Solar Patterned Ligature - Alternative View

2024 Author: Keith Bush | [email protected]. Last modified: 2023-12-16 14:01

The author under the nickname anta_rus, exploring the Russian writing and methods of depicting letters, developed a square Cyrillic alphabet and a solar patterned ligature, the origins of which go back to Tradition and are confirmed by many amazing artifacts …

Solar letter

- Do you know what a swastika is?

- Well, the cross is so fascist.

- Fool, they encrypted the leaders like that. Hitler, Goebbels, Goering and Himmler.

Post-war courtyard folklore

Eh, the boys would know how close they are to the truth in their naive interpretation of the symbol. Of course, the swastika has nothing to do with the four fascist scum, especially since they did not encrypt themselves through the Cyrillic alphabet:)). The symbol is the oldest and my readers I think they know it very well.

Promotional video:

But it is really folded from four beeches G.

This was pointed out by the Greeks, calling this symbol Gammadion after the Greek letter Gamma (G).

This could pass for a coincidence if not for one circumstance. We already know that the letter G means movement and the swastika is made up of four bars of rotation of this letter salting (1). If there are eight bars, then we will receive the Vedic cross of the Lada-Virgin or Ladinets (2).

There is certainly galactic symbolism that many have written about. Slavic mythology attributes the birth of our galaxy, the Milky Way, to Lada and Svarog.

Understanding the letter G as movement gives us a deeper look at the swastika as a symbol of eternal motion and eternal life, and its astronomical roots indicate the source of it in our world. By the way, the Slavic name of the swastika - YARGA literally from the proto-language reads as the Solar (YAR) movement (GA).

But this is generally not the most interesting thing.

It is curious that the four-stroke principle of the construction of the symbol gives us a wide range (hmm, funny:), again a range) of swastika symbols common in the Paleolithic era. The modern symbolism of the Rodnovers also abounds in their various modifications. Interpretations are already a second question, but signs such as God, Dukhobor, Perunov's color, etc. are very ancient. And they are all built according to the four-stroke principle of rotation of a certain salting symbol. Therefore, they are often called solar, i.e. sunny.

Svetlana Zharnikova's "Golden Thread" describes a large number of samples of such symbols from ancient times. She also points to the spread of this symbolism in Russian embroidery and their closest connection.

In one of her lectures, Zharnikova refers to Indian researchers who consider ancient Indian and Russian ornament to be ancient writings, the key to which has been lost. The hypothesis is interesting, but the ornaments in question are characterized by regularity and are constructed by repeated repetition of rather simple swastika four-bar symbols. So it's difficult to talk about writing, but about sacred words or the names of the Gods - quite. A runic trace is also possible.

If we accept that any such symbol rotates the saline of a letter or a word, then we can isolate them from known patterns and try to read. Although I have an assumption that this research is unlikely to yield anything. For now I am convinced that all this beauty is nothing more than a principle inherited from our ancestors, a method, a system of a special kind of sacred writing, which I here call solar.

The swastika record forms an ornament that absorbs words and fixes a certain sacred meaning in the letter, an appeal to the Gods or something else. If we replace the foreign word ornament with a native PATTERN, then it will become clear what it is about.

What is PATTERN?

This is what you could SEE, see (Vasmer) Or maybe read?

Therefore, the letter that will be discussed further can still be called patterned.

By the way, sun or solar writing in English would be sun script.

Funny coincidence, isn't it? Is it a coincidence?:)

Let's go further.

So that everything stated does not seem to be the author's fantasy - a couple of stories from history:) letters.

The peoples of the world have created countless scripts based on a variety of principles. It is clear that writing in the general sense can be anything at all - the main thing is to agree with those whom you are planning to read.

In some cases, we can trace the chains of disciplic succession, and sometimes the letter is so original that it does not have a clear history and is considered the original. All this makes the task of systematization rather difficult, but science is trying to do something there and we wish it good luck.

We are interested in a special kind of writing that appears in the historical arena at different times under very similar circumstances, based on a different language and writing base, but one way or another occupying a position of a special high status and intended to serve priestly or (less often) state imperial interests.

This is the so-called square letter.

What is it and what is it eaten with?

The first story. Arabs

VIII century AD (hereinafter, the chronology is traditional).

Arabic calligrapher and Sufi Gotba presents Kufi to the Islamic world. The first Qaran is written in this ancient handwriting of Arabic writing. Initially, the kufi looked like this.

