The Mythological Significance of the Bosnian Pyramids

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A Study by

Nenad Michael Djurdjević

Independent Researcher

2011

The Mythological Significance of the Bosnian Pyramids

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ABSTRACT

In this paper, I investigate how mythology has influenced daily life and religious beliefs of some

Old European cultures, and how mythological features may have played a key role in the

construction of the Bosnian Valley of the Pyramids.

I will examine whether the link between landscape features and mythological elements can

increase our understanding of pyramid architecture, and if such approach may give some

insight into the mythological significance and purpose of the Bosnian pyramids. I also will

suggest that a deeper understanding of Old European mythological beliefs could provide basis

for future research and may indicate a sense of direction in the analysis of what I call primordial

artifacts, i.e., artifacts closely related to the Old European primordial myth of creation.

I conclude that, among ancient pyramid builders, the concept of primordial pyramid indicates a

close relationship between natural (unconstructed) and artificial (constructed) features, and

that the ancient pyramid complex in Visoko replicates the key elements of a mythological

landscape:

- sacred mountains of earth and stone (primordial pyramids);

- meandrous underground labyrinths, water, and primordial artifacts lying within the

earth; and

- primordial forces linking them all together.

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Acknowledgements

First of all, I would like to share my appreciation for all the participants in the 2nd

International

Scientific Conference, Bosnian Valley of the Pyramids 2011, and for all those who made this

lecture possible.

I would like to thank my Bosnian friends and research assistants for encouraging me to pursue

my research, for providing invaluable assistance, and for motivating me to continue on my path

even when it was difficult.

I would like to thank Dr. Semir Osmanagić for this fantastic discovery, for his courage and

perseverance in the face of great opposition, and for making all of this possible.

I also would like to thank the project’s many opponents for instilling in me a fierce passion to

continue my research.

Thank you all for making this possible!

“The eyes of the Snake

very centre of the world

mythical water stream in

Marija Gimbutas, The Goddesses and Gods of Old Europe

Goddess stare from the

and Gods of Old Europe: Myths and Cult Images, p. 112

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Goddess stare from the

– a sphere with a

the centre.”

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Mythology of Old Europe: The Key to Understanding the Bosnian Pyramids

The perception of a cyclic universe driven by mystical forces was a fundamental element of Old

European culture. Unlike modern humans, people in the ancient world perceived the cosmos, the stars,

the earth, and life itself as parts of a whole. People were aware that the illusion of separateness

observed in the sky and on earth was an illusion, and that wholeness was the ultimate truth.

In Old Europe, people believed their myths as completely and absolutely as we believe in science. They

seem to have felt, in their cultures and in their times, that their myths were as true, as efficient

explanations and organizations of the universe, as we believe our scientific explanations to be. The

purpose of this paper is to use science to allow the mythological truth of the Bosnian pyramid complex

to emerge.

All of us are aware of ancient myths and their accompanying sacred symbolism, because these things

are part of the world we live in today. But when we study history, when we consciously and rationally

try to understand our past, many of us – even learned scholars – tend to discount myths.

We contrast myth and reality. The first is subjective, unreal, incomprehensible, a lie; the second is

objective, real, comprehensible, the truth. Such an attitude toward myth leads us to ignore or deny solid

evidence and prevents us from discovering reasonable answers to questions such as why pyramids

represent a worldwide phenomenon, or why the symbol of the Snake Goddess is found in almost in

every ancient pyramid-building civilization, for example, Egypt, Mesoamerica, China, Old Europe, etc.

Although Old European mythological elements can be found in other ancient cultures, the primeval

beliefs coming from Old European soils are far older than those found elsewhere, for instance in ancient

Mesopotamia, Egypt, or Greece. Because of their primeval character, the record of these Old European

mythological elements is generally limited, their origin shrouded in the mists of the past, and their

occult meanings poorly understood. Nevertheless, these universal symbols – the snake, the egg, the

Cross, the Madonna, and others – extend across the sea of time into present day folk art and profoundly

affect the religious life of European and other countries.

The most common sacred symbols found on diverse artifacts throughout Neolithic cultures that

inhabited Old Europe, such as Butmir, Vinča or Cucuteni-Trypillian, fall into two basic categories:

• those symbols associated with water and/or rain and the snake and/or the bird; and

• those symbols associated with the moon, the rotation of seasons, and the perpetuation of life

(fertility and regeneration).

The first category consists of symbols with simple parallel lines, V’s, zigzags, two-dimensional triangles,

and spirals. The second category includes the cross and the encircled cross, which symbolically connects

the four corners of the cosmos (or the world). Symbolic images related to water, and mythical creatures

considered to be the source of water and life, are dominant.

The Cosmic Cross and Four Cardinal Directions

In terms of Old European mythology, the feature of the cosmic cross

directions (N-S E-W), can be observed

Bosnian territory known as stećaks

Photo: Ancient stećak, Goduša, Visoko,

four cardinal directions (N-S E-W).

Note that: the cosmic cross generally

rotational cycles of our galaxy

noticed with the naked eye.

should be distinguished from magnetic north.

The Cosmic Cross and Four Cardinal Directions

Photo: Polychrome painted vase with

emerging from a bull’s horn,

normally associated with water and the

Cucuteni culture, 5th

millennium B

The cosmic cross, with its arms directed to the four

corners of the heavens

widespread symbol among Neolithic cultures of the

Balkan regions.

Six thousand years before the advent of Christianity

the cross expressed the belief that the year and

human existence is a journey

corners of the cosmos. The symbol

the continuance of the cosmic cycle, and the

continuity of earthly life and

In terms of Old European mythology, the feature of the cosmic cross, or

can be observed in both Bosnian pyramids and thousands of tombstones i

stećaks.

Ancient stećak, Goduša, Visoko, aligned to the

generally refers to the

of our galaxy, which can be

. Terrestrial north

magnetic north.

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: Polychrome painted vase with a fourfold symbol

and typical zigzag lines,

with water and the Snake Goddess;

millennium B.C.

with its arms directed to the four

corners of the heavens or the world, was a

widespread symbol among Neolithic cultures of the

before the advent of Christianity,

the cross expressed the belief that the year and

human existence is a journey throughout the four

corners of the cosmos. The symbol give assurance of

he continuance of the cosmic cycle, and the

and the afterlife.

or alignment to terrestrial

ds and thousands of tombstones in the

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The Primordial Egg, The Snake (Bird Goddess)

In Old Europe, the earliest primeval element of the universe was conceived as water, and the mythical

water snake and water bird were considered vehicles of an energy that had its source in water. The

presence of the Snake and Bird Goddess is felt everywhere – on earth and in the sky. Her home is

beyond the primordial waters, and the way leads through meandrous labyrinths, on Earth as in the

Heavens. She rules over the life-giving force of water. Her eyes stare from the very center of the world –

a mythical sphere with a primordial water stream in the center.

Photo: Monumental tripartite vessel with lid painted

with snake-spiral symbolism, Cucuteni culture, 5th

millennium B.C. Its original purpose is still unknown

today.

In Old European mythology and many artifacts

unearthed throughout the Balkan peninsula, the

Snake Goddess and the Bird Goddess appear as

separate deities and also as a single deity. Their

functions are so closely related that it is virtually

impossible to treat them separately. The

Goddess of air and water is at one time a snake,

at one time a bird, and at another time both.

