WIKIMEDIA COMMONS: 5 major articles by Richard Vallance Janke, Spyros Bakas and Rita Roberts In a major new development in the international dissemination of 5 papers by Spyros Bakas, Rita Roberts and Richard Vallance Janke, the following 5 articles are now universally available on WIKIMEDIA COMMONS, with 47,480,622 files:These articles are: CLICK on each logo to download each article: 1. Vallance Janke, Richard. “An Archaeologist’s Translation of Pylos Tablet TA 641-1952 (Ventris) with an Introduction to Supersyllabograms in the Vessels & Pottery Sector in Mycenaean Linear B”, Archaeology and Science (Belgrade). Vol. 11 (2015) ISSN 1452-7448. pp. 73-108
2. Vallance Janke, Richard. “The Decipherment of Supersyllabograms in Linear B”, Archaeology and Science (Belgrade). Vol. 11 (2015) ISSN 1452-7448. pp. 73-108
3. Vallance Janke, Richard. “The Mycenaean Linear B “Rosetta Stone” for Linear A Tablet HT 31 (Haghia Triada) Vessels and Pottery”, Archaeology and Science (Belgrade). Vol. 12 (2016) ISSN 1452-7448. pp. 75-98
4. Vallance Janke, Richard and Bakas, Spyros. “Linear B Lexicon for the Construction of Mycenaean Chariots”, Epohi/Epochs. Vol. XXIV (2017), Issue 2. pp. 299-315
5. Roberts, Rita & Janke, Richard Vallance, consulting editor. The Minoan and Mycenaean Agricultural Trade and Trade Routes in the Mycenaean Empire
The appearance of these articles on WIKIMEDIA COMMONS greatly enhances their international profile. Richard Vallance Janke June 19 2018
Tag: Sumerian
Article, Linear B Lexicon for the Construction of Mycenaean Chariots just published on academia.edu
Article, Linear B Lexicon for the Construction of Mycenaean Chariots just published on academia.edu:
Click on the TITLE to view and download the article:
just uploaded to my academia.edu account at the link above. To download it, click the green DOWNLOAD button on the right side of the document.
Illustrations from the article:
This Lexicon is the only one of its kind in the entire world. To date, no one has ever published a Linear B Lexicon on a subject as focused as the Construction of Mycenaean Chariots.
This article has just been published in the prestigious European journal, Epohi (Epochs), Vol. 25, Issue 2 (2017), published bi-annually by the Department of History of St. Cyril and St. Methodius, University of Veliko, Tarnovo, Bulgaria. I have been invited by the Editor-in-Chief, Stefan Iordanov, to publish new papers in the near future (sometime in 2018) and again in 2019. Considering that the Editor-in-Chief, Stefan Iordanov, solicited me to submit this article sight unseen, you can be sure I shall submit more papers to the journal.
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Linear A Lexicon 2018 vocabulary only, no definitions: PART 1: entries 1-439
Linear A Lexicon 2018 vocabulary only, no definitions: PART 1: entries 1-439This lexicon adopts the conventions followed by L.R. Palmer in his ground-breaking work on Linear B, The Interpretation of Mycenaean Greek Texts. Cambridge: Cambridge University Press, © 1963, 1998. ix, 488 pp. ISBN 0-19-813144-5 (1998). For Palmer’s glossary, which follows these conventions, see pp. 402-473. We have adopted these conventions to make the vocabulary of Linear A accessible to any and all, from lay persons not yet familiar with Linear A and non-linguists (somewhat) familiar with Linear B and/or A all the way to professional linguists adept in Linear B, and possibly also in Linear A, in order that everyone, regardless of education or scholastic background may readily access our Linear A Lexicon and come to familiarize him- or herself with at least the rudiments of Linear A, or in the case of professional linguists, with the intricacies of the syllabary. This Lexicon represents all of the vocabulary Alexandre Solça and I myself have compiled, plus around 100 additional exograms deciphered by Peter van Soebergen in his superb 4 volume set, Minoan Linear. Amsterdam, Brave New Books, © 2016. ISBN 9789402157574 Originally published 1987 1. adai 2. adakisika 3. ade 4. adara/adaro/adaru 5. adidakitipaku 6. adikite(te)... 7. adoro 8. adi 9. adina/adine 10. adu 11. adu2sara 12. adukumina 13. Adunitana 14. adure/adureza 15. aduza 16. ajesa 17. aju 18. aka 19. Akanu/Akanuzati 20. Akanuzati 21. akara/akaru HT 2 22. akarakitanasijase 23. ake 24. akipiete(ne?)
