A professor from Sankt Petersburg offered a translation of the enigmatic pictograms: “NUN KA SA UGULA PA IDIM KA RAI” – ”The nobleman that knows the secrets will go to heaven”. This version is widely accepted by the defenders of the Tartaria tablets, who connect this idea of life after death to the cult of Zamolxis, an ancient Dacian mithological figure. This doesn’t mean it is the only version available until now.

Another detail they exploit is that two of the tablets have holes in them and can be assembled as a whole; the result – a superimposed esoteric amulet, used in the sacred ceremonials. The signs were considered related to another mysterious artifact, a stone shere covered with pictograms, discovered at Lepenski Vir, a Neolithic village or, perhaps, necropolis, on the Serbian side of the Danube. Similar tablets were discovered in Bulgaria, in archeological locations such as Karanovo or Gracianita.

Still, there are many that don’t approve this theories at all. The arfifacts can’t be dated using the Carbon 14 technology, because the tablets’ state (they are mostly made of sand, which contain any or too little carbon) doee not allow to precisely determine their isotopic chronology. Other incovenients are the unsure stratigraphy of the tablets inside the pit and the uncertain location of the pit inside the stratigraphy inside the archaeological dig. So, the tablets were dated by being compared to similar precisely dated artifacts.

Some claimed that they are fakes and there were some accusations that their discoverer, Nicolae Vlassa, had them brought from Sumer and planted in the tomb, where he claimed he discovered them. A less fierce version is that prehistoric migrating civilizations, coming from Mesopotamia, brought them to the Danubian area when they settled here.

Sumerian writing or genuine cultural European product? The controversy is far from being elucidated.

Author: Iulian Fira

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