According to Marija Gimbutas, the combination

of the water bird and the water snake represents

divine ambivalence and is a peculiarity of Old

European symbolism.

According to myth, the primordial egg was

created by the cosmic snake, and from the egg

gods have arisen:

"In the beginning all was water. From the

water emerged a cosmic snake with a horned

head. The snake (or the bull or the giant)

created the cosmic egg…"

Abstract paintings on cult vessels of Old

European cultures reveal the formation of the world and the beginning of life from an egg in the midst

of which a germ resided. The egg is enveloped in water, usually depicted by parallel lines, the symbol of

life energy, while the snake winds around the primordial egg.

The primordial egg is a mythological motif known in many creation myths throughout the ancient world,

and it was an omnipresent symbol in Old European cultures. Abstract paintings on vessels of Old

European cultures tell the story of the formation of the world and the beginning of life from an egg in

the midst of which a germ resided. The egg is enveloped in water – usually depicted by parallel lines, the

symbol of life energy – while the snake winds around the primordial egg. It was believed that in the

beginning the egg was laid on the primordial waters of the cosmos and that gods came into existence by

hatching from the egg.

Votive Pyramids of Old Europe

Photo: Tisza clay altar with decorations on each of the four sides. The front side

into two realms and displays a labyrinthine patt

two-dimensional triangle; Tisza culture, Kökénydomb, Hódmezövásárhely, southeastern

B.C.

of Old Europe: Primeval Mounds of Creation

: Tisza clay altar with decorations on each of the four sides. The front side of the votive pyramid

into two realms and displays a labyrinthine pattern: stairs. At the bottom, the Snake Goddess’ face emerges from a

Tisza culture, Kökénydomb, Hódmezövásárhely, southeastern

Photo: Votive pyramid un

Donje Moštre, Visoko, Bosnia and

Herzegovina; 5

(Credits DAI)

The votive pyramid is

with a

dimensional triangles)

related both

Snake Goddess

parallel lines

flowing waters or may

ascension.

All of these

symbolical

underground labyrinth Ravne,

with its meandrous draining

channels filled with water,

primordial artifacts

ascensional energetic field

the pyramids

by Dr. Harr

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of the votive pyramid is divided

oddess’ face emerges from a

Tisza culture, Kökénydomb, Hódmezövásárhely, southeastern Hungary, 5th

millenium

otive pyramid unearthed in

onje Moštre, Visoko, Bosnia and

Herzegovina; 5th

millennium B.C.

(Credits DAI).

The votive pyramid is inscribed

zigzag motif (two-

dimensional triangles) - a symbol

both to water - and to the

Snake Goddess - and vertical

parallel lines, which may refer to

flowing waters or may symbolize

ascension.

these inscriptions may be

symbolically associated with the

underground labyrinth Ravne,

with its meandrous draining

channels filled with water,

primordial artifacts and

ascensional energetic fields of

the pyramids discovered in 2007

arry Oldfield.

Photo: Votive pyramid discovered in the

village of Slatino, Bulgaria, Gradeshnitsa

Slatino-Dikilitash Culture, approx. 4800

BC (Credits F-MU.S.EU.M.)

The Gradeshnitsa culture was an

intrinsic part of Old European

civilization. This became particularly

evident after the decoding of the

Thracian pictographic text, present

on the world-famous votive tablet

from Gradeshnitsa. Among the

diverse artifacts discovered in the

village of Slatino, Bulgaria, is a votive

pyramid. This artifact demonstrates

that the concept of the “primeval

mound" was not an isolated one in

Old European cultures.

The famous Bulgarian archaeologist Bogdan Nikol

sites, made the following, almost prophetic

Settlements:

The prehistoric settlements of the Gradeshnitsa type belong to a common South

Complex. The settlements of the old, the late and the early C

light to the problem areas of the prehistoric past, not only on the Balkans and the South

European subcontinent, but also to the pre

trigger great interest among the most serious

bring due corrections to the existing hypotheses and opinions, and thus, will inevitably lead to new more

sound conclusions.

(Bogdan Nikolov – The Gradeshnitsa Pr

The votive pyramid found in the village of Slatino, like other Old European votive pyramids, is made of

brown-reddish clay with some mineral adulterants. It is decorated on four sides. The upper small base is

inscribed with signs: incised lines and points. It has the form of a hollow truncated pyramid, exactly like

the votive pyramid found in Visoko and the Tisza altar found in Hungary.

In ancient Egyptian religion the offerings set out upon the altars for gods and ancestors were

cones of baked clay with a religious sentence stamped on the base, or a

inscription on each of the four sides

resemblance between the words

referring to human construction in pyramid cultures was the metaphor of the hill.

The preliminary conclusion that can be draw

primeval mound expressed through artifacts may have spread from Visoko all over Old Europe. It means

that the Bosnian Valley of the Pyramids may have been a

inspirational center of primary importance to Old European cultures.

Votive pyramid discovered in the

village of Slatino, Bulgaria, Gradeshnitsa-

Dikilitash Culture, approx. 4800

was an

ld European

his became particularly

evident after the decoding of the

Thracian pictographic text, present

votive tablet

Among the

discovered in the

a votive

pyramid. This artifact demonstrates

“primeval

ound" was not an isolated one in

The famous Bulgarian archaeologist Bogdan Nikolov, who spent a lifetime working

sites, made the following, almost prophetic, statement in his book, The Grade

The prehistoric settlements of the Gradeshnitsa type belong to a common South

he old, the late and the early Chalcolithic period at Gradeshnitsa

light to the problem areas of the prehistoric past, not only on the Balkans and the South

European subcontinent, but also to the pre-historic period in West Asia Minor. Undoubtedly, they will

trigger great interest among the most serious scientific circles and will raise new questions, as well as


The Gradeshnitsa Prehistoric Settlements, Science and Art Press, Sofia, 1974)


reddish clay with some mineral adulterants. It is decorated on four sides. The upper small base is

incised lines and points. It has the form of a hollow truncated pyramid, exactly like

the votive pyramid found in Visoko and the Tisza altar found in Hungary.

In ancient Egyptian religion the offerings set out upon the altars for gods and ancestors were

cones of baked clay with a religious sentence stamped on the base, or a small stone pyramid with an

inscription on each of the four sides. The votive symbolized a gift. Interestingly, there is a close

resemblance between the words TEI, a "gift," and TAU, a "hill." And one of the most important idioms


The preliminary conclusion that can be drawn is that the idea, tradition, and religious concept of

ed through artifacts may have spread from Visoko all over Old Europe. It means

that the Bosnian Valley of the Pyramids may have been a truly unique

center of primary importance to Old European cultures.