25. akiro
26. akoane
27. akumina 28. ama 29. amaja 30. amarane... (truncated) 31. amawasi 32. amidao/amidau 33. amata 34. amita 35. ana 36. ananusijase 37. anaqa 38. anatijowaja 39. anatu 40. anau 41. anepiti 42. apa3di (apaidi)... (truncated) 43. apadupa... (truncated 44. apaija 45. apaki 46. aparane 47. apaki 48. apero 49. api 50. apu2nadu 51. ara 52. araju 53. arako
54. arakokuzu
55. aranare/aranarai HT 1 56. aratiatu 57. aratu/aratumi... (truncated) 58. arauda 59. aredai
60. Arekinedisa(?)ma
61. Arenesidi 62. arepirena 63. aresana 64. ari 65. arinita 66. arija 67. aripa 68. ari/aru 69. arisu 70. arenita 71. aro/aru 72. arokaku 73. arote 74. arote2 75. arisu 76. aru 77. arura 78. arudara 79. aruma 80. aruqaro 81. asadaka 82. asamune 83. Asara2 84. Asasarame 85. asasumai(no) 86. Asasumaise 87. ase/asi 88. asu 89. aseja/asuja 90. asesina 91. asidatoi 92. asijaka 93. asikira 94. asisupoa 95. asona 96. Asuja 97. asumi 98. asupuwa 99. atade 100. ataijodeka 101. ataijowa(e) 102. atanate
103. A-ta-no-dju-wa-ja
104. atare 105. atika 106. atiru 107. atu 108. aurete 109. auta 110. awapi 111. azura 112. daa 113. dadai/dadana 114. Dadakitipaku 115. dadumata 116. dadumina/dadumine 117. dadute 118. dai/daina 119. daipita 120. daka/daki/daku 121. dakuna 122. Dakusene(ti) 123. damate 124. dame/dami 125. daminu 126. danasi 127. danekuti 128. daqaqa 129. daqera 130. dare 131. darida (daweda) 132. daropa 133. darunete 134. daserate 135. dasi 136. datapa 137. datara/datare 138. data2 (datai) 139. datu 140. Dawa 141. dea 142. deauwase 143. dedi 144. dejuku 145. deka -or- kade 146. Demirirema 147. depa/depu 148. deponiza 149. dewa -or- wide 150. dide/didi 151. dideru 152. didikase/didikaze HT 1 153. dii 154. dija/dije 155. dika/dikaki.../dikatare (right truncated) 156. Dikate 157. dikime 158. dikise 159. dima/dimaru 160. dimedu 161. dinaro 162. dinasuka 163. dinau 164. dipa3a (dipaia) 165. dipaja 166. diqe -or- qedi 167. diqise 168. dirasa 169. diradina/diredina 170. direna (diwena) 171. dirina 172. diru 173. disa 174. disipita 175. ditajaru 176. ditamana 177. du/dua/duja 178. dudama 179. duja 180. dumaina 181. dumedi 182. dumitatira2 (dumitatirai) 183. dunawi 184. dupa3na (dupaina) 185. dupitewa 186. Dupu3re (dupure) 187. dura2 188. durare 189. duratiqe 190. dureza/durezase 191. durui... (truncated) 192. dusi/dusini 193. dusima 194. dusu 195. duti 196. duwi 197. duzu/duzuwa 198. edamisa 199. edija 200. edu 201. eka 202. enasi 203. eniwa 204. epa3 (epai) 205. ero 206. esija 207. etanasu 208. eta2qe (etaiqe) 209. etori 210. ezusiqe 211. ia 212. Ida/Idaa/Idada/Idapa3 213. Idamate/Idamete 214. idami 215. idapa3isari 216. Idarea 217. idorinita 218. Idunesi 219. iduti 220. ija 221. ijadi 222. ijapa 223. Ijapame 224. ijaredija 225. ijate 226. ika 227. Ikesedesute 228. Ikurina 229. ikuta 230. imas 231. imisara 232. ina 233. inaimadu 234. inaja 235. Inajapaqa 236. inasi 237. inawa 238. ipasaja 239. ipinama/ipinamina 240. ipinamasirute 241. ira2 (irai) 242. iruja 243. isari 244. ise 245. itaja 246. itaki 247. itijukui 248. Itinisa
249. itisapuko
