furthermore, the hexagonal medieval baptismal font of the 9th c. A.D. (Archaeological museum
of Split) is said to be “decorated by braided reliefs typical of Croatian wattle or pleter. The
braided cross is called the Croatian Cross and dates as a symbol over 1000 years”.
The above cursive sentence is untrue: that
baptismal font is 100% Hungarian because:

• The capitals are Hungarian capitals,

decorated with a double spiral as they were in pre-Greek Hellades, in the Tarim Basin and in
Budapest at the Honfoglalás time. (See Double Spiral in “Sacred Symbols” and Capital in “Art
designs”).

• The “Croatian Cross” is an Avar Cross with the same interlaced design that was on the Avar
Crosses in Ukraine and on “Longobardic” (Avar!) Crosses in Italy (left, Cividale), which also
shows 2 Baby Istens, a triskelion of Hearts or “tulips”and a Cross of Istens, in order to make
that you have no doubt!

• The ribbon of the braided decoration is made of 3 lines (as the Italian Avar one is, a
symbol of the Mother Isten), and a hexagon has… 6 sides (Hungarian Sacred Numbers).
According to the Croats, all the following Avar designs would be Croatian!

Niya, Tarim basin, Arsia, Han Dynasty, Marc Aurel Stein.

Tarim Basin, Arsia, Marc Aurel Stein Sassanian/Avar “Ostrogothic”! Avar (Yes! Avar) Spangenhelm

Nagyszentmiklós, Avar Cividale del Friuli, IT, “Longobardic!” Avar. “Visigothic”, “Merovingian”! ...Avar!

Székely, Kapu Gemonio, Varese, church Heroes square, Budapest, 1896

Székely, Kolozsvár, building decoration Varese, IT, Basilica of San Vittore, decoration

In the Early Middle Age, the territory now named Republika Hrvatska was a Hungarian Avar cultural area, whose Hungarian
symbolism would be acceptable in a church, but it is a shame on the emblem of a National Army! As a former officer of the Italian
Air Force, I can say that, if I was a Croatian officer, I would be ashamed to serve in an army that shows off a foreign Sacred Symbol on the
flag I am to defend, unless I felt to be Hungarian!
According to the above quotations, even the Croatian checkerboard coat of arms (šahovnica) spoke Indo-Iranian (came from Iran would be
right!).
Is there something Slavic in the Croatian flag? Yes, the panslavic colours: red, white and blue.

IV. ALBANIA, THE VRAP AVAR TREASURE

Metropolitan Museum of Art, 650 A.D.

Vrap, Walters Art Gallery, Baltimore

Vrap, Walters Art Gallery, Baltimore

Vrap, Walters Art Gallery, Baltimore. U.S.A

AVAR/HUNGARIAN SIGNATURES OF THE VRAP TREASURE

Coupled opposing Istens are quite

rare and they have been found only
in territories where the Avars
settled.
Volga
Vrap Székelyföld Villa Armira, BG Kolozsvár, MVSZ Varese, S. Vittore Mongols

Open on top Heart Istens are

quite rare and they have been
found only in Bronze Age
Pannonia and in territories
where the Avars settled. They
also decorate the Chain Bridge
of Budapest.
Vrap Tarim Basin, Stein Avar sword Kolozsvár church Varese, IT

Classical
Heart Isten.

Tillia Tepe Tamga Avar Attila’s saber: Avar? Regalia, sceptre, Pest Honfoglalás, HU

Istens with arms longer than legs are quite rare

and they have been found only in territories
where the Avars settled.

Vrap Nagyszentmiklós Székelyföld Germignaga, VA, IT

Vrap Niya, Tarim Basin, “Der Mittelalterliche Schmuck Des Hungary,

Han Dynasty, “Desert King” Unteren Donaugebietes…”, RO Honfoglalás
Kiszely István has found a number of designs (right) similar to the above Vrap
one; none of them belonged to the Huns.
However, he was unable to find the archetype of that symbol.
The archetype of that symbol appeared in Cucuteni, Pannonia, 4000 B.C.,
left, (“The Lost World of Old Europe”, New York exhibition). It migrated
from Pannonia to Niya (Tarim basin), and from there to Carpathia again
(“Der Mittelalterliche…”), and finally back to Hungary.
In Cucuteni, it represented the genital area of the female body: a circle
for the vulva, a dotted circle for the umbelicus or rather the womb, a double
spiral, often depicted in that area of the Palaeolithic Venuses. A tree of life is
rooted in the womb as on many other Avar and Magyar Sacred Symbols
(Hungarian Horror vacui). “Magyar Art”>“Mother Isten”>“Net of Isten”, lines
169–172.