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lifetime working on the Gradeshnitsa

The Gradeshnitsa Prehistoric

The prehistoric settlements of the Gradeshnitsa type belong to a common South-Eastern European

halcolithic period at Gradeshnitsa bring new

light to the problem areas of the prehistoric past, not only on the Balkans and the South-Eastern

historic period in West Asia Minor. Undoubtedly, they will

scientific circles and will raise new questions, as well as


d Art Press, Sofia, 1974)


reddish clay with some mineral adulterants. It is decorated on four sides. The upper small base is

incised lines and points. It has the form of a hollow truncated pyramid, exactly like

In ancient Egyptian religion the offerings set out upon the altars for gods and ancestors were often

small stone pyramid with an

The votive symbolized a gift. Interestingly, there is a close

And one of the most important idioms


and religious concept of

ed through artifacts may have spread from Visoko all over Old Europe. It means

truly unique religious, cultural and

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The Primordial Pyramid and Mythological Landscape

Over the past two hundred years throughout the modern world, scientists have attempted to see

human life as an entirely rational affair, and have turned to reason to organize human experience. The

result has been an insistence that our understanding of the universe and of human experience is more

real, more true than that of all human beings before us. Such an attitude has been responsible for many

of the problems experts have encountered during the analysis of geological and artificial features, as

well as specifically during scientific analyses of the artifacts and monuments of the Bosnian pyramids.

Many of the project's opponents have disputed from the beginning the very existence of the Bosnian

pyramids, claiming that the great structures of the Visoko valley are "natural" rather than constructed,

and therefore that the entire archaeological project is a "hoax." They have pretended to use science to

make their claims, but in general this science was performed with an agenda from behind a keyboard,

not open-mindedly out in the field.

It is quite interesting to note that some scientists cannot come to terms with the fact that natural

elements such as soil and stone may have value in pyramid construction. To these scientists, artificial in

pyramids is often merely reduced to "a wall built with stone blocks." Modern scientists continue to insist

on separating what for ancient pyramid builders was impossible to separate: the natural and the

artificial.

The archaeological record has shown that in many ancient cultures the construction of sacred

mountains incorporated substantial mass from natural hills, a highly efficient building method. Because

in pyramid cultures the most important metaphor in human construction was the hill, the primordial

pyramid should not be understood as simply a cultural design or mental template imposed upon a

natural landscape or existing natural landmark, but rather as the acknowledgment of a necessary

relationship between natural and artificial forms.

A polarized debate over natural features versus man-made is both unnecessary and self-defeating.

The pyramid builders of the Visoko valley gave great importance to the natural landscape. Surrounded

by earthen hills, stone, natural caves, and water, they must have attributed to the landscape enormous

power and deep meaning. Archaeological records from Mesoamerican sites show many examples of

pyramids built by the methods of enlarging and partially terracing natural hills. The El Duende pyramid

in Guatemala is one of many pyramids giving the impression of a single massive structure, and in which

the close relationship between natural and constructed forms is evident.

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Traces of primordial mythology in the historical record of Visoko:

- King Tvrtko's Emblem

Once a major Neolithic settlement belonging to the

Butmir culture, historical Visoko (Visoki) became the

capital of King Tvrtko's medieval Bosnian state and the

spiritual centre of the controversial Bosnian Church. The

shield and coat of arms of Bosnian King Tvrtko I

Kotromanić (1353 – 1391), once kept in the fortress

Visoki and today in the Franciscan Monastery in Kraljeva

Sutjeska, is adorned with occult and ritual symbols. Each

of the symbols has an occult meaning and purpose. These

symbols have survived the millennia and can still be

found depicted on King Tvrtko's emblem.

Preliminary examination and analysis of the emblem

made by co-researcher Mrs. Gabriele Lukacs suggest that

the emblem resembles the topography of the Bosnian

Valley of the Pyramids. According to Mrs. Lukacs, the

shield is composed of the sun (star), the crescent moon and crowned dragon (snake) bringing love

(holding a heart in its beak?). According to Mrs. Lukacs, the geometric pattern of the emblem is a

representation of the pattern formed by the Bosnian pyramids. The snake's body correctly represents

the topographical flow of the Fojnica river.

I believe that a deeper analysis of these symbols will reveal that they are closely related to the Old

European myth of creation, and that such an analysis may reveal more clues about the Bosnian

pyramidal complex and its intended functions. A supplementary analysis of Bosnian folklore and

archaeological artifacts of the Visoko valley will be useful in this arena.

It is evident at first sight that the creature depicted in the middle of the emblem is the representation of

the mythical Snake or Bird Goddess. In fact, it is a typical combination of both: a creature with the body

of a snake and the head and beak of a bird, forming a single deity: a dragon. The goddess is adorned

with symbols related to rituals of water (the flowing rivers of life), creation, fertility, protection and

wisdom. This figure is the primeval serpent who ruled the world and who holds the primeval egg in his

beak, rather than a heart (A heart would have been out of context.) According to ancient myth, the

horned snake created the cosmic egg, and the egg split in two, and from the upper part came the sky,

and from the lower part came the earth. The Snake Goddess wears horns of consecration, related to bull

symbolism, and the Fleur de Lys crown, a flower symbol associated with King Tvrtko.

Another symbol depicted on the emblem, also related to bull symbolism, is a crescent moon,

representing the bull's horns. Hundreds of artifacts on which the "horned snake goddess" is depicted

appeared in the early Vinča culture near Belgrade, as well in other areas of the Balkan peninsula. Marija

Gimbutas link the goddess to lunar cycles and suggest her kinship with earlier female deities.

Finally, the star symbol on the left side of the Snake Goddess may represent the star Aldebaran, as

suggested by Hungarian mathematical engineer Dénes Joó. According to Joó, the pyramid complex in

Visoko is a reflection, the inverse projection, of the star grouping Hyades, inside the constellation

Taurus. Supplemental analysis is presented in the addendum of this paper.

- The Ban Kulin's Plate and Myth of Fertility

Photo: Ban Kulin’s plate, kept in the Visoko

Ban Kulin was a powerful Bosnian Ban who ruled from 1180 to 1204 first as a vassal of the Byzantine

Empire and then of the Kingdom of Hungary. Many consider him the father of the Bosnian State. He

practiced a policy of religious freedom almost unique for his time.

Bosnia's golden age, and he is a common hero of Bosnian national folk tales.

The most famous folk tale says that he was "a favorite of the fairies", so that during his rule "plum trees

always groaned with fruit and the yellow corn fields never ceased to wave in the fertile plains."

Curiously, Ban Kulin's plate, found in Biskupići near Visoko, is depicted with

mentioned at the beginning of this paper, in Neolithic communities of Old Europe the encircled cross

was adopted as the symbol of fertility. Hundreds of dishes, bowls, vases and other artifacts dating back

to 6000 BC have cross and cosmic snake designs. The consistent appearance of these ideograms

suggests that they were thought to be necessary to promote the recurrent birth and growth of plant,

animal, and human life. Life is present only wher

nature is not obstructed by the forces of death, as during Ban Kulin's rule.

Recent research has shown that in Visoko, on and around the pyramids gr

plant species not found elsewhere in Bosnia. It's yet another

the service of a larger truth.

's Plate and Myth of Fertility

the Visoko Homeland Museum, depicted with e 6 encircled crosses

was a powerful Bosnian Ban who ruled from 1180 to 1204 first as a vassal of the Byzantine


practiced a policy of religious freedom almost unique for his time. His rule is often remembered as

Bosnia's golden age, and he is a common hero of Bosnian national folk tales.

that he was "a favorite of the fairies", so that during his rule "plum trees


ulin's plate, found in Biskupići near Visoko, is depicted with several encircled crosses. As



s and cosmic snake designs. The consistent appearance of these ideograms


animal, and human life. Life is present only where there is no stagnation and

nature is not obstructed by the forces of death, as during Ban Kulin's rule.

