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A Sevillian archaeologist links Tartessian writing with prehistory Pablo José Ramírez, from the University of Seville, states that more than 40 signs of that alphabet have their origin in Neolithic art
The Tartesian script has its origin in the prehistoric art of the Iberian Peninsula, with which it shares more than forty signs, practically all of its alphabet, according to the research of Pablo José Ramírez, archaeologist and researcher at the University of Seville.
Ramírez, who has spent eight years studying up to three hundred archaeological references, explained to Efe that he has compared the Tartesian alphabet reflected in the totality of steles known and documented with prehistoric symbols from the ancient Neolithic to the end of the Bronze Age. That supposes an antiquity of the Tartessian signs - whose culture is of more than two and a half millennia ago - between 5,000 and 6,000 years ago.
Ramirez's contributions include a sign that linguists who have studied Tartessian writing identified how the Greek letter phi is actually a prehistoric symbol shaped like a circle cut by a bar; schematically it would be equivalent to a human body without head or legs with arms akimbo.
Other symbolic manifestations such as the representation of the sun, the wheel, the stars, the zigzag motif and ladder-shaped figures are found both in the prehistoric art and in the written epigraphs of the Tartesian steles, according to Ramírez, some of whose investigations have been supervised by the also archaeologist Oswaldo Arteaga.
The Tartessian alphabet and the subsequent phonetic writing - the oldest in the Peninsula - has been documented and identified by linguists for almost two centuries, although they attributed their letters to the Greek or Phoenician alphabet, but according to Ramírez's research they are inherited signs of the prehistoric symbols of the Iberian Peninsula.
Another sign that the archaeologist has found many historical references is the symbol "bitriangular female" - the same shape as an hourglass - that can be reproduced with one or two stripes as an arm or arms or two dots in each of the extremes, modalities that Ramírez located in numerous cases of prehistoric symbolism.
"Just when the schematic art of prehistory disappears, the first phonetic writing arises," the archaeologist recalled, meaning that the importance of his finding is that Tartessian writing continues to use prehistoric symbols but not as symbolic drawings but as signs of an alphabet. The Tartessian language, he recalled, is semi-syllabic, that is, it has syllables, consonants and vowels, which gives it greater complexity than the Phoenician, which is alphabetic.
Ramírez analyzed the rock art of Andalusia, Extremadura, southern Castilla La Mancha, Murcia and southern Portugal, along with the scientific publications of prehistorians such as Henri Breuil, Pilar Acosta, Primitiva Bueno, Pedro Cantalejo, Julián Martínez, Ripoll Perelló or José Luis Sanchidrián, among other specialists in prehistoric imagery.
His study includes a review of the main linguists of the Tartesian script, Jürgen Untermann, Jesús Rodríguez Ramos, Manuel Gómez Moreno, Javier de Hoz and José Antonio Correa, who consider Tartesia writing to be a local script with Phoenician and Greek orientalizing contributions. According to Ramírez, in cultures of China, Chaldea, Egypt or in the northwest of India, the ideograms or prehistoric symbols were the basis for the creation of a written code or phonetic writing.
"The local prehistoric ideograms were the basis of various language communities to develop their own phonetic writings, and this is the same model of the Iberian Peninsula."
http://elcorreoweb.es/cultura/un-ar...5D6vs-F5ozdB8IuoWzeOFWRtYzZ8OhVzWo5UBd5v0Gc5s
The Tartesian script has its origin in the prehistoric art of the Iberian Peninsula, with which it shares more than forty signs, practically all of its alphabet, according to the research of Pablo José Ramírez, archaeologist and researcher at the University of Seville.
Ramírez, who has spent eight years studying up to three hundred archaeological references, explained to Efe that he has compared the Tartesian alphabet reflected in the totality of steles known and documented with prehistoric symbols from the ancient Neolithic to the end of the Bronze Age. That supposes an antiquity of the Tartessian signs - whose culture is of more than two and a half millennia ago - between 5,000 and 6,000 years ago.
Ramirez's contributions include a sign that linguists who have studied Tartessian writing identified how the Greek letter phi is actually a prehistoric symbol shaped like a circle cut by a bar; schematically it would be equivalent to a human body without head or legs with arms akimbo.
Other symbolic manifestations such as the representation of the sun, the wheel, the stars, the zigzag motif and ladder-shaped figures are found both in the prehistoric art and in the written epigraphs of the Tartesian steles, according to Ramírez, some of whose investigations have been supervised by the also archaeologist Oswaldo Arteaga.
The Tartessian alphabet and the subsequent phonetic writing - the oldest in the Peninsula - has been documented and identified by linguists for almost two centuries, although they attributed their letters to the Greek or Phoenician alphabet, but according to Ramírez's research they are inherited signs of the prehistoric symbols of the Iberian Peninsula.
Another sign that the archaeologist has found many historical references is the symbol "bitriangular female" - the same shape as an hourglass - that can be reproduced with one or two stripes as an arm or arms or two dots in each of the extremes, modalities that Ramírez located in numerous cases of prehistoric symbolism.
"Just when the schematic art of prehistory disappears, the first phonetic writing arises," the archaeologist recalled, meaning that the importance of his finding is that Tartessian writing continues to use prehistoric symbols but not as symbolic drawings but as signs of an alphabet. The Tartessian language, he recalled, is semi-syllabic, that is, it has syllables, consonants and vowels, which gives it greater complexity than the Phoenician, which is alphabetic.
Ramírez analyzed the rock art of Andalusia, Extremadura, southern Castilla La Mancha, Murcia and southern Portugal, along with the scientific publications of prehistorians such as Henri Breuil, Pilar Acosta, Primitiva Bueno, Pedro Cantalejo, Julián Martínez, Ripoll Perelló or José Luis Sanchidrián, among other specialists in prehistoric imagery.
His study includes a review of the main linguists of the Tartesian script, Jürgen Untermann, Jesús Rodríguez Ramos, Manuel Gómez Moreno, Javier de Hoz and José Antonio Correa, who consider Tartesia writing to be a local script with Phoenician and Greek orientalizing contributions. According to Ramírez, in cultures of China, Chaldea, Egypt or in the northwest of India, the ideograms or prehistoric symbols were the basis for the creation of a written code or phonetic writing.
"The local prehistoric ideograms were the basis of various language communities to develop their own phonetic writings, and this is the same model of the Iberian Peninsula."
http://elcorreoweb.es/cultura/un-ar...5D6vs-F5ozdB8IuoWzeOFWRtYzZ8OhVzWo5UBd5v0Gc5s