Trypillia Tagar, Pazyrykia Tarim b. Pereshch. Tarim basin Vrap Vrap Nagyszentmikl.
As the Hungarians were used to eat gyulas they only needed spoons, and spoons have been found in the archaeology of all the Hungarian
cultures. The Pleiades are carved on the Trypillia spoon. (See “Art Designs”).

V. BULGARIA
“It may also be stated that several scholars have noticed Iranic elements amongst the Proto-Bulgarians. (Schmitt 1985; Beshevliev 1967:
"Hungarian elements in the Proto-Bulgarians" (in Bulgarian: Antichnoe Obschestvo, Trudy Konferencii po izucheniyu problem antichnosti, str.
237-247, Izdatel'stvo "Nauka", Moskva 1967, AN SSSR, Otdelenie Istorii)”.
(See: “Dacia Erdély”)

HUNGARIAN PRE-HISTORIC ARCHAEOLOGY IN BULGARIA

(The dating in this table is taken from Bulgarian works: the artefacts may be less or more ancient than the dating suggests)

Azmak Mound, Stara Zagora, VI millenium B.C., Delivering Mother Isten Neolithic Collection, Stara Zagora

HUNGARIAN GOLD IDOLS: 9 above Gold Idols are from Bulgaria, the others are from Slovakia to Trypillia to Hungary and Greece (See “The
Mother Isten” abstract > Gold Idol. The first 4 artefacts show how the figural Venus became a symbolic Gold Idol design.
The Gold Idol is a Hungarian Sacred Symbol because it has been found in Carpathia and around it in the 5 th-3rd Millennia B.C., it
migrated to Pazyrykia and Arsia around 1000 B.C., and it returned back to Carpathia with the Honfoglalás, after it had
disappeared from Europe.

Varna, Gold Idols, 4250 B.C.

Varna was maybe the richest town of the late Gold idol civilization, but it was also the place where
some markers were not congruent with Old Europe:
 The society appears to have been stratified and patriarchal.
 The sacred or totemic animal appears to have been the bull, instead of the Stag.
 The sceptre reminds the Sumerian sceptre of Princess Puabi, Ur, left.
Nevertheless:
The Gold Idol, the death masks, and the double spiral are markers that defined the Hungarians in
the next 5000 years: the above double spiral was the hair pin of a female; when the Magyars
arrived in Hungary, the Hungarian women were still using identical hair pins (See “Art designs”).
Was Varna connected to Middle Eastern immigrants or trade, or was it ruled by a vanguard of the
Indo-Europeans that had already brought figural art to Cernavodă, Hamangia, 5000–4600 B.C.,
(right)?
Whoever they were they invented the condom, gold condoms! (see the grave above). Could it be
another clue of the arrival of the Arya-Semite-Mongols (cult of the penis, instead of the vulva)? Or
could it be a part of the death mask? Millennia later, the Chinese shall not cover only the mouth
and the eyes as the Hungarians did, but they shall occlude all the 9 orifices of the body of the dead
in order to prevent that the spirit of the dead could come out and revenge. (The death mask of the
Hungarians was instead used to prevent evil spirits to enter the body of the dead).

Vulchitrun Golden Treasure Why the similar one of Vix (FR) is Svetitsata shipka, Indo-European gold mask,
13th - 12th centuries B.C.? Crown of Spirals Celto/Greek and this one is “Thracian”?? end of 6th c. B.C. (see “The Death Mask”)

St. Selo, Ezerovo, -500

Hungarian death masks or appliques? Vladinia, 350 B.C., Lovec - 300 B.C.,
Conical hat Sozopol, Crown of Sp. 3 lines Cross of Horses

Kukuva, 450 B.C. Vladinia, 350 B.C. Musovica, 450 B.C., Ω

All the above designs were widely spread in Pannonia at earlier ages (See the abstracts in “Magyar Art”). The above artefacts are in the Sofia
and Plovdiv Archaeological Museums. Source: “Traci”, catalogue of exibition.
According to Herodotus the Thracians were the largest population second only to the Indians. Herodotus and Xenophanes tell us that they
were red haired, as the Bulgarians no longer are, after their Indo-Europeanization. They were Scythians, if you do not want to call them
Hungarians.