Recent research has shown that in Visoko, on and around the pyramids grow medicinal and aromatic

not found elsewhere in Bosnia. It's yet another beautiful example how in Bosnia

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ncircled crosses

was a powerful Bosnian Ban who ruled from 1180 to 1204 first as a vassal of the Byzantine


His rule is often remembered as

that he was "a favorite of the fairies", so that during his rule "plum trees


several encircled crosses. As



s and cosmic snake designs. The consistent appearance of these ideograms


where the regularity of

ow medicinal and aromatic

ample how in Bosnia, myth is in

- The Legend of the Tiny Eggshell An old legend from Visoko says that, shortly after the Ottoman conquest, the Turks were told by an old

lady who lived at the foot of Visočica

under Visočica there's "something mysterious wrapped by two shells", that one part is made of earth

and irrigated by the waters, while the other part is an "eggshell", thin and fragile. The o

warned the Turks that the eggshell should not become damaged or destroyed, because a great disaster

may occur in the valley. The legend concludes that the Turks were so scared of the story that they

preferred staying far away from Visoko, and they

Another interesting testimony comes from Hrvoje Zuijć, a co

daughter of an owner of a piece of land on the southern side of the Pyramid of the Sun. The woman told

him that her ancestors were obliged by their ancestors never to sell this land, because Visočica keeps a

secret. The women told him that once she inherits this land, she will not sell it and that she will ask her

children to do the same. According to the w

by many snakes which will not let unwanted visitors harm the sanctity of that place. At that time Hrvoje

Zujić still doubted the existence of an underground river below the pyramid and valley, but r

discoveries of channels containing water inside the Ravne underground labyrinth indeed suggest that

the myth may be true.

evidence suggests that mythological features

landscape at a variety of scales.

such a deep mystery, by suggesting that the

elements of a mythological landscape: mountains of earth and stone, meandrous underground

labyrinths, water and primordial artifacts,

The Legend of the Tiny Eggshell

An old legend from Visoko says that, shortly after the Ottoman conquest, the Turks were told by an old

lady who lived at the foot of Visočica that the place keeps a big secret. The old women also said that


and irrigated by the waters, while the other part is an "eggshell", thin and fragile. The o



away from Visoko, and they proceeded on to the towns of Travnik and Jajce.

Another interesting testimony comes from Hrvoje Zuijć, a co-researcher from Croatia, who talked to the




children to do the same. According to the woman, the entrance into the Pyramid of the Sun is guarded


Zujić still doubted the existence of an underground river below the pyramid and valley, but r


Photo: Water channel recently

Visoko

As previously mentioned, in Old Europe the

primeval element of the universe was conceived as

water, and the mythical water snake was

considered the vehicle of an energy which has its

source in water. It is said that

beyond these waters, and the way goes through

"meandrous labyrinths", and that she rules over

the life-giving force of water, while her eyes stare

from the very "center of the world"

sphere with the primordial water stream in the

center.

The similarities between the primordia

legends, and archaeological evidence

and it is difficult to believe that it is

coincidental. These similarities

construction of the pyramid complex

have been inspired and informed by

myth of creation.

Although advancing such hypothesis

unconventional, the historical and

that mythological features may have played a key role in the transformation

. Such hypothesis, however, will confront the scientific community with

such a deep mystery, by suggesting that the ancient pyramid complex in Visoko replicates t

landscape: mountains of earth and stone, meandrous underground

, water and primordial artifacts, and primordial forces linking them all together.

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An old legend from Visoko says that, shortly after the Ottoman conquest, the Turks were told by an old

that the place keeps a big secret. The old women also said that


and irrigated by the waters, while the other part is an "eggshell", thin and fragile. The old women



proceeded on to the towns of Travnik and Jajce.

researcher from Croatia, who talked to the




oman, the entrance into the Pyramid of the Sun is guarded


Zujić still doubted the existence of an underground river below the pyramid and valley, but recent


recently discovered in Ravne,

As previously mentioned, in Old Europe the

primeval element of the universe was conceived as

water, and the mythical water snake was

considered the vehicle of an energy which has its

source in water. It is said that "her home" is

beyond these waters, and the way goes through

, and that she rules over

giving force of water, while her eyes stare

"center of the world" – a mythical

sphere with the primordial water stream in the

the primordial myth, local

and archaeological evidence is striking,

it is difficult to believe that it is just

These similarities suggest that the

pyramid complex in Visoko may

and informed by the primordial

dvancing such hypothesis may appear

historical and archaeological

in the transformation of the

Such hypothesis, however, will confront the scientific community with

ancient pyramid complex in Visoko replicates the key

landscape: mountains of earth and stone, meandrous underground

and primordial forces linking them all together.

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Photo: Partially submerged draining channel,

Ravne maze, Visoko, BiH

Water is the primordial element that

underlies creation myths in almost

every ancient culture. Egyptian, Assyro-

Babylonian and Hindu myths tell us that

all human beings, gods and man, arose

from the primordial ocean.

At the beginning of the Judeo-Christian

story of creation, the spirit of God is

described as stirring above the waters,

and a few lines later, and then God

creates a firmament in the midst of the

waters to divide the waters. In the Koran

we find the words:

We have created every living thing from water.

Rivers, streams, springs and wells were

perceived by ancient cultures as the

dwelling place of supernatural beings. In

some cases streams or wells were

oracular and it was firmly believed that

water was inhabited by spirits, and that

these spirits could act as an intermediate

between the living and the spiritual

world.

Water was one of the key elements that

together with hills and caves jointly

ordered the Maya world. The

underground world of Mayan pyramid

complexes is characterized by the

presence of underground rivers, streams,

and lakes, a realm believed to be

inhabited by powerful supernatural beings.

Photo: Small underground lake, Ravne, Visoko, BiH

Water divinities of various kinds appear in the mythologies of many cultures, and not surprisingly the

Great Snake Goddess is found in Old European mythology. This is the great serpent who is the owner of

the night, the deity that swallows all the water in the world, becoming sometimes an unfriendly spirit

that lifts up columns of dust several hundred meters in height, the dragon that mounts on high,

becomes tall, vast, gigantic. She is the mythical water snake, an “energy” which has its source in water.

Her home is beyond these waters, and the way goes through meandrous labyrinths, while her eyes stare

from the very center of the world – a mythical sphere with the primordial water stream in the center.

- Primordial Artifacts

Photo: Egg-shaped monolith and triangular stone

From human prehistory onward, one of the objects that has always

The egg is associated with the primordial condition, creation, birth, fertility, rebirth, regeneration

(karma), and, according to the primordial myth, the egg contains the seed of all life. In many ancient

cultures around the world it is said that the

has been referred to as the "Cosmic Egg."

Primordial Artifacts

shaped monolith and triangular stones found in the Ravne maze, Visoko, BiH

From human prehistory onward, one of the objects that has always had a profound meaning is the



cultures around the world it is said that the earth being hatched from a primeval egg, and therefore it

has been referred to as the "Cosmic Egg."

Photo: Egg-shaped stone depicted with a labyrinth motif,

Lepenski Vir, Serbia.