250. Ititikuna 251. itowaja 252. Izurinita 252. jaa 254. jadi/jadu 255. jadikitetedupu2re 256. jadikitu 257. jadireja 258. jadurati 259. jai 260. jainwaza 261. jaiterikisu 262. jaitose 263. jaja 264. jakisikinu 265. jako/jaku/jakuti 266. jamaa 267. jamauti 268. jami/jamidare 269. januti 270. japa/japadi 271. japaka/japaku 272. Japametu 273. Japanidami 274. japarajase 275. jara2qe (jaraiqe) 276. jara/jare/jaremi 277. jarepu2 278. jarete 279. jari/jarina/jarinu 280. jaripa3ku 281. jarisapa 282. jaru -or- ruja 283. jarui 284. jasaja 285. jasumatu 286. jasapai 287. Jasaraanane 288. jasasaramana/jasasarame 289. jasidara 290. jasea/jasepa 291. jasie 292. jasuma(tu) 293. jataiouja 294. jate/jateo 295. jatimane 296. jatituku+ jatituku 297. jatoja 298. jawapa3... (truncated) 299. jaupamaida 300. jawi 301. jedi 302. jeka 303. jemanata 304. jetana 305. jua 306. judu 307. juerupi 308. juka 309. jukunapakunuu 310. juma/jumaku 311. juraa 312. jureku 313. juresa 314. jutiqa 315. juu 316. kadi 317. kadumane 318. kadusi 319. kae/kai 320. kaika 321. kairo 322. kaji/kaju 323. kaki/kaku 324. kakupa 325. kakunete/kakusunetu 326. kami 327. kana/kanatiti/kanau 328. kanaka 329. Kanijami 330. kanita 331. kanuti 332. kapa/kapaqe/kapate/kapi 333. kapasara2 (kapasarai) 334. kaporu 335. kapu3si 336. kaqa/kaqe 337. kara/karu 338. karero 339. karona 340. karopa2 (karopai) 341. karu 342. karunau 343. kasaru 344. kasi 345. Kasidizuitanai 346. Kasikidaa 347. kasitero 348. katanite 349. kataro 350. kati 351. kaudeta 352. kaudoni 353. kauzuni 354. keda 355. keire 356. Kekiru 357. kera/kero 358. keta/kete/ketu 359. Ketesunata 360. kezadidi 361. kida/kidi 362. kidapa 363. kidaro 364. kidata/kidate 365. kidini 366. kidiora 367. kii/kiipa 368. kija 369. kika 370. kikadi 371. kikina 372. kikiraja 373. kimara2 (kimarai) 374. kimu 375. kina 376. kinima 377. kinite 378. kipaa (see also unaa below) 379. kipira2 (kipirai)/kipirija 380. kiqa 381. kira 382. kireta2 383. kiretana HT 2 384. kiretaiwinu + kiretana winu 385. kireza 386. kiro/kirisi/kiru HT 1 387. kirusata -or- rusataki -or- satakiru 388. kiso 389. kisusetu 390. kitai/kitei 391. kitanite 392. kitanasija/kitanasijase 393. kiti 394. kitina 395. kitiqa 396. kito 397. koiru 398. koja 399. komu 400. kopu 401. koru 402. Kosaiti 403. kuda 404. kudona 405. kuduri (kuduwe?) 406. kujude 407. kuka 408. kukudara 409. kumaju 410. kumapu 411. kuminaqe 412. kunisu 413. kupa/kupi 414. kupa3natu 415. Kupa3nu HT 1 HT 3 416. kupa3pa3 417. kupa3rija 418. kupaja 419. kupari 420. Kupatikidadia 421. kupazu 422. kupi 423. kuqani 424. kura 425. kuramu 426. kurasaqa
427. kuratujo
428. kureda 429. kureju 430. kuro/kurotu 431. kuto/kutu 432. kuruku 433. kuruma 434. Kutiti 435. kutu 436. kutukore 437. kuwa -or- waku 438. kuzu 439. kuzuni
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CRITICAL POST: Ancient words from 3,000 – 1,200 BCE in modern English
CRITICAL POST: Ancient words from 3,000 – 1,200 BCE in modern English:
First the ancient words in modern English, and in the next two posts, how words infiltrate from earlier to diachronically close later languages. These posts are real eye-openers, explaining how words from earlier languages trickle into later, e.g. Akkadian and Sanskrit into Linear A (Minon) and Linear B (Mycenaean) + how all of the ancient words here infiltrate English.