The Lovec artefact is similar to many others that have been found in Central Asia from Gansu Shajing to Arsia and back to Romania: it was a
Sarmatian design. See “Art Designs” and “Erdély Dacia”. See also the book “Balcani”.

GRECO-SCYTHIAN ARCHAEOLOGY IN BULGARIA

Rogozen treasure (5th - 4th century BC)

Borovo Treasure, 4th century B.C.

Panagyurishte treasure, Plovdiv Archaeological Museum, Greco-Scythian, 4th century B.C.

Only the Greeks may have replaced the Animal style of the rhytons with heads of humans.
The heads on the plate remind one of the trophy heads of the Celts on the walls of their homes. Lukovit
In the middle of the 5th century B.C., Greece became the centre of the world: Greece was the cultural and artistic reference of the Black sea
shores, of the other side of the Aegean sea (Ionia), and of Magna Grecia. Under Greek influence, the Art of the Scythians produced the above
artefacts and those that are in the Treasure Hall of the Hermitage. My opinion is that all these artefacts were made by Greek artisans, but they
did comply with the Scythian taste (animal Style and “oinochoe”), and they did belong to Scythian chieftains: the Greeks would have never
left them in their graves!
“Oinochoe” is the Greek name of a kind of vase (Lukovit and Rogozen vessels) that the Hungarians used to leave in the graves of the dead
since the Bronze Age.

SARMATIAN ARCHAEOLOGY IN BULGARIA

Birth Symbol, Stara Zagora and St. Vinnitsa Triskelion of Sacred Ω shapes Triskelion of Turuls Gold Idol, Silistra

“Thracian” silver treasure… …and its Sarmatian signature, possibly a Turul head

Vratsa, Mogilan mound 4, triskelion of Horses (like in Arsia, one is opposing) Typical Pannonico symbolic decoration

Valley of the Thracian Kings, Sun Symbol,

National Museum of History, Sofia. Birth Symbol, (Celtic) Stara Zagora, Regional Museum of History (Celtic)

Celtic “taste”: West Europe; Balkans (Panagyurishte treasure, Plovdiv Archaeological Museum, BG); Caucasus (Digoria, Vladikavkas, RU)

Hermitage, 10th - 11th c. Shipka, Birth of Christ

Volga-Kama Bulgars Stara Zagora, East. Orthodox Cross memorial, BG Russian church, St. Nikolas, BG
The same process of metamorphosis of the Mother Isten into a Hungarian Christian Cross in Hungary, Ukraine, and Bulgaria.

The greaves of Bulgaria and Romania are Sarmatian: the forefront of the above lady is decorated with a Sarmatian Sacred design (see
Ivaylovgrad, below). The eyebrows are typically Sarmatian. The number of curls is difficult to be reckoned, but the curls are opposing. Gilt
silver was typical of Central Asia (Parthian, Avar, Sassanians). Instead, the collar with the 2 grinding teeth lions is not Hungarian: the lion is
an Indo-European totemic animal and teeth grinding belongs to the Arya-Semite-Mongol cultures.
Was the lady the final anthropomorphic version of the Nagyboldogasszony? That lady is on most Sarmatian greaves in Bulgaria and Romania.
(Transitional art).
Rhytons originated from Persia
(2000 B.C.); they arrived in
Greece after the Persian wars and
were imitated by Greek artists.
Left, in this cell: Urartian silver
rhyton, Erebuni.
The Sarmatians brought rhytons
with them to Europe from Persia
and Afghanistan: in fact the ears of the Sarmatian
(Bulgaria) left Horse head is exactly as the Sassanian
horse’s ears were designed. (see the “Mother Isten” >
lines 062-065, Sassanian). The decoration of the
lower part of the Horse is Hungarian: 3 lines
(femininity and Mother Isten symbol) on the nose, and
a Sacred Symbol (pregnant belly) on the forehead
(the Celto-Pannonico used to place Hungarian spiral
Suns on Horses’ foreheads). The upper part is
decorated with unusual monsters (not Indo-European
griffins) that shall reappear in Middle Age Europe.
(Transitional art).
The greave on the right is Scytho-Sarmatian because
the lady wears a Schythian (below, Kul Oba) and a
Pannonico twisted collar. All the Horses of the
Sarmatians, in the Balkans, Ukraine, and Russia, all
had open mouths designed as these ones were. The
eyebrows design too is Sarmatian. Gilt silver was the
preferred material of Avar Sassanian jewelry. The
spirals (crown of curls) on the head are designed as
the Tarim Basin and Avar ones were (right,
Nagyszentmiklós,). Figural art and
depiction of humans was not
Hungarian (transitional art).