Neolithic burial jars of Old European cultures were

shaped, while clay eggs were often buried with the dead,

symbolizing the regenerative power of the Great Goddess.

primary symbolism of Old European burials focuses on the tomb

as the womb for the regeneration of life.

Triangular stones were also considered symbols of regeneration

and they inspired the shapes of Old European burial sites

burial site of Lepenski Vir on the Serbian bank of the Danube,

more than fifty reddish limestone foundations of triangular

structures were found that appear to have been used for

death/regeneration rituals. In each case, the entrance was lined with

stones which led to a central hearth surrounded by triangular stones.

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Ravne maze, Visoko, BiH

had a profound meaning is the egg.



earth being hatched from a primeval egg, and therefore it

labyrinth motif, 6500-5500 B.C.,

burial jars of Old European cultures were often egg-

while clay eggs were often buried with the dead,

of the Great Goddess. The

primary symbolism of Old European burials focuses on the tomb

as the womb for the regeneration of life.

considered symbols of regeneration,

e shapes of Old European burial sites. At the

burial site of Lepenski Vir on the Serbian bank of the Danube,

more than fifty reddish limestone foundations of triangular

t appear to have been used for

death/regeneration rituals. In each case, the entrance was lined with

stones which led to a central hearth surrounded by triangular stones.

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There are many rock burial markers with egg- or womb-shaped carvings in Old Europe and some other

Mediterranean areas. These womb carvings contain skeletons wrapped in different materials in fetal

position. The most common symbols associated with these wombs are triangles, spirals, and concentric

circles and the use of red ochre accompanying these feminine sculptures were also snake/ bird masks

and sometimes uterine symbols. The grave-as-womb was seen as a purifying chamber, a transformation

cocoon between two worlds.

And here, once again, the local legend of ‘The Tiny Egg-Shell’ pop into one’s mind:

Under Visočica there's something mysterious wrapped by two shells, that one part is made of earth, and

irrigated by the waters, while the other part is an eggshell, thin and fragile. The eggshell should not

become damaged or destroyed, because a great disaster may occur in the valley.

- The Old European

The Old European Sacred Script

Photo: K-1 monolith with primeval inscriptions;

detail, Ravne underground labyrinth, Visoko

(Credit: Daniel Pach)

In recent years, interest has been renewed

in incised script-like signs, now referred to

as "Old European Script," also known as

Vinča Script (6000-5000 B.C.).

Although evidence of these signs had

existed since the late 19th century, it was

the discovery of tablets at a nearby site in

Tartaria, Romania in 1964 that created a

lot of controversy regarding both the origin

and chronology of the signs.

The first category of symbols of the “Sacred

Script," as Marija Gimbutas named it,

consists of symbols with s

lines, V’s, zigzags, two

triangles and spirals; the second category

includes the encircled cross, which

symbolically connects the four corners of

the cosmos or the world. However,

symbolic images related to water and

mythical creatures considered to be the

source of water and life are dominant.

According to Gimbutas, in ancient times

these signs belonged to both the practical

and religious spheres and are usually found

on stones, ritual vessels, altars, and small

tables, plaques, and intriguingly, small

anthropomorphic sculptures.

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lith with primeval inscriptions;

, Ravne underground labyrinth, Visoko

In recent years, interest has been renewed

like signs, now referred to

as "Old European Script," also known as

5000 B.C.).

Although evidence of these signs had

existed since the late 19th century, it was

of tablets at a nearby site in

Tartaria, Romania in 1964 that created a

lot of controversy regarding both the origin

and chronology of the signs.

The first category of symbols of the “Sacred

Script," as Marija Gimbutas named it,

consists of symbols with simple parallel

lines, V’s, zigzags, two-dimensional

triangles and spirals; the second category

includes the encircled cross, which

symbolically connects the four corners of

the cosmos or the world. However,

symbolic images related to water and

atures considered to be the

source of water and life are dominant.

According to Gimbutas, in ancient times

these signs belonged to both the practical

and religious spheres and are usually found

on stones, ritual vessels, altars, and small

s, and intriguingly, small

anthropomorphic sculptures.

Conclusions

A variety of historical and archaeological evidence

represents an ideational landscape with key elements

- sacred mountains of earth and stone (primordi

- meandrous underground labyrinths

- primordial forces linking them all together.

The concept of the primordial pyramid suggests a close relationship between natural (unconstructed)

and artificial (constructed) features. Although transforming natural elevations into pyramids may have

required less material and labor, pyramid architectur

that they become dominant factors in the architectural conception and creation of the Bosnian

pyramids. Like any other culture that has built pyramids, the pyramid builders of the Visoko valley

venerated mountains, hills, caves, and water, and unlike modern scientists, they believed that earth,

stone, plants, and animals were sacred.

The underground tunnel network, Ravne, is characterized by meandrous labyrinths, drainage channels

containing water, underground lakes, primordial artifacts such as egg

shaped and triangular stones, and primeval inscriptions. All these may be linked to ancient water cults,

cults of fertility, regeneration rituals, and powerful supernatural domains.

The latest research on the monoliths unearthed in

they could be artificial creations made of clay and ceramic. They seem to be composed of two parts, a

base and a lid, and may contain something inside.

Photos: Laboratory analysis has shown that the eight

is an artificial ceramic sculpture made of two parts, a base and a lid; geo

suggested it may contain another object.

archaeological evidence suggests that the pyramid complex in Visoko

ideational landscape with key elements referring to the Old European myth of creation

ns of earth and stone (primordial pyramid);

underground labyrinths, water, and primordial artifacts lying within the earth

linking them all together.



required less material and labor, pyramid architecture and mythological beliefs are so closely related



untains, hills, caves, and water, and unlike modern scientists, they believed that earth,

stone, plants, and animals were sacred.


ound lakes, primordial artifacts such as egg- or womb-


cults of fertility, regeneration rituals, and powerful supernatural domains.

The latest research on the monoliths unearthed in the Ravne underground labyrinth has suggested that


base and a lid, and may contain something inside.

: Laboratory analysis has shown that the eight-ton K-2 megalith, previously believed to be of natural origin,

is an artificial ceramic sculpture made of two parts, a base and a lid; geo-radar inspection of megalith K

object.

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pyramid complex in Visoko

European myth of creation:

lying within the earth; and



e and mythological beliefs are so closely related



untains, hills, caves, and water, and unlike modern scientists, they believed that earth,


- shaped monoliths, leaf-


the Ravne underground labyrinth has suggested that


2 megalith, previously believed to be of natural origin,

radar inspection of megalith K-2 has

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The architectural layout and construction of the underground tunnel network seems to have been

inspired by the Old European myth of creation related to the Snake Goddess, sometimes also known by

the name "The Mistress of the Labyrinth." Mythological narrative explains that in the center of the spiral

labyrinth a creature waits, who is kin to the Goddess. Thus Ravne symbolizes the palace or cult place

where the goddess abides. The recent discovery of unusual claw marks on the walls inside the

underground labyrinth is an evocative clue in this mythological mystery.

Photo: Pottery fragment depicted

with snake-spiral motif (approx.

5000 B.C.), Okolište, Visoko, Bosnia

and Herzegovina

Artifacts such as water

containers and religious objects

belonging to the Butmir culture

are characterized by band-

painted and - incised

ornamental motifs. Spirals, rising

snake-spirals, zigzags, and two-

dimensional triangles are

dominant motifs.