Akkadian/Assyrian (3,000 BCE):
babel babilu = Babylon; gate of God (Akkadian)
bdellium budulhu = pieces (Assyrian)
canon, canyon qanu = tube, reed (Assyrian)
cumin kumunu = carrot family plant (Akkadian)
natron sodium (Akkadian)
myrrh murru (Akkadian)
sack saqqu (Akkadian)
shalom = hello sholom/shlama = hello (also Hebrew)
souk saqu = narrow (Akkadian)
Semitic (2,000-1,000 BCE):
arbiter arbiter (Latin from Phoenician)
byssus bwtz = linen cloth, to be white (Semitic)
chemise gms = garment (Ugaritic)
deltoid dalt (Phoenician)
fig pag (paleo-Hebrew)
iotacism iota (Phoenician)
map (Phoenician)
mat matta (Phoenician)
shekel tql (Canaanite)
Egyptian (2690 BCE):
http://www.egyptologyforum.org/AEloans.html
adobe
alabaster
alchemy
ammonia
baboon 5
barge, bark, barque, to embark
basalt
behemoth
bocal
chemistry 10
copt, coptic
desert
Egypt
ebony
endive 15
gum
gypsy
ibis
ivory
lily 20
oasis
obelisk
manna
mummy
myth 25
papyrus
paper
pharaoh
pharmacy
phoenix 30
pitcher
pyramid
sack See also saqqu (Akkadian)
sash
Susan(na), Phineas, Moses, Potiphar, Potiphera 35
sphinx
stibium = eye paint
tart
uraeus (emblem on the headdress of the pharaoh)39
Sanskrit (2,000 BCE):
aniline nili (Sanskrit)
Aryan aryas = noble, honourable
atoll antala
aubergine vātigagama = eggplant, aubergine
avatar avatara = descent
bandana bandhana = a bond
banyan vaṇij = merchant
beryl vaidūrya (Sanskrit, Dravidian)
bhakti bhakti = portion
candy khaṇḍakaḥ, from khaṇḍaḥ = piece, fragment
cashmere shawl made of cashmere wool
cheetah chitras = uniquely marked
chintz chitras = clear, bright
cot khatva
cobra kharparah = skull
crimson krmija = red dye produced by a worm
crocus kunkunam = saffron, saffron yellow
datura dhattūrāh = a kind of flowering plant
dinghy dronam = tiny boat
ginger srngaveram, from srngam “horn” + vera = body
guar gopali = annual legume
gunny goni = sack
guru gurus = bachelor
jackal srgalah = the howler
Java/java = island/coffee Yavadvipa= Island of Barley, from yava
= barley + dvipa =island
juggernaut jagat-natha-s = lord of the world
jungle jangala = arid
jute jutas = twisted hair
karma karman = action
kermes kṛmija = worm-made
lacquer lākṣā
lilac nila = dark blue
loot lotam = he steals
mandala mandala = circle
mandarin mantri = an advisor
mantra mantras = holy message or text
maya maya = illusion
Mithras mitrah = friend
mugger makara = sea creature, crocodile
musk mus = mouse
nard naladam = nard
nirvanas nirvanas = extinction, blowing out (candle)
opal upalah = opal
orange narangas = orange tree
pal bhrata = brother
palanquin palyanka = bed, couch
panther pāṇḍara = pale
pepper pippali = long pepper
punch pancha = drink from alcohol, sugar, lemon, water,
tea or spices
pundit paṇdita =learned
rajah rajan = king
rice vrihi-s = rice, derived from proto-Dravidian
rupee rūpyakam =silver coin
saccharin sarkarā
sandal wood candanam = wood for burning incense
sapphire sanipriya = sacred to Shani (Sanskrit) = Greek,
Saturn
sari sati = garment
shawl sati = strip of cloth
sugar sharkara = ground sugar
swami svami = master
tank tadaga-m =pond, lake pool, large artificial
container for liquid
tope stupah
yoga yogas = yoke, union
yogi yogin = one who practices yoga, ascetic
zen dhyana = meditation
Linear A (1,800-1,500 BCE):
cedar keda = cedar
cumin kuminaqe = and cumin See also Linear B kumino
kumi/non Cf. kumunu = carrot family plant
(Akkadian)
lily rairi (also Egyptian) -or- nila = dark blue
(Sanskrit)
pimento pimata = pimento
rose rosa = rose
sack saka sa/kka <- sa/kkoj = coarse cloth of hair from
goats; sackcloth -or- sa/ka <- sa/koj a shield made
of wicker See also saqqu = sack (Akkadian)
Linear A & Linear B (1,800-1,200 BCE):
agriculture akara/akaru a1kra (arch. acc.) – or – = end, border
+ akaru a0gro/j = field Cf. Linear B akoro a0gro/j
democracy dima/dimaru dh=maj <- dh=moj = land, country; people Cf. Linear B damo = village da=moj Mother goddess of Mount Ida Idamate/Idamete 0Idama/te Rhea, goddess of Mount Ida Idarea 0Idar9ea healer ijate i0a/ter = doctor, physician Cf. Linear iyate i0a/ter calligraphy karu = ka/llu <- ka/lloj = beautiful, fine, ornamental copper kaki/kaku xalku/ <- xalko/j = copper, bronze crimson punikaso funi/kasoj = crimson, red (of wine) Cf. Linear B ponikiya ponikiyo foini/kioj = crimson Cf. krmija = red dye produced by a worm (Sanskrit) crocus kuruku kro/koj = crocus, saffron Cf. crocus kunkunam = saffron, saffron yellow (Sanskrit) Lykinthos Rukito Cf. Linear B Rukito Lu/kinqoj minth mita mi/nqa = mint Cf. Linear B mita nard naridi na/ridi <- na/rdoj = with nard. See also naladam (Sanskrit) new nea ne/a (feminine) = new Cf. Linear B ne/#a = new pistachio-nut pitakase/pitakesi pista/kesi = with pistachio-nuts (instr. pl.) Phoenician punikaso funi/kasoj = crimson, red (of wine) Cf. Linear B ponikiya ponikiyo foini/kioj = crimson Cf. krmija = red dye produced by a worm (Sanskrit) Phaistos Paito Faisto/j Cf. Linear Paito Rhea rea r9e/a = goddess, Rhea sack saka sa/kka (arch. acc.) <- sa/kkoj = coarse cloth of hair from goats; sackcloth -or- sa/ka <- sa/koj a shield made of wicker Cf. See also saqqu (Akkadian) sesame sasame sasa/me = sesame Cf. Linear B sasa/ma terebinth tree tarawita = terebinth tree Cf. Linear B kitano ki/rtanoj & timito ti/rminqoj thalassian tarasa = sea Cf. Linear B tarasa qa/lassa thorax toraka qw/rac = breastplate, cuirass = Linear B toraka throne turunu qo/rnoj = throne Cf. Linear B torono qo/rnoj wine winu #i/nu = wine Cf. Linear B wono = wine, vine #oi/noj wine dedicated to Mother Earth winumatari NM #i/numa/tari = wine dedicated to Mother Earth yoked zokutu zogutu/ <- zogwto/j = yoked, with a cross- bar zone zuma zw=ma girdle, belt; girded tunic
Mycenaean Linear B (1,600-1,200 BCE):
aeon eo e0wn = being
anemometer anemo a0ne/mwn = wind
angel akero a0ngge/loj = messenger
agora akora a0gora/ = market
axles akosone a1conej = axles
amphorae aporowe a0mfore#ej
armaments amota a3rmo/ta = chariot
anthropology atoroqo a0nqrw/poj = man, human being
aulos (musical instrument)auro a0ulo/j = flute, musical instrument
cardamon kadamiya kardami/a = cardamon
celery serino se/linon = celery
chiton kito xitw/n = chiton
circular kukereu kukleu/j = circle
coriander koriyadana koli/adna
cumin kumino kum/minon Cf. kumunu = carrot family plant
(Akkadian)
curator korete kore/ter = governor
cypress kuparo ku/pairoj
divine diwo Di/#oj = Zeus
duo dwo du#o/ = two
elephant erepa e0le/faj = ivory (in Mycenaean)
eremite eremo e1remoj = desert
foal poro pw/loj = foal
gynecology kunaya gunai/a = woman
heterosexual hatero a3teroj e3teroj = other
hippodrome iqo i3ppoj = horse
labyrinth dapuritoyo = labyrinth laburi/nqoj
linen rino li/non
lion rewo le/#wn = lion
mariner marineu marineu/j = sailor, mariner
maternal matere ma/ter = mother
Mesopotamia Mesopotomo Mesopota/moj = Mesopotamia
metropolis matoropuro matro/puloj = mother city
nautical nao nau/j = ship
non-operational noopere nwfe/lioj = useless
operation opero o1feloj = operation
paternal pate pa/ter = father
paramedic para para\ = beside, from beside, by the side of,
beyond etc.
pharmaceutical pamako fa/rmakon = medicine
polypod porupode polu/pode polu/pouj = octopus
progressive poro pro\ = in front of
purple popureyo pofurei/a = purple
quartet qetoro tetta/rej = four
schinus kono skoi/noj (flowering pepper)
strategic tatakeu startageu/j = general
stylobate tatamo staqmo/j = standing post, door post
temenos temeno (piece of land assigned as an official
domain (to royalty)
theological teo qe/oj = god
trapeze topeza to/rpeza tra/peza = table
tripod tiripode tri/pwj = tripod
vision wide #ei/de = to see
xenophobic kesenuwiyo ce/n#ioj = stranger
© by Richard Vallance Janke 2017
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Wikipedia: History of beer + the Minoan words for beer = zute and kiretaiwinu finally deciphered
Wikipedia: History of beer + the Minoan words for beer = zute and kiretaiwinu finally deciphered:From Wikipedia: History of beer
As almost any cereal containing certain sugars can undergo spontaneous fermentation due to wild yeasts in the air, it is possible that beer-like beverages were independently developed throughout the world soon after a tribe or culture had domesticated cereal. Chemical tests of ancient pottery jars reveal that beer was produced as far back as about 7,000 years ago in what is today Iran. This discovery reveals one of the earliest known uses of fermentation and is the earliest evidence of brewing to date. In Mesopotamia, the oldest evidence of beer is believed to be a 6,000-year-old Sumerian tablet depicting people drinking a beverage through reed straws from a communal bowl.
A 3900-year-old Sumerian poem honouring Ninkasi, the patron goddess of brewing, contains the oldest surviving beer recipe, describing the production of beer from barley via bread. In Mesopotamia (ancient Iraq), early evidence of beer is a 3900-year-old Sumerian poem honoring Ninkasi, the patron goddess of brewing, which contains the oldest surviving beer recipe, describing the production of beer from barley via bread. Approximately 5000 years ago, workers in the city of Uruk were paid by their employers in beer. Ninkasi, you are the one who pours out the filtered beer of the collector vat It is [like] the onrush of Tigris and Euphrates. Beer was part of the daily diet of Egyptian pharaohs over 5,000 years ago. Then, it was made from baked barley bread, and was also used in religious practices. During the building of the Great Pyramids in Giza, Egypt, each worker got a daily ration of four to five liters of beer, which served as both nutrition and refreshment that was crucial to the pyramids' construction.