THE PANNONICO-SCYTHO-SARMATIAN… HUNGARIAN ODRYSSIANS

Bronze Age Pannonico necklace, death masks?, Neolithic bracelet, Baby Isten, Cross of Isten

See above chapter

Conical hats, stylized Heart Isten, Spiral Sun, Turul.
Top right: Delivering Mother Isten with a Baby Isten (“tulip!”) in Her uterus.
Note that, in the Balkans, the open Horses’ mouths are depicted in the same way as the Sarmatians depicted them all over
Ukraine and Russia and wherever they arrived in Europe, right: “Xanten Brooch. Lower Rhine Frankish silver-gilt fibula. The
design is a steppe motif, probably derived from the Goths. 6th c. A.D.”.
Not from the Goths, from the Sarmatians!

Pazyryk National Museum of History. Kralevo Lukovit (a Pazyryk design!)

You shall not believe me, but artefacts similar to the above ones have also been found in Romania: the only difference is that in Bulgaria they
are labelled “Thracian”, or Bulgarian; in Romania they are named Dacian, “Daco-Roman”, or Romanian. In Hungary they are not named at all.

The “Thracian” weaponry is Sarmatian (or Saka according to the Russian denomination). Curved daggers and swords (legacy of Aržan and
Shajing), and szablya (sabre) consecrated by Turuls and double Turuls as they were in Pazyrykia. Sarmatian spears. Spirals around the breast
as they were in pre-Greek armours. Crown of 6 spirals or curls that identified the Hungarians along 3 millennia. Note also the eyebrows
design: it is the same on all the Balkan greaves and Sarmatian artefacts.
A HUNGARIAN SIGNATURE

Pannonia Etruscan Odryssian Britannia Szeklers Preslav, BG Tarim b., today

The design inside the Odryssian hearts is Greek: it originated from a 3x2+1 tree of life that evolved into e 4x2+1
Greek design. Right: Cross of Heart Istens on the St. Stephen's Basilica door.
In Bulgaria most armours, greaves and helms have a face of a woman on them: was it the finally
anthropomorphicised Mother Isten (transitional art)?
In “Honfoglalas…”, I quoted the Anabasis of Xenophon: a Scythian chieftain warned Alexander the Great
and reminded him that the “Scythians bordered Greece”. I explained that the Scythian was actually
threatening Alexander with a retailiation of the Scythians that dwelled north of the Greeks on an
undefended Macedonia. Xenophon did not explain it, because the Greeks all new about it: the Scythian
(Sarmatians!) Odryssians had already defeated Philip and his son Alexander in the Balkans!
THE COMMON HUNGARIAN IDENTITY OF THE CENTRAL ASIAN AND BALKAN HUNGARIANS WAS VERY
CLEAR IN THE MIND OF THAT “SCYTHIAN”!
Furthermore, Xenophon gives us evidence of the fact that the Hungarians of Central Asia were well informed of what happened
in Europe: the Silk Road was spreading ideas and information in the same way as Internet does today, from the Balkans to
Korea. At a later time, the Sogdians shall be able to know whatever happened on the Silk Road from Khuyand to Chang Han:
Sogdian merchants, before starting travelling the Silk Road, gathered information on the viability of the trip, in the same way
as today we gather meteo information from the Net before driving a long trip. I am convinced that the Tarim Basin Hungarians
still remembered that they had come from Carpathia and that they did know, when they decided to leave the basin, that
Carpathia was the only fertile land not yet occupied by an empire. They did know where to go: back home. In fact, they headed
streight to Hungary (see the end of the abstract “Anthropology”).
Philip was a patriarchal King (he was killed in a conspiracy, as most Indo-European kings were). His wife was a matriarchal
ruling queen from Epirus (Her daughter was the chief of the Army). The blond Alexander marked the transition between
matriarchalism and patriarchalism: he was in between: he was gay.