What is commonly called in history the "Golden Age of Islam" is inextricably linked with kufi as a kind of sacred writing of the powerful Arab Caliphate. The unprecedented flourishing of the culture of the Arab world turns kufi into its square (geometric) modification and makes it the basis of all Arab ornamentalism, written and architectural monuments of the highest level. It can be said without exaggeration that a square kufi is the cultural foundation of Islam. Here are some examples.

The examples given are drawings from various architectural monuments of the Arab East of different periods.

Taken from here.

Here are some more examples.

Or here is a whole collection of masterpieces in one building (Mosque in Isfahan, Iran. End of the VIII century, by the way)

Arabic calligraphy moved further, giving rise to many different handwritings, serving, in addition to religious ones, the commercial and state tasks of the great empire. But the Kufic ligature, or rather its square shape, remained in the position of sacred writing, intended for writing only the highest names and images. Even today, modern calligraphers continue to observe this rule - with square kufi only the most. Although in our soulless age they are already used for the logos of companies, newspapers and magazines. But thank God, they don't write porn novels:). Kufi is reliably protected from this obscurantism by its very essence. About this Essence below.

The construction of Kufic texts is akin to collecting a mandala with which it is also related by an amazing regularity, a smooth transition from word to pattern and back. The actual pattern in kufi is the Word, and the Word is the Pattern.

It is important!!

The Arabs through the square kufi showed the most important aspect of the ancient, still Vedic worldview - the swastika nature of the Universe, the origin and development of the World from point to environment, through the rotation of the graphic image salting (to the RIGHT), in the fusion of top and bottom, right and left. The image manifests itself in its Unity and Infinity of V-RA-Shcheniya.

Over time, this great knowledge of the Sufis began to erode, becoming an ordinary Arabic text, executed in a square font, like this shahada.

But the solar principle of the construction of the Kufic ligature remained in the history of writing and continues to be improved by masters of calligraphy to this day.

For example, this is how the Arabs "twist" the word Allah in this style.

or so

Does this remind you of anything?

Then go back to the beginning of the article:)

By the way, the last picture gives us the opportunity to logically move on to the second story.

This is a drawing from the mausoleum of Tughlak Timur, the ruler of the Mongol Empire. China, second half of the 14th century.

The second story. About the "Tatars" memoir ©

More precisely, a memoir about the Mongols, and maybe not only about them, or maybe not at all about them. Who will sort them out there now after the efforts of the alternatives:)

So, the XIII century. The rise of the Mongol empire. The descendants of Genghis Khan rule over half of the world, including China.

One can imagine the written chaos that was created in the empire in such vastness. How to do business, how to manage and trade? Emperor Khubilai decides to give the empire a general state letter.

For this case, he contracted a certain state teacher Pagba (the Arabs had Gotba, here Pagba, but we will write it off as a coincidence, this happens, although in the proto-language BA is a teacher) who went to Tibet and made a new Mongolian one based on Tibetan writing.

Further, a few quotes taken from the book of the Soviet scientist N. N. Poppe "Square Writing" (1941 edition)

! The quotes, among other things, suggest thoughts about the fake “Mongolism” of the empire and clearly pour water on the mill of Academician Fomenko.:)

Judge for yourself.

Fa-shu kao.

Fa-shu kao is an essay on calligraphy compiled by Sheng Xi-ming (directly Saint-Simon, or Semyonov aka the pilot Li-Si-Tsyn:))), who lived during the Yuan dynasty. In the second juan (don’t ask what it is, I don’t know:)) on pages 4b and 5a there is a square alphabet, the pronunciation of which is conveyed in Chinese characters. It also contains some of the author's comments regarding the square writing. The author says the following about this writing:

“Our dynasty was founded in the Nordic countries when manners were simple. They then made notches in the tree, just as [in China] tying knots on ropes. Then the parchments of the writing systems of the Northern Houses began to be widely used, just like [in China they wrote] on bamboo plates.

When Heaven gave them the Celestial Empire, when they completely took possession of China, they had not yet had time to compose their own writing. And then the Imperial Decree was issued, ordering Pagba to select from the Sanskrit (Tibetan?) Writing and compose the national alphabet. There are 43 of these signs."

That's interesting. Mongolia is definitely a northern country in relation to China, but where are the trees for the mentioned notches from? And what are these Northern Houses? And in general, does anyone believe that a people without their own written language was able to capture half of the world? Even with those "simple morals". I think that there was a written language, it was simply not at all suitable for its distribution in conquered China. Both graphically and mentally. We needed a system close to the Chinese one. And therefore Pagba folded it from the writing of Tibet and the Uighurs. Closer and closer than some Northern Houses, which the Chinese apparently were not able to perceive as an experience at all. And this with the complete domination of the "Mongols" as conquerors.

And here is the actual Decree of the Emperor.