Unfortunately, most of the

museums in Bosnia still remain

unreconstructed, leaving a large number of collections and thousands of artifacts unearthed in the area

of Visoko (Okolište, Donje Moštre, Zbilje and Kralupi etc.) unexhibited due to the lack of gallery space.

Lithuanian archaeologist Marija Gimbutas, who, with Alojz Benac excavated several Butmir sites, studied

for over thirty years the symbols and religious beliefs of Old European cultures. Gimbutas possessed a

tremendous linguistic expertise, and her ability to read sixteen European languages enabled her to study

virtually all of the archaeological literature. Her work has been misunderstood by many and was in large

part dismissed by the remaining orthodox archaeologists (almost all of whom are male), claiming that

her work was all speculation. It may never have occurred to these men that the archaeology they have

been preaching could also be reduced to mere speculation. These mostly male archaeologists must have

felt particularly irritated by Marija’s tendency to present prehistoric societies as peaceful, egalitarian

matriarchies, in counterpoint to the modern world's less peaceful, less egalitarian patriarchies.

But thanks to Gimbutas’ work, and thanks to Dr. Osmanagić’s monumental discovery, politically oriented

archaeologists and project opponents risk missing yet another great history-making event. In this very

moment, the project of the Bosnian valley of the pyramids is taking giant steps forward in understanding

the pyramids and their attendant structures: tunnel networks, temples, artifacts, and sacred writings.

As the research continues, it becomes almost impossible to look at the architecture of the pyramids and

tunnels without seeing the ancient sacred beliefs that underpin them. Undoubtedly, the pyramid

complex is myth made manifest, the cosmic principle of creation in stone. In Visoko, the realm of the

Snake Goddess, traced by the sun’s orbit, has survived thousands of years. The sun, when it goes down

in the west, reaches the hidden fountain of life and at sunrise is reborn in the east. The divinity lives

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above the heavenly waters and deep within the Earth. Her eyes stare from the very center of the world

where the seeds of creation reside, and through which the soul, like the sun, must pass for resurrection.

The majestic pyramids of Visoko symbolize the mythological "Sacred Mountains," which emerged huge

and imposing from the primordial ocean at the beginning of time. The pyramids, the underground

labyrinth, and the primordial artifacts are all key elements of a mythic narrative of the cosmic principle

of creation and re-creation, a narrative promising fertility, rejuvenation, and abundance.

One question remains, and that is whether or not the Old European cultures that inspired the

construction of the Bosnian pyramids were inspired by an even older civilization. May we all live long

enough to find the answer to that question.

Thank you.

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Bibliography, References and Sources:

1974 Gimbutas, Marija. “The Gods and Goddesses 7000 – 3500 BC.”

University of California Press Berkeley and Los Angeles, California

Thames and Hudson LTD, London

1994 Buffie Johnson “”Lady of the beasts: the Goddess and her sacred animals”

Inner Traditions Interntional, Rochester, Vermont, USA

Originally published: San Francisco: Harper & Row, c1988.

1999 Wendy Ashmore and A. Bernard Knapp “Archaeologies of Landscape”

Blackwell Publishers Inc., Malden, Massachussetts, USA

Blackwell Publishers Ltd, Oxfrod, UK

1999 Susan Milbrath “Star Gods of the Maya” Astronomy in Art, Folklore, and Calendars

University of Texas Press

www.utexas.edu/utpress/books/milsta.html

2001 Gimbutas, Marija. “The living goddesses.”

University of California Press Berkeley and Los Angeles, California

University of California Press, LTD. , London, England

2002 Lynn V. Foster “Handbook to Life in the Ancient Maya World”

Facts on File, Inc., New York, NY 10001, USA

Oxford University Press, Inc.

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2007 Gerald Massey “Ancient Egypt The Light of the World”

Cosimo, Inc., New York, NY, USA

Ancient Egypt was was originally published in 1907

2008 Römisch Germanische Kommision

Okolište und Umgebung (Bosnien-Herzegovina), Rekonstruktion spätneolithischer Siedlungsprozesse in

Visoko-Becken

2008 Arch. Dénes Joó “Cosmic Connections of the Pyramid Complexes”

1st

ICBP 2008 Conference Paper “Mapping at Visoko”

Budapest, Hungary

2008 Gabriela Lukcas, Mg. rer.soc.oec., graduate Vienna University, Austria

“ The Pyramids of the Bosnian Dragon”

www.european-pyramids.eu

2009 Eng. Hrvoje Zujić “Bosnian Pyramids”

Osijek, Croatia

2010 Dr. Sci. Semir Osmanagić “Podzemni Labirint Ravne – Novi Elementi”

www.piramidasunca.ba

• Institute of Transcendent Science: www.institutet-science.com/en/inste.php

• F-MU.S.EU.M. www.europeanvirtualmuseum.net/

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Copyright © 2011 Nenad Michael Djurdjević

No part of this online publication may be reproduced in any forms or any means without the prior

written permission from the author.

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Addendum

The Bosnian Pyramids Vedic Connection

By Richard Merrick

Evidence of Vedic Cosmology and Harmonic Science in the

Pyramid Civilization of Ancient Bosnia

were named from the emblem of the medieval Bosnian King Tvrtko. This symbolism descends

from a sacred mountain named Meru described in the Rigveda, believed to originate in pre

Vedic Indo-Iranian culture. Evidence is presented here to establish a link to this pre

civilization, founded on astrotheological fertility symbolisms and harmonic physics.

To begin with, the trinity symbolism on the emblem of King Tvrtko

the Babylonian and Akkadian gods Ba’al, Asherah and Lilith (Fig. 2).

serpent god while Asherah was his wife and mother goddess associated with the planet Venus.

Lilith was then the goddess of the night

depicted with serpents. In this way, Asherah and Lilith were a feminine duo for the birth and

ressurection of sun god Ba’al.

However, this astrotheological

Valley civilization. In the Hindu Vedas, the same trinity is found as the sun god Indra, the

Venusian pair Vena-Shukra and Earth

deities were likely brought to Babylonia by a pre

China, establishing colonies while spreading their beliefs.

Carried along with this trinity was the Vedic legend of a transcendental mountain named Meru,

the model for all other sacred mountains and prime catalyst for pyramid temple building. Meru

was believed to be a transcendental mountain extending from the deepest ocean up into space.

Paved with gold and populated by dancing gods, the summit of Meru was believed to be ne

the stationary North Star or Polaris, presumably because all other stars appeared to rotate

around it. This is our earliest concept of heaven.


Pyramid Civilization of Ancient Bosnia

Fig. 1. Bosnian Pyramid of the Sun

ABSTRACT

Concerning the pyramids near the

town of Visok

Herzegovina, this paper seeks to

explain the symbolisms associated

with several artifacts discovered in

this region, some carbon dated as

old as 10,000 years. The three

pyramids, Sun, Moon and Dragon,


from a sacred mountain named Meru described in the Rigveda, believed to originate in pre

an culture. Evidence is presented here to establish a link to this pre


egin with, the trinity symbolism on the emblem of King Tvrtko of Bosnia probably refers to

the Babylonian and Akkadian gods Ba’al, Asherah and Lilith (Fig. 2). Ba’al was the male solar


Lilith was then the goddess of the night, associated with the Moon and death, who was oft


ressurection of sun god Ba’al.