SARMATIAN MOSAICS OF THE “ROMAN” VILLA ARMIRA, IVAYLOVGRAD, II-VI C. A.D.

Hungarian Sacred Symbols in the above mosaic:

“Croatian wattle” (Hungarian undulating motif!) with Heart shaped leaves, Cross of Vinča (right,
Pannonia, bronze), Çatalhöyük Istens, Cross of Tarim basin Istens (right, Yingpan mummy, silk, 5 th-4th
c. B.C.), Crosses of Hearts, Baby Isten, Parthian Cross with Hearts, Heart Isten, 4 ray Spiral Sun, 6 ray
Sun, Conical hat, Sarmatian spear.
In that mosaic, what could be Roman are only the figural faces, unless they were women and they
represented the anthropomorphic version of the Mother Isten! (Transitional art).

1.

Etruscan, Pazyryk, Tarim basin, Tillia Tepe, Sarmatian,

2. Avar, Magyar… and Villa Armira design – a “tulip”!
1. Etruscan vase
2. Villa Armira, BG
3. Székelyföld, RO
4. Greave, BG (See above)
5. Stara Zagora, Sarmatian (not my
caption! The Bulgars admit it) sword.
3.
Right: Parthian; compare with the
above Ivaylovgrad similar design.

4.

5.

5.
Stara Zagora, pommel and accessory of the above Sarmatian sword: Hearts, 3
Mother Isten tamgas, and inlays. The Mother Istens are the same ones of Central
Asian tamgas and of the consecrated spears of the Sarmatian Aorsi in Lithuania. Avar opposing Heart Istens and Cross of Heart Istens.

The Stag, the Leopard, and the Boar (later on, pig) were the most represented Sacred Animals in Hungarian art. Heart shaped leaves, above.
A SARMATO-AVAR SIGNATURE IN IVAYLOVGRAD, BG:

Tillia Tepe, Ivaylovgrad, BG Nayszentmiklós Cividale, IT Varese, IT Hungarian Kapu

Afganistan

AN EQUESTRIAN CULTURE, HENCE NON INDO-EUROPEAN AND NON SLAVIC

These horsemen are Sarmatians: the spear is the Sarmatian signature. There are also similar Parthian representations. The last one could be
Celtic. The Sarmatians, the Avars, and the Magyars all brought with them similar representations of horsemen.
The above artefacts are among the earliest Hungarian non symbolic figural artefacts that depict realistic humans (transitional art).

Sarmatian Sassanian (the top of the hilt of the Sassanian swords was a Turul as it was in Siberia) Avar

The stage of Indo-Europeanization is quite advanced: all the horses show off their sex and in most cases it is golden!

Dozens of slabs, stones and stelae with the “Thracian” Horseman, have been found in Bulgaria. Figural art, without Hungarian symbology: the
Sarmatian Horsemen have been finally assimilated in Indo-European Balkans.

HUNGARIAN CAPITALS IN BULGARIA, CROATIA, AND ITALY

Varna capital, Byzantine, but the

Stara Zagora, Regional Museum of History undulating motif on its top is Avar, not
Croatian.