“We believe that speech is recorded in written signs, and events are marked with speech. That is the general rule of ancient and present times.

Our state was founded in the Nordic countries, when the customs were simple, and therefore did not have time to create its own writing.

As soon as writing was required, they began to use Chinese letters and Uyghur signs to convey the speech of Our Dynasty.

Taking into account that the Liao and Jin dynasties, as well as all the states of distant countries, each have their own written language, and also that although enlightenment is now gradually and progressing, the writing, being unadapted, has shortcomings, they ordered the State Teacher Pagba to compose new Mongolian written signs for translating all kinds of letters, so that in this way, in accordance with speech, to communicate matters.

From now on, in all Imperial edicts, one should write in parallel with new Mongolian characters, and, according to custom, each one adds to it the letter of his state."

It is interesting that almost literally quoting F-shu kao about "simple manners", the decree tactfully omits the mention of the ancient methods of writing on wood and parchments of northern houses, common in the metropolis, stating the complete absence of writing there. Let's leave it on the conscience of the Emperor:).

This is what the State Teacher Pagba was based on (Tibetan script, modern example, Tashi Manokhh).

And this is what he revealed to the Emperor.

It must be said that the subjects of the empire reacted coolly to the innovation, the new writing did not take root in the Celestial Empire, while gradually migrating back to Tibet and became there a sacred letter, which was called and is now called old Mongolian. Until very recently, the seal of the Dalai Lama was executed in particular with the square Mongolian script. Here's an example.

Well, there are many other examples.

When the modern Mongols were told about their glorious history, they used the old Mongolian script in banknotes in an outburst of reverence for the ancient tradition. For example, 20 tugriks of their Central Bank. It's about the beautiful thing on the left.

Those. the history of the kufi repeated itself (or maybe vice versa, the Arabs themselves do not exclude the influence of the square writing of the "Mongols" on the birth of the square kufi, although it does not agree in chronology, but we know for that chronology:))

- a good desire to give a new system of writing through the medium of dedicated Teachers

- flourishing

- going into the niche of sacredness.

And trade agreements, literature and love notes - something "simpler".

And note that all these gifts are given at the peak of the power of this or that empire and not just anyone. And the alphabet itself, the system of signs, has no significant meaning, but only the square principle of their execution. In the case of the Mongolian script, the principle of solarity was not fully implemented. This is apparently due to the small (less than a century) development of this writing, but Tibet preserves everything that falls under its influence. Perhaps the Mongolian letter did not receive its solar form also because of the vertical direction of the letter. It's hard to say now.

The Arabs, on the other hand, used the knowledge gained in full, although they partially emasculated it over time.

Third story. Voices from all over the world

At first, a lot of these stories were planned, but then it became clear that a whole historical treatise would turn out, which was not included in the plans. For this reason, and in pictures, we will show how square symbolism manifests itself in different eras, among different nations and for different reasons. This is not always writing in the classical sense, sometimes just characteristic but always sacred graphics. We do not draw any conclusions from this story, we just watch and shake our heads:)

1. Stuff from the Museum of Archeology in Bogota (Colombia)

Something like a healthy printed "rolling pin" of local Indians.

2. Cross at the well of St. Brigitte (Kildare, Ireland)

The monastery was founded in the 6th century on the site of a pagan temple.

3. One of my favorites:). Athens Museum, 6500-3300 BC

4. Hexagrams of Yi Ching

I think everyone has heard about the Chinese "Book of Changes"

These are the "lines and cuts" on which this ancient "fortuneteller" is built:)

5. Pillar of Gedemin. Columna. Vytautas family tamga, then the Gedemins family coat of arms. From the heraldry of the Grand Duchy of Lithuania. Presumably dates back to the Drevlyans. Thus, which Princess Olga tovo … well, you remember.

6. And this is not history but modernity. Ornamental script of the Belarusian philosopher and Sanskrit scholar Mikhail Boyarin.

That's all for now. For the main conversation, all points are set, stories and tales are told.

I hope it was interesting, but this is just a saying, a fairy tale ahead:))

SOLAR LETTER 2. Square Cyrillic

"West is West, East is East, and together … they converge in the North"

In general, I dreamed about this whole story, so if that … well, you know who the questions are:)

But I am grateful to the Almighty for the honor shown to open what has opened.

Apparently the time has come.