However, this astrotheological trinity is much older, having perhaps originated in the Indus


Shukra and Earth- Moon goddesses Kali-Candi. These and other Vedic

ikely brought to Babylonia by a pre- Vedic culture extending from North Africa to

China, establishing colonies while spreading their beliefs.


other sacred mountains and prime catalyst for pyramid temple building. Meru


Paved with gold and populated by dancing gods, the summit of Meru was believed to be ne


This is our earliest concept of heaven.

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Fig. 1. Bosnian Pyramid of the Sun

Concerning the pyramids near the

town of Visoko in Bosnia and

Herzegovina, this paper seeks to

explain the symbolisms associated

with several artifacts discovered in

this region, some carbon dated as

old as 10,000 years. The three

pyramids, Sun, Moon and Dragon,


from a sacred mountain named Meru described in the Rigveda, believed to originate in pre-

an culture. Evidence is presented here to establish a link to this pre-Vedic


of Bosnia probably refers to

Ba’al was the male solar


, associated with the Moon and death, who was oft


trinity is much older, having perhaps originated in the Indus


Candi. These and other Vedic

Vedic culture extending from North Africa to


other sacred mountains and prime catalyst for pyramid temple building. Meru


Paved with gold and populated by dancing gods, the summit of Meru was believed to be near


Fig. 2. Babylonian / Bosnian astrotheological symbolism.Fig. 2. Babylonian / Bosnian astrotheological symbolism.

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It is important to note that Indian author Pingala

as a pyramid of numbers that can be added together diagonally into the well

series {1, 1, 2, 3, 5, 8, 13, 21 ...

a numerological symbolism, the Fibonacci series forms a spiral resembling a coiled serpent

ending at the center or top of Mount Meru. Thus, the numerical pyramid or mountain of

has at its summit the solar serpent deity Indra.

Furthermore, adjacent ratios of Fibonacci numb

1.61538, converge toward the infinite golden mean constant of about 1.618033. In this way,

the sacred pyramidal mountain of Meru could be said to have gold at its center. Through this

numerical symbolism, the Sun, serpents, spirals and gold are all interrelated through the Vedic

cosmology of Mount Meru. With all of this in mind, we can now begin to interpret some of the

artifacts associated with the Bosnian pyramids.

The Votive Pyramids An article on the website www.bosnian

around 4800 BC found in Bosnia, Hungary,

evidence of Vedic cosmology being brought into Old Europe and theological motivation behind

the pyramids near Visoko (Fig. 3).

Fig. 3. Pyramid votives (4800 BC).

Such votive pyramids are symbolic of Mount Meru and other sacred mountains, such as

Sumeru, Moriah, Olympus, Zion and others. Greek key decorations, called

these votives as are layered zigzag patterns. The spiraling key patterns are proto

symbols used to mark sacred sites and temples on Hindu maps. This corresponds to the

diagonal Fibonacci spiral associated with the golden mean inside

patterns are symbols of water and are carved such that the votive pyramid is divided into five

layers. This is a common theme in ancient pyramid building, found in the 5

Babylonian ziggaurats, 5-tiers above

Hindu funeral pyres. As a sacred symbol of ascension to the heavenly summit of Meru in the

afterlife, these votive pyramids are proof positive that Vedic cosmology and astrotheological

It is important to note that Indian author Pingala (4th-2nd century BCE) described Mount Meru

as a pyramid of numbers that can be added together diagonally into the well

series {1, 1, 2, 3, 5, 8, 13, 21 ... ∞} found throughout nature as propor�ons of growth. Taken as

lism, the Fibonacci series forms a spiral resembling a coiled serpent

ending at the center or top of Mount Meru. Thus, the numerical pyramid or mountain of

has at its summit the solar serpent deity Indra.

Furthermore, adjacent ratios of Fibonacci numbers, such as 8/5 = 1.6, 13/8 = 1.625 and 21/13 =



e Sun, serpents, spirals and gold are all interrelated through the Vedic


artifacts associated with the Bosnian pyramids.

www.bosnian-pyramid.com describes several votive pyramids dating

Bosnia, Hungary, Western Bulgaria and Northern Greece. These are


the pyramids near Visoko (Fig. 3).

Fig. 3. Pyramid votives (4800 BC). Credit: Nenad Djurdjevi


Sumeru, Moriah, Olympus, Zion and others. Greek key decorations, called

these votives as are layered zigzag patterns. The spiraling key patterns are proto


diagonal Fibonacci spiral associated with the golden mean inside Meru. Similarly, the zigzag


layers. This is a common theme in ancient pyramid building, found in the 5

tiers above the Kings Chamber in the Great Pyramid of Giza and 5



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2nd century BCE) described Mount Meru

as a pyramid of numbers that can be added together diagonally into the well-known Fibonacci

∞} found throughout nature as propor�ons of growth. Taken as

lism, the Fibonacci series forms a spiral resembling a coiled serpent

ending at the center or top of Mount Meru. Thus, the numerical pyramid or mountain of Mer

ers, such as 8/5 = 1.6, 13/8 = 1.625 and 21/13 =



e Sun, serpents, spirals and gold are all interrelated through the Vedic


describes several votive pyramids dating

Western Bulgaria and Northern Greece. These are


Credit: Nenad Djurdjević


Sumeru, Moriah, Olympus, Zion and others. Greek key decorations, called grecos, are found on

these votives as are layered zigzag patterns. The spiraling key patterns are proto-swastika


Meru. Similarly, the zigzag


layers. This is a common theme in ancient pyramid building, found in the 5-tier organization of

the Kings Chamber in the Great Pyramid of Giza and 5-tier



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concepts were present in Old Europe well before the Great Pyramid of Giza was built in Egypt

around 2560 BC.

* As point of reference, the Biblical astrotheological equivalents would be Jesus Christ as the solar

serpent deity, Mother Mary as the Venusian goddess of fertility and birth and Mary Magdaline as the

Moon goddess of death and resurrection. The name Mary, Meri or Meriam is etymologically related to

Meru, the supposed bridge to heaven. Likewise, the word “mer” refers to the sea, another reference to

Meru emerging from the sea and described as being ringed by seven seas and mountain ranges.

As this astrotheological symbolism was adopted into the Abrahamic religions, Jesus (the solar serpent of

the Sun) was born from Mother Mary (an immaculate birth from the sea) in the same way the planet

Venus gives birth to the Sun as it rises first from the eastern waters. Inversely, Mary Magdaline (the

lunar goddess of resurrection) follows Jesus into death just as the Moon follows the Sun into the night at

sunset. In this way, the two Marys are celestial birth and resurrection symbols for the serpentine son of

the Sun.

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The Bosnian Stećaks

Near the pyramids, a number of tombstones, called stećaks, have been unearthed. These are

large carved rocks in the shape of elongated pentagons or kite-like trapazoids. On each end are

often found two opposing spirals, a motif repeated in other cultures such as the Greeks.