Larissa (“Eolic”!) Neandria Etruria Kalash, Arsia Stara Zagora, BG Croatia Budapest MNM Varese, IT, today
The Hungarian capital was decorated with a Sacred Double Spiral that represented the vulva and the vagina, i.e the way out to
life. It represented the most emotional and Sacred moment of the birthing. All the above Double Spirals do show a Hungarian Sacred Symbol
coming out to life: 3 V design in Larissa, a 3x2+1 Hungarian tree of life in Neandria, a Baby Isten (it shall become e “tulip”!) in Etruria,
Pregnant Mother Istens in Arsia (the same one that can be seen in the Avar “Tempietto Longobardo” of Cividale, IT), a face of a human in
Stara Zagora, a Hungarian sacred Rhombus in Croatia (it often represented the uterus or the offspring), a Baby Isten in Varese and maybe in
Budapest. Astonishingly the today capitals of Varese are the most congruent with the ancient symbology: the Double Spiral gives birth to
Baby Istens.
Most of the capitals on the following lines show Hungarian Sacred symbols coming out to life. In the Avar capitals in Italy the Sacred Symbols
are set out of the capital and finally, in Milan, they almost disappear.
For the Greeks, Ionia was the Aegean coast of today Turkey. The Ionic capital originated in Ionia from the Larissa and Neandria capitals. Art
books define the Andria capital “primitive” or “Eolic” from the name of a ghost “Pre-Greek” population that pre-dated the Greeks.
The evolution of the Hungarian capital into a Ionic capital is clearly documented by the progressive disappearence of the vagina
in Ionic capitals.

SARMATIAN CAPITALS IN BULGARIA, ROMANIA AND ITALY

Villa Armira, Bulgaria (early Christian Era) l Varese , today

Kolozsvár , Transylvania, RO, Cross of Istens Varese, IT, today, Baby Isten
See Hungarian capitals in Magyar Art > “Art Designs” > Capital

HUNGARIAN SACRED SYMBOLS IN ROMAN BULGARIA

Stara Zagora, Sarmato-Avar vine and grape undulating motif. Stara Zagora, Augusta Trajana: Tillia Tepe, Varese,
Magyar line of 6 ray Suns, the same that was found by Stein on a Kalash (Arsia) building.

Plovdiv, Regional Museum of History, (“Roman”!):

Mother Isten and Heart Isten line, the same that is on the
12th - 14th c. A.D. next Avar treasures, on Etruscan artefacts...

THE FINAL INDO-EUROPEANIZATION OF BULGARIA

(Transitional art)

Lukovit, Vratza, Indo-European lion attacking an Hungarian Sacred Animal Lukovit: no trousers, no Sarmatians!…
(4th century B.C.) but the Sarmatian spear is still there!

Kralevo, Hungarian spiral bracelets become Indo-European snakes Kralevo, Indo-European griffin, applique, gold

Letnitza, applique, gilded silver: silver and gilded silver were the usual Letnitza, applique, hierogamia. Celtic? 400 - 350 B.C.?
metals used by Sassanians and Avars for jewelry. Hierogamia?? Indo-European “Bunga Bunga”!!

Letnitza: the Hungarian 3 or 6 Horses have become 8, but

the mouth of the horses is still depicted as the Sarmatian
ones were all over Russia and Ukraine: see all the Horse’s
mouths on this page. Mogilan mound, Princess Golden crown, a classical Greek “Crown” (Diadem!)
The Indo-Europeanization of the Sarmatians, marks in Bulgaria the end of the Golden Age. Bulgaria enters a dark Middle Age (made darker by
the Byzantine, Kievan and local powers attacks, and by the Turkish and Communist dominations)… that is still lasting.

MISCELLANEA

The Sacred symbols have changed, but the laces are similar: 6x2 biconical beads separated by spirals in the first one (Varna), 6 beads
separated by spirals in the second one (Vitosha, BG), and 9 biconical beads separated by cilinders in the third one. In Bronze Age Carpathia,
many necklaces and bracelets were designed with spirals that separated a Sacred Number of beads. How could, after 4 millennia, a Bulgarian
gold smith make a replika of a Hungarian lace of the Gold Idol time? Power of the persistence of the cultural DNA.
South Slavs are said to have started settling in the territory of
modern Bulgaria during the 6th century, and the Bulgars to have
come from the Mount Imeon area (present-day Afghanistan).
With this map somebody has reconstructed the Bulgarian
migrations from Magna Bulgaria.
My opinion is that the Bulgars had come from Central Asia and
had let, as usual, a number of tribes join them along their
migrations. The migration to Volga Kama preceeded the arrival
in Magna Bulgaria. The Bulgar name could then be non Slavic.
At the time the Bulgars arrived in Bulgaria, the Balkans were not
yet as Slavicized as the map would suggest.
The map shows a migration from Magna Bulgaria to Italy. The
author of the map refers to a cemetery found in Molise, whose
dead are named “eastern nomads”, “Bulgars”, “Avars”… by
Italian unaccurate authors.
Whoever those dead were, they buried their Horses with
them! The presence in the cemetery of “possibly Mongolic
phenotypes”, if confirmed, would be evidence that they
could have been Altaian Pazyryki (culturally Hungarians)
with a Mongolic admixture.
The absence of Mongolic features would
favour the hypothesis that they were
Avars that came to Italy together with the
Longobards: Avar archaeology has been
found in Molise and in close Abruzzo
(Barete, Museo di Villa Giulia).
Right: Hungarian Cross, L’Aquila, Abruzzo,
last earthquake time.