The Greek writer Sophocles (450 BCE) discussed the concept of moderation when it came to consuming beer in Greek culture, and believed that the best diet for Greeks consisted of bread, meats, various types of vegetables, and beer or zythos as they called it. The ancient Greeks also made barley wine (Greek: – krithinos oinos, “barley wine” mentioned by Greek historian Polybius in his work The Histories, where he states that Phaeacians kept barley wine in silver and golden kraters. NOTES: The Old Minoan (OM) equivalent of zythos is zute, while the New Minoan (NM) equivalent of krithinos oinos is kiretaiwinu.
TE = tereza OM = “standard liquid unit of measurement” confirms beyond a shadow of a doubt that tereza, was used to measure fig juice, Old Minoan (OM) supersyllabogram = NI, corresponding to the OM word nira2 (nirai) -or- nita2 (nitai) OM = figs + ideogram = NI (in both Linear A & B), as well as for wine = New Minoan winu NM1 #i/nu = wine Cf. Linear B wono #oi/noj, as well as for beer, for which the Minoan words are deciphered for the first time below. Minoan beer was fermented either from barley (kiretai) or from emmer wheat (kunisu).
TE = tereza on Minoan Linear A tablets
HT 6 fi HT 13 wi HT 17 wi HT 19 wi HT 21 gr HT 40 gr HT 44 gr HT 51 fi HT 62 wi HT 67 fi HT 70 fi HT 96 fi HT 133 gr TH 6 te TH Zb 11 wi
fi 5 (fig juice)
wi 5 (wine)
gr 5 (beer, from barley)
The ancient Greek word for beer was ζῦθος (zythos), which appears as zute in Old Minoan (OM) and also κρίθινος οἶνος – krithinos oinos = barley wine. This means that the Minoan word combination for beer was very likely kireta2 (kiretai) NM1 kri/qai = barley + winu NM1 #i/nu = wine Cf. Linear B wono #oi/noj, hence kiretaiwinu = kri/qai#i/nu
Minoan beer was also produced from emmer wheat, kunisu OM = emmer wheat (derivation: Semitic kunnisu)
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Tablet, Malia Palace MA/P Hi 02 in so-called Cretan hieroglyphs, dealing with crops and vessels (pottery)
Tablet, Malia Palace MA/P Hi 02 in so-called Cretan hieroglyphs, dealing with crops and vessels (pottery):
Tablet, Malia Palace MA/P Hi 02 in so-called Cretan hieroglyphs, which are not hieroglyphs at all, but rather ideograms and logograms, is highly intriguing. Actually, this tablet is partially decipherable. The front side definitely deals with the produce of olive trees, i.e. olive oil and also with wheat crops. If anyone is in any doubt over the meaning of the logogram 5. TE, which looks exactly like the Linear A and Linear B syllabogram TE, this doubt can easily be swept away by mere comparison with the logogram/ideogram for “wheat” in several ancient scripts, some of which are hieroglyphic, such as Egyptian, others which are cuneiform and yet others which bear no relation to either hieroglyphs or cuneiform, or for that matter, with one another, as for instance, the Harrapan and Easter Island exograms.
In fact, the recurrence of an almost identical ideogram/logogram across so many ancient scripts is astonishing. It is for this reason that I am in no doubt over the interpretation of 5. TE as signifying what in the Cretan script.
Next up, we have 3a. & 3b., which I interpret, and probably correctly, as signifying “ewe” and “ram” respectively. In fact, the resemblance of 3b. to a ram’s head is uncanny. What is passingly strange is this: the ram’s head figures so prominently on the second side of the tablet, being much larger than any other ideogram/logogram on the tablet. Why is this so? There simply has to be a reason. But for the time being, I am stumped. Since 3a. & 3b. Relate to sheep, it stands to reason that 6. is another type of livestock. My money is on “pig”. 7. and 9. are both vessels, 7. probably being either a wine or water flask and 9. being a spice container, as it is strikingly similar to the Linear B ideogram for the same. 8. looks like some kind of grain crop, and so I take it to be so.
As for the rest of the ideograms/logograms, they are still indecipherable.
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How can so-called Cretan hieroglyphs be hieroglyphs when there are only 45 of them?
How can so-called Cretan hieroglyphs be hieroglyphs when there are only 45 of them?
Until now most researchers have simply assumed that the 45 Cretan symbols (by my count), exclusive of numerics, must be hieroglyphs. But the evidence appears to gainsay this hypothesis. As the table below makes quite clear, there are only 45 Cretan symbols, to which
only 27 may possibly/probably/definitely be assigned meanings.