Credit: Nenad Djurdjević National Archaeological Museum, Athens

Fig. 4. Bosnian stećaks Fig. 5. Greek gold jewelry

In fact, the dual spiral designs found in Bosnia resemble those found on ancient Greek jewelry.

Here again we find a connection to swastikas, Fibonacci spirals and Meru. Only here the spiral is

presented as a counterbalanced pair in opposition. Some Buddhist descriptions of Meru, or

Sumeru, are of an hourglass design rather than a single pyramid, suggesting an interlocking and

opposing pair of pyramids with counter-rotating Fibonacci spirals. This is a model not dissimilar

to the dipole vortices of star systems and galaxies and even found in miniature in the opposing

helicies of human ears. Since the Vedas are believed to be a divine message of sruiti, meaning

“that which is heard,” the tombstones offer further evidence for a Bosnian culture founded on

principles of sound, rhythm and vibration.

The pentagonal shape of the stećaks might also be numerologically symbolic of Vena, the

fertility goddess and protector of Meru. This may be because Meru gets its five tiers from the

orbit of Venus as it traces out a pentagonal rosette in the Earth’s sky over an 8-year period. This

orbital cycle was well known in ancient Babylonia and symbolized in the Star of Ishtar, originally

an 8-point star. But because of its five retrogrades and conjunctions with Earth, Venus was also

represented as a pentagram or pentagonal geometry. The Pythagoreans considered the

pentagram sacred and associated it with Aphrodite (Venus) while in India and across the Orient

it was associated with the five levels of Meru. The symbolisms of Mount Meru and the Venus

pentacle always go hand in hand.

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“The Venus symbolism is a dominant symbol throughout Bosnian history. The kite-shaped or

pentagonal form of Bosnian stećaks (tombstones) is not coincidental, and of course it is closely

related with the belief of resurrection. Please be informed that the pentagonal orb appeared

nearby a tripple-stepped-burial, a small pyramid we’ve discovered in Visoko area.”

- Nenad Djurdjević, Independent Researcher

In these stećaks we can now see strong evidence that the same Vedic Meru symbolism and

principles of celestial harmony were brought into Bosnia, creating a society steeped in pyramid

culture.

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Evidence for an Ancient Harmonic Science

When a guitar string is plucked, it naturally forms a standing wave of higher overtones called

the harmonic series. Such harmonic formation is caused by the natural damping action of the

fifth wave partial in the series, which when represented inside a circle creates the shape of a

pentagon. This fifth partial is what keeps the string from resonating apart (exploding) and

instead causes it to naturally die out (Fig. 6).

Of course, every intersection of a pentagram creates a golden section, so the golden ratio

constant represents a damping proportion in nature that acts to “contain” resonance. And, as

this pentagonal interference pattern applies pressure on the standing wave resonance to slowly

kill it, a double spiral of opposing Fibonacci vortices form around two opposing golden ratio

damping locations.

You will notice from this simple explanation of coherent vibration the words “pentagon,” “die”

or “kill” and “double spiral.” All of these ideas are symbolized in the Bosnian tombstone. These

are symbols of Meru and Venus that indicate the departed has joined the gods on the heavenly

summit.

But this Vedic symbolism reveals a deeper knowledge of harmonic principles in nature. For

instance, unfolding the pentagonal rock around its vertical line of symmetry would mark five

equal line segments along the ground. Rolling it along this line would simulate a harmonic wave

equivalent to Partial 5 in the harmonic series. And as a stationary pentagon tombstone, its

double spirals converge to the infinite golden ratios resident inside the harmonic series of any

resonating standing wave. Each of these stećaks properties are evidence of harmonic principles

in nature and the probable existence of a pre-Vedic astrotheological harmonic model not unlike

the one in Fig. 6.

The ancient Indo-Iranians could have developed a similar model from careful astronomical

observations of Venus over several pentagonal cycles ending in about the same place. Since the

8-year pentagonal orbit of Venus is isomorphic to the harmonic model described above, it is my

hypothesis that the orbital resonance between Earth and Venus was caused by a golden mean

damping vortex forming between the two planets in the Sun’s early plasma heliosphere. This

would easily explain the 13:8 orbital resonance between the two planets.

It was this relatively calm damping region in the standing wave vibration of the Sun’s plasma

heliosphere that brought stability to Earth, enabling life to evolve. From this perspective, the

golden ring inside the orbit of Venus could be interpreted as a celestial fertility symbol and

personified into feminine deities.

Fig. 6. Harmonic Geometry, Waves and Fibonacci Spirals.

Fig. 6. Harmonic Geometry, Waves and Fibonacci Spirals.

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In this way, the dual nature of Fibonacci spirals and golden ratios represent a duality of

feminine fertility, first unto Earth and then into the afterlife. Taken together with other

instances of pentagonal damping in nature - the beautiful rose, seed patterns in fruit and the 5-

fold human anatomy - it’s easy to see how the Venus pentacle would become the most sacred

religious symbol in ancient times. Fig. 7. The Vedic / Veda / Vena / Venus Star 5

The Bosnian pyramids and

surrounding artifacts give

testament to an Old European

civilization based on Vedic

cosmology and a spiritual

harmonic science. It was a

society that believed in a

transcendental mountain

bridging the sea and sky,

harmonizing the entire

Cosmos with its people.

Bosnia: Colony of the Vedic

Empire?

The Rigveda was once the

foundation for a global culture

of harmony. It emerged from

what appears to be a most

ancient spiritual science based

on the physics and symbols of

musical resonance. It began as

astronomical observations,

becoming a sacred study of

geometry in nature, resonant

patterns of vibration and

eventually the patterns of proportion between numbers. This was the foundation of worldwide

Vedic Empire colonized by pyramid temples. Colonies of this empire can be identified through

five theological principles intrinsic to Vedic cosmology.

1. Mount Meru as a sacred geometric bridge (or tree) to a golden heaven in the sky,

2. The Sun, Moon, Venus and Earth deities (principle amoung the sky deities) who live as a

hierarchy on Meru,

3. Serpent and Egg as harmonic symbols for energetic resonance and damping in all things -

Cosmos, World and Life,

4. Entheogenic plants used in wine mixtures to resonate the serpent within, ascend Meru and

meet the gods, and

5. Pyramid temples where people took communion to resonate the serpent energy and ascend to

the heavenly summit.

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It is likely that Visoko, Bosnia was one of these pre-Vedic colonies, settled in parallel with others

in North Africa, Mesopotamia, China and later the Americas. To bridge the Bosnian culture with

these other civilizations, artifacts might first be interpreted within the theoretical context of

harmonic physics to establish a common context in Vedic cosmology. Within this context, a

timeline and route of missionary migration can then be more easily established.

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Bibliography 1. Merrick RS., “Interference: A Grand Scientific Musical Theory,” Third Edition, Dallas, Texas,

2009- 2011. ISBN: 978-0-615-20599-1.

2. Kak, Subhash, “Vena, Veda, Venus,” Brahmavidya: The Adyar Library Bulletin, vol. 60, 1996,

pp.229- 239.

3. Djurdjevic, NM, “A Study by Nenad Michael Djurdjevic”, www.bosnian-pyramid.com, 2011.

4. Krupp, EC, “Echoes of the Ancient Skies,” Oxford University Press, New York, Oxford, 1983

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The Mythological Significance of the Bosnian Pyramids

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