Homage to the Avar ancestors in a Plovdiv restaurant! (from a Nagyszentmiklós artefact). The tail of the Avar griffin (transitional art) is
similar to the tail of “Bulgarian” Preslav Animals, of Italian Avar Animals, and of the lions on the Holy Crown.

HUNGARIAN/BULGARIAN/STEPPE MYTHOLOGY: THE HEAVENLY STAG

“This Scythian piece represents an ancient Bulgar legend (as reported by the Byzantine historian, Procopius) of a heavenly stag that
separated the twin sons of a Hunnish Khan (possibly Kana Subigi Ernak or Dengizik) while he was hunting it. The twin sons
were named, Kutrigur and Uturgur, which inspired the beginnings of the Kutriguri and the Utiguri. The legend is ubiquitous
throughout the steppe areas and is known in many nomadic horsemen cultures. There is a poem which translates from this time
about the stag:
1. Wondrous headed doe, with horns of a thousand branches and knobs
2. Thousand branches and knobs and of a thousand bright candles
3. Amongst its horns it carries the light of the blessed sun
4. On it's forehead there is a star, on it's chest the moon
5. And it starts along the banks of the shining heavenly Danube
6. That it may be the messenger of heaven and bringer of news
7. About our creator and caring god.
Such a creature as this stag above was believed to be an ongun or venerated spirit of the
Bulgar people, especially in light of its connections to Tangra (the God of the Bulgars).
Ongunar were believed to portray not only different facets of divinity, but also were used
to teach people something about themselves (about their humanity).”
“Legend of the wonderous hind”, Fred Hámori, http://users.cwnet.com/millenia/stagg.htm
The white stag is also prevalent in Hungarian mythology; it was believed that a white stag
led the brothers Hunor and Magor to Scythia, an action which preceded the formation
of the Hun and Magyar people.
This fairy tale represent most of the evidence that the Hungarian fans of the Huns have in order to prove their Hunnish descent!
________________________________________________________________
THE ABOVE “BULGARIAN” ARCHAEOLOGY IS THE BEST OF THE MOST OF THE “BULGARIAN” ARCHAEOLOGY, BEFORE 1000 A.D..
NO SLAVIC ARCHAEOLOGY FOUND IN BULGARIA!
________________________________________________________________________________________________

VI. AVAR ARCHAEOLOGY IN UKRAINE,

CLAIMED BY BULGARIA, UKRAINE, AND RUSSIA (NOT BY HUNGARY!):
THE PERESHCHEPINA TREASURE, POLTAVA, UA, (ПЕРЕЩЕПИНСКИЙ КЛАД).
Kubrat (or Kuvrat, or Kurt: the wolf) treasure, Hermitage, 7th century, 800 pieces, 76 kg of gold and silver, precious stones…)

Although the Great Soviet Encyclopaedia was keen to ascribe the Hermitage’s Pereshchepina (Polt ava, UA)
Treasure to a "Slavic chieftain", although it may have belonged to the “Bulgar” Kubrat (or to whoever), the
above sword (decorated with Scythian rhombuses and with the 3 lines (symbol of the Mother Isten since
the Vinča time) on the (Sarmatian) ring that replaces the pommel), the sabre on the left (consecrated by
the Mother Isten and 2 Baby Istens (“tulips”), the Avar/Sassanian ewers, cups, and bowls, the “funeral
structure” and the Hungarian Sacred Symbols on the Pereshchepina artefacts show the connection of the
Pereshchepina treasure to the Avar art and religion. Left: A sabre ( szablya) of the treasure, consecrated by
the Mother Isten.
The Byzantine coins of the hoard, as