The significance of the remaining 18 are currently beyond the bounds of decipherment:
So this lands us with a total of only 45 Cretan symbols. If and when we compare this number with the approximately 1,000 Egyptian hieroglyphs, the whole notion that the Cretan symbols are hieroglyphs comes apart at the seams and is shattered.
And that is not the end of it. There are anywhere between 600 and 1,000 symbols in Cuneiform.
So once again, the massive proliferation of symbols, i.e. hieroglyphs, in Egyptian, and of symbols in Cuneiform make a mockery of the notion that the Cretan symbols are hieroglyphs. But if they are not hieroglyphs, what are they? It would appear that they are ideograms or logograms on seals and nodules which serve to tag the contents of the (papyrus) documents they seal. This hypothesis makes a lot of sense, since almost all Cretans and Minoans, administrators, merchants and consumer, were illiterate. These people were probably able to master the minimal number of 45 ideograms and logograms which we find on 100s of surviving seals. But while the illiterate hoy polloi could not read the script on the sealed papyrus (or leaf tablets sometimes), the scribes most definitely could. This leaves us open to yet another hypothetical question? What is the script of the texts? How many symbols or syllabograms (if the latter yet existed) would have been required to write the papyrus or inscribe the leaf tablets? Was this script, if script it was, an early form of Linear A, such as Festive Linear A? Or was it actually Linear A? This question or hypothesis demands further investigation.
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NOW on academia.edu: The application of geometric co-ordinate analysis (GCA) to parsing scribal hands: Part A: Cuneiform
NOW on academia.edu: The application of geometric co-ordinate analysis (GCA) to parsing scribal hands: Part A: CuneiformGeometric co-ordinate analysis of cuneiform, the Edwin-Smith hieroglyphic papyrus (ca. 1600 BCE), Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C can confirm, isolate and identify with precision the X Y co-ordinates of single characters or syllabograms in their respective standard fonts, and in the multiform cursive “deviations” from their fixed font forms, or to put it in different terms, can parse the running co-ordinates of each character, syllabogram or ideogram of any scribal hand in each of these scripts. This procedure effectively encapsulates the “style” of any scribe’s hand. This hypothesis is at the cutting edge in the application of graphology a.k.a epigraphy based entirely on the scientific procedure of geometric co-ordinate analysis (GCA) of scribal hands, irrespective of the script under analysis. Richard
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The application of geometric co-ordinate analysis (GCA) to parsing scribal hands: Part A: Cuneiform
The application of geometric co-ordinate analysis (GCA) to parsing scribal hands: Part A: Cuneiform Introduction: I propose to demonstrate how geometric co-ordinate analysis of cuneiform, the Edwin-Smith hieroglyphic papyrus (ca. 1600 BCE), Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C can confirm, isolate and identify with great precision the X Y co-ordinates of single characters or syllabograms in their respective standard fonts, and in the multiform cursive “deviations” from their fixed font forms, or to put it in different terms, to parse the running co-ordinates of each character, syllabogram or ideogram of any scribal hand in each of these scripts. This procedure effectively encapsulates the “style” of any scribe’s hand, just as we would nowadays characterize any individual’s handwriting style. This hypothesis constitutes a breakthrough in the application of graphology a.k.a epigraphy based entirely on the scientific procedure of geometric co-ordinate analysis (GCA) of scribal hands, irrespective of the script under analysis. Cuneiform:Any attempt to isolate, identify and characterize by manual visual means alone the scribal hand peculiar to any single scribe incising a tablet or series of tablets common to his own hand, in other words, in his own peculiar style, has historically been fraught with difficulties. I intend to bring the analysis of scribal hands in cuneiform into much sharper focus by defining them as constructs determined solely by their relative positioning on the X Y axis plane in two-dimensional Cartesian geometry. This purely scientific approach reduces the analysis of individual scribal hands in cuneiform to a single constant, which is the point of origin (0,0) in the X Y axis plane, from which the actual positions of each and every co-ordinate on the positive planes (X horizontally right, Y vertically up) and negative planes (X horizontally left, Y vertically down) are extrapolated for any character in this script, as illustrated by the following general chart of geometric co-ordinates (Click to ENLARGE):
Although I haven’t the faintest grasp of ancient cuneiform, it just so happens that this lapsus scientiae has no effect or consequence whatsoever on the purely scientific procedure I propose for the precise identification of unique individual scribal hands in cuneiform, let alone in any other script, syllabary or alphabet ancient or modern (including but not limited to, the Hebrew, Greek, Latin, Semitic & Cyrillic alphabets), irrespective of language, and even whether or not anyone utilizing said procedure understands the language or can even read the script, syllabary or alphabet under the microscope. This purely scientific procedure can be strictly applied, not only to the scatter-plot positioning of the various strokes comprising any letter in the cuneiform font, but also to the “deviations” of any individual scribe’s hand or indeed to a cross-comparative GCA analysis of various scribal hands. These purely mathematical deviations are strictly defined as variables