And now I will surprise you:)

We are so accustomed to associating the Cyrillic alphabet with the European written tradition that it is impossible to imagine anything else. Well, the truth is, many letters of our alphabet coincide with Greek or Latin. Ducts (the scheme of conducting the pen when writing) are close letters. The pre-Petrine paleography still shines at the very least with originality, although the statute, for example, completely coincides with the Greek in technique, the half-ustav, which basically stands guard over our "ancient Russian", is certainly original, but not so original as to separate it from Europe. There is also cursive and it is beautiful, but …

And yes, of course there is ligature - the main subject of this blog. Actually about it and will be discussed but later.

Meanwhile, here, for example, the French are studying Russian at the faculties of oriental languages. This is considered to be a curiosity and narrow-mindedness of Europeans, but if you think about it, maybe they are not so wrong?

The readers of my blog have already seen experiments here under the tag My letters. Those that illustrate research in the development of Anta and Proto-language when necessary. They are really mine and made with my own hand on the samples of the ancient title ligature and more modern modifications.

The task of all these experiments is to find a system of ligature Cyrillic writing, or rather a writing system for the proto-language. The approach to the old letters was at first careful, with a file, then with a file. More than a dozen variants were made, not counting the marginal modifications, but all of them in one way or another referred to traditional graphemes and, most importantly, it was not possible to completely free the font from the influence of calligraphy, which all this is based on.

Here are some "stages of the long journey":)

And it was the turn of the ax and accurate calculation

Not without the influence of a serious study of the Arabic Kufic script, the idea of the square Cyrillic alphabet was born.

The 5x10 square grid gave the optimal ratio of the height and width of the beeches and was taken as the basis for their construction. I omit how the ratio was born, it's not very interesting. And the process looks like this.

In general, this approach cannot be said to be original. There are many attempts to build fonts on square grids, both Cyrillic and Latin. The main thing here is what images of which graphemes you keep in your head. Since the modern Cyrillic alphabet is a continuation of the Peter's civil type, then these images were kept by the artists in all experiments without exception. With the Latin alphabet, the story is the same, though with a different source.

So, if you keep in your head the forms of beeches which are considered to be Old Russian (something close to a semi-ustav but without a slope and only capital letters) or the title ligature, freeing them as much as possible from Greek influence, we get an ideal correspondence of graphemes to a square grid.

These are the samples we mean.

At the same time, the font is practically indistinguishable from the original one, only without beauties. In any case, it is easily recognizable. There are, of course, compromises, but not a single letter was found which would have to be sacrificed for the sake of "settling" into the grid.

All 33 are there.

Of course, we are talking about the modern composition of the alphabet. Note that the Kufi and Mongolian script described in the first part also had such compromises. But I will not go into details. Here is the full box office, compare it to the picture above.

Drumroll…………. Actually in front of you is a square Cyrillic alphabet

So what?

The font is like a font, with some oddities (which is, for example, the letter I or the almost handwritten D that has been clinging here), not too elegant, in one word chopped (with an ax:)). I recall the experiences of Russian constructivists of the 20-30s of the 20th century.

In general, nothing special.

But let's not rush.

Firstly, the construction of graphemes ideally fits the hypothesis described in the series The Birth of a Letter, moreover, new opportunities open up for understanding the process. Let's talk about this separately.

But most importantly, these unsightly letters demonstrate very interesting behavior when added to words.

The fact is that this typeface simply has a tremendous "ligature potential", the letters in their bulk fit together like a key to a lock. This potential apparently overrides even the traditional Russian ligature, and the ligature, as we remember, has hundreds of ligatures. Those. Having opened the square (geometric) Cyrillic alphabet, we "at the same time" discovered the Russian ligature script, which we were striving for:))

Here are some examples

1. Simple key-to-lock fusion

2. With adjusting the height of vertical strokes

3. The use of an additional character (ligature form O is the only original addition to the letters)

Remember the post about "wrong ligatures", that's where the legs grow:)

In some cases, the given ligatures also have several binding options, plus dependence on neighbors on the right and left. In short - free Will.

Here is a good example - the sacred word FATHER - practically in secret writing:)).

I don't even mention mast ligatures, they naturally work here as in traditional ligature and even better:).

And at the same time, we are still watching ONLY a linear recording, completely without affecting the vertical movement. The “second floor” makes this letter truly endless in terms of possibilities and variants of execution. At the same time, the ease of reading can be adjusted from almost ordinary text to cryptography:) As befits sacred writing.

Important!

The square Cyrillic alphabet creates a perfectly harmonious syllable-root writing system, i.e. opens up the possibility of creating texts in the proto-language! No modern or archaic writing system provides such opportunities.

It is interesting that many sacred words that were somehow “not written” in the square Cyrillic alphabet in other versions of the font acquire harmony and completeness.

Good

Genus

Svarog

This is how it turned out:))

=================================

What is written below in this article should not be taken too seriously. This is such an unsubstantiated assumption that you can safely consider it my fantasy.