of the actual position of each of the various strokes of any individual’s scribal hand, which constitutes and defines his own peculiar “style”, where style is simply a construct of GCA analysis, and nothing more. This procedure reveals with great accuracy any subtle or significant differences among scribal hands. These differences or defining characteristics of any number of scribal hands may be applied either to: (a) the unique styles of any number of different scribes incising a trove of tablets all originating from the same archaeological site, hence, co-spatial and co-temporal, or (b) of different scribes incising tablets at different historical periods, revealing the subtle or significant phases in the evolution of the cuneiform script itself in its own historical timeline, as illustrated by these six cuneiform tablets, each one of which is characteristic of its own historical frame, from 3,100 BCE – 2,250 BCE (Click to ENLARGE),
and in addition (c) Geometric co-ordinate analysis is also ideally suited to identifying the precise style of a single scribe, with no cross-correlation with or reference to any other (non-)contemporaneous scribe. In other words, in this last case, we find ourselves zeroing in on the unique style of a single scribe. This technique cannot fail to scientifically identify with great precision the actual scribal hand of any scribe in particular, even in the complete absence of any other contemporaneous cuneiform tablet or stele with which to compare it, and regardless of the size of the cuneiform characters (i.e. their “font” size, so to speak), since the full set of cuneiform characters can run from relatively small characters incised on tablets to enormous ones on steles. It is of particular importance at this point to stress that the “font” or cursive scribal hand size have no effect whatsoever on the defining set of GCA co-ordinates of any character, syllabogram or ideogram in any script whatsoever. It simply is not a factor. To summarize, my hypothesis runs as follows: the technique of geometric co-ordinate analysis (GCA) of scribal hands, in and of itself, all other considerations aside, whether cross-comparative and contemporaneous, or cross-comparative in the historical timeline within which it is set ( 3,100 BCE – 2,250 BCE) or lastly in the application of said procedure to the unambiguous identification of a single scribal hand is a strictly scientific procedure capable of great mathematical accuracy, as illustrated by the following table of geometric co-ordinate analysis applied to cuneiform alone (Click to ENLARGE):
The most striking feature of cuneiform is that it is, with few minor exceptions (these being circular), almost entirely linear even in its subsets, the parallel and the triangular, hence, susceptible to geometric co-ordinate analysis at its most fundamental and most efficient level. It is only when a script, syllabary or alphabet in the two-dimensional plane introduces considerably more complex geometric variables such as the point (as the constant 0,0 = the point of origin on an X Y axis or alternatively a variable point elsewhere on the X Y axis), the circle and the oblong that the process becomes significantly more complex. The most common two-dimensional non-linear constructs which apply to scripts beyond the simple linear (such as found in cuneiform) are illustrated in this chart of alternate geometric forms (Click to ENLARGE):
These shapes exclude all subsets of the linear (such as the triangle, parallel, pentagon, hexagon, octagon, ancient swastika etc.) and circular (circular sector, semi-circle, arbelos, superellipse, taijitu = symbol of the Tao, etc.), which are demonstrably variations of the linear and the circular. These we must leave to the geometric co-ordinate analysis of Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C, all of which share these additional more complex geometric constructs in common. When we are forced to apply this technique to more complex geometric forms, the procedure appears to be significantly more difficult to apply. Or does it? The answer to that question lies embedded in the question itself. The question is neither closed nor open, but simply rhetorical. It contains its own answer. It is in fact the hi-tech approach which decisively and instantaneously resolves any and all difficulties in every last case of geometric co-ordinate analysis of any script, syllabary or indeed any alphabet, ancient or modern. It is neatly summed up by the phrase, “computer-based analysis”, which effectively and entirely dispenses with the necessity of having to manually parse scribal hands or handwriting by visual means or analysis at all. Prior to the advent of the Internet and modern supercomputers, geometric co-ordinate analysis of any phenomenon, let alone scribal hands, or so-to-speak handwriting post AD (anno domini), would have been a tedious mathematical process hugely consuming of time and human resources, which is why it was never applied at that time. But nowadays, this procedure can be finessed by any supercomputer plotting CGA co-ordinates down to the very last pixel at lightning speed. The end result is that any of an innumerable number of unique scribal hand(s) or of handwriting styles can be isolated and identified beyond a reasonable doubt, and in the blink of an eye. Much more on this in Part B, The application of geometric co-ordinate analysis to Minoan Linear A, Mycenaean Linear B and Arcado-Cypriot Linear C. However strange as it may seem prima facie, I leave to the very last the application of this unimpeachable procedure to the analysis and the precise isolation of the unique style of the single scribal hand responsible for the Edwin-Smith papyrus, as that case in particular yields the most astonishing outcome of all. © by Richard Vallance Janke 2015 (All Rights Reserved = Tous droits réservés)
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