By the way, I also dreamed about it:)

So, “admiring the beauties of the wonderful Little Russian nature”, in the sense of exploring everything written above, “the cap was blown off me” in the sense that the roof was slightly mowed. Remember how it was with Father Fedor in 12 chairs?:))

Let's use the words above for a bold experiment.

Let's supplement the picture with the fruits of the works of the State Teacher Pagba (see the first part)

Understand what I'm getting at?

Now let's play a game.

Let's twist the Mongolian letter differently, and compete who will find there more graphemes of the square Cyrillic alphabet and ligatures based on it:))).

I do not urge to read these texts in Russian, it is unlikely that there will be any correspondences or something meaningful.

But we can ask a couple of legitimate questions:

1. Did the state teacher Pagba go to Tibet to write letters? (By the way, Pagba is not a name, but rather a title, translated as Noble Saint, his full name is Pagba Lama Lodoy-Chzhaltsan. LadOy, I think this is great:))).

2. Isn't the Mongolian script a revised and adapted for China (including in the sense of direction) the writing of the Northern Houses, about which they wrote from the treatise Fa shu kao?

3. And was the aforementioned writing system of the Northern Houses and its early "notch" samples - the square Cyrillic alphabet? Or maybe its foundations, on the contrary, were preserved and possibly preserved in Tibet, where Pagba comprehended them?

Moreover, this is actually not all.

Sunny letter of Russia or how to talk with the Gods

Let's go further, and for this let's go back to the first post of this series and Kufic ligature.

The time has come to turn to the actual solar letter.

And in order not to fornicate with words and get rid of oil product associations:), henceforth we will call this letter sunny or patterned.

The discovery of the square Cyrillic alphabet gives us the opportunity, taking advantage of the Arabic experience, … just to start writing.

Well, okay - not quite easy:)

We remember the rules. Salting, four bars … By the way, why four and is it only four?

There should have been details …

But I quickly realized that describing the process is not as easy as it seemed, and it cannot be reduced to some kind of algorithms.

Mathematics ended and Creativity or Magic began, as you like.:)

So I'll just show you some results.

First with letters

1. Let's start, obviously, with O, as with the main letter of our alphabet

something familiar, right? One of the required elements of many ornaments. This is not surprising.

2. But the letter R.

I also performed it in the contours so that you remember where you could see.

These are Russian embroidery and Celtic patterns and ancient Greece.

3. Letter Ж

4. Let's pay tribute to Shiva:)

I think you have met such a sign, it is common in pagan ornaments and symbolism of the Finno-Ugric peoples, and maybe not only among them.

5. Letter C

Enough with letters.

I have shown here the most typical variants of execution, directly referring to ancient symbolism. Well, of course, he took letters full of the greatest sacred meaning.

Syllables and first roots

1. GO. Remember the importance of this root? Much has been written about him here.

It is at the heart of some types of meander ornaments, known since the Paleolithic and with which ancient Greece (and not only it) is "inundated".

In addition, the square sign is known among the Rodnovers as a spiritual swastika.

2. OM. Simple form

3. GOY

I think it is also clear here, you can continue indefinitely.

Further for absolutely maniacs:)

Colologues

Koloslov (a rotating word translated from Russian into Russian) is a special form of sacred writing about which I think you have not heard. I cannot yet speak about how I learned from, but I think about the Essence I can say a few words.

Remember our experiment in the second part, when we turned the words written in square Cyrillic and received the "Mongolian letter"? It was not really a game, but a game with meaning. Any flat letter is not immune from such "jokes", accidental or deliberate. A funny story about Pious Haya is also about that:). While we are talking about one form or another of secular writing, the problems of where to look and how to read are not so scary. But sacred writing, and even more so writing in the proto-language, should somehow be protected from such arbitrary treatment. Here is a colossus just for this. This is a form of writing in which rotating the writing perfectly preserves what is written. The solar letter is used to create colologians, in fact, this is another name for it, just more ancient. In Kufic ligature, some forms of writing are also colophony. I gave examples with the word Allah in the first part. The Arabs have known this principle for a long time, which is not surprising - Islam at one time received a fairly significant part of the Vedic Knowledge.

In addition to the unambiguity of reading, the colologian has deeper meanings, but this should be discussed separately.

So that's it.

Already the last examples of the words OM and GOI can be considered colologues. And where the border between the symbol (sign) and the colologian lies is difficult to say. Even very complex colologues resemble developed swatic symbolism, so apparently this is generally a single system.

As examples, we will send the Gods of our ancients, and for one we will see how it looks in practice:).