The Sayburç Petroglyhs: Interpreting the Limestone Bench's Symbolism. Figure 1 Depicts a prominent limestone bench relief featuring intricate representations of both animal and human figures, situated within the archaeological site in Sayburç. Picture credit: Erhan Yidirim (See guide info in ‘Mentions and Credits’’ Abstract: This paper endeavors to unravel the symbolic significance embedded in the depictions associated with the limestone bench relief featuring intricate representations of both animal and human figures, situated within the Pre-Pottery Neolithic B archaeological site in Sayburc. Drawing from my extensive body of work, including 'The Shaman Phallus,' 'The Origins of the Roman god ‘Janus’ at Göbekli Tepe,' 'Göbekli Tepe: The ‘Vulture Stone’s’ Sister Stone Pillar 33 and the Zarzian Snake Shamans of Anatolia,' and 'The Shamanic Chronicles Unveiling Cosmic Mysteries and Rituals at Göbekli Tepe,' I contextualize the enigmatic representations found at this neolithic site. These symbols, intricately etched into the limestone bench, raise questions about the shamanic spiritual beliefs and rivalries, rituals, and cosmology of the ancient populace responsible for Göbekli Tepe’s creation. Key Words: Göbekli Tepe, Marduk, Sayburç, Neolithic Petroglyphs, Cosmic Mysteries, Shamanic Rituals, Serpentine Mother Goddess, Tiamat, Feathered serpent, Bull cult, Fox spirit animal, Hieros Gamos, Deneb, Vulture Stone, Orion, Shaman Phallus, Fertility Ritual, Neolithic Hieroglyphs, Cosmic Alignments, Gilgamesh. Author’s Note: This paper should be read in conjunction with four key works by the author: ‘The Shaman Phallus’ (2018), ‘Göbekli Tepe’s Vulture Stone: Deciphering the Mysteries of the Vulture Stone by tracing the Zarzian and Natufian’s connection that effectuated the construction and demise of Göbekli Tepe Zarzian Snake Shamans of Anatolia’ (2019), ‘Göbekli Tepe: The Zarzian Solar Snake Shamans vs The Natufian Solar Lion Shamans’(2022), and ‘The Shamanic Chronicles: Unveiling Cosmic Mysteries and Rituals at Göbekli Tepe’ (2024). Together, these texts provide a comprehensive understanding of the decipherment of Neolithic symbols. While the author initially considered incorporating this present decipherment into the 2024 paper, the extensive nature of the endeavor made it impractical. Instead, further exploration of these decipherments will occur in subsequent installments. Summary and Description: This scholarly endeavor seeks to undertake the decoding of symbols adorning a limestone bench inside a 36-foot-diameter enclosure discovered at Sayburç, unearthed in 2001 within the contemporary locale of the village of Sayburc (refer to Figure 2). The 12-foot limestone bench presents a sequential arrangement of carved figures, commencing from left to right. Initially, a Figure 2 depiction of a bull and a man is rendered in low relief, followed by another human figure in high relief, positioned between two leopards or lions; the leopard to the west is depicted with a phallus, whereas the other is not. The first man, extending his right hand forward, brandishes a dead snake before the bull's countenance, while exhibiting an anomalous feature of six fingers on his left hand, a phallus protruding from his midsection, and a notably bulbous nose. Conversely, the subsequent figure, flanked by the leopards, adorns a double Chevron necklace, and is portrayed clutching his phallus in his right hand, with his left hand resting across his abdomen. This figure is characterized by conspicuous attributes, including prominent ears, wide eyes, double chevrons necklace, and an indication of wearing a crown or headdress of some description. It is noteworthy that Dr. Clare, a distinguished German archaeologist engaged in research at the Göbekli Tepe site, has proposed an intriguing interpretation during one of his lectures. He suggests that the masturbating individual depicted in the mural symbolizes an adolescent undergoing the rite of passage into manhood. According to Dr. Clare, the figure's confrontation with the bull signifies the transition from adolescence to adulthood, with the provocative act of teasing the bull with bull testicles representing the newfound assertiveness and hunting prowess typical of manhood [10]. However, Dr. Clare's interpretation does not thoroughly explore the significance of certain details within the mural, such as the double chevron around the masturbating individual's neck or the presence of big cats flanking him. These elements, as scrutinized by the author, are believed to be integral components of the original ritual enacted at enclosure D. This ritual involved Zarzian shamans engaging in Hieros Gamos with a Snake Sky Goddess, with the double chevrons symbolizing their ability to bring heaven and earth together, considered pivotal in the construction of Göbekli Tepe [1, 16] (refer to Figure 3). Furthermore, the conflict between the Bull and the six-fingered man serves as a symbolic representation of the discordance among shamans and the interpersonal violence that unfolded at Göbekli Tepe and other Neolithic sites around 9,200 BCE [9]. These insights are explored further in the author's scholarly work, 'Göbekli Tepe’s Vulture Stone: Deciphering the Mysteries of the Vulture Stone by tracing the Zarzian and Natufian’s connection that effectuated the construction and demise of Göbekli Tepe' [2]. Bridging Heaven and Earth: The Author's Insights into Shamanic Symbolism at Göbekli Tepe and other Neolithic Sites In his manuscripts, the author posits hypotheses regarding the interpretation of enigmatic symbols found at archaeological sites such as Göbekli Tepe. The author suggests that distinct Zarzian tribes, originating from the Zagros Mountain range, were linked to shamanic fertility practices and left their imprint on Anatolia Neolithic sites. At Göbekli Tepe, the author identifies two distinct original shamanic clans symbolized by centrally positioned T-shaped pillars. Pillar No. 31 is interpreted as representing the bull cult, associated with male symbolism, while Pillar No. 18 is personified by a snake with a fox spirit animal cult, representing female symbolism. These pillars, along with the Vulva Stone as the apex, are suggested to have formed a V that is aligned with the star Deneb (refer to Figure 3) [1, 16]. Figure 3 From the author’s manuscript ‘The Shaman Phallus’, it is stated that the summer triangle is represented by the V at Göbekli Tepe, and this V is the sign of the mother goddess. The author superimposed this V on the Vulture stone using the two birds marked as Vega, Altair, and the solitary hole located on the Vulture stone’s east side, which the author marked as Deneb on the west side within the segmented line. In Enclosure D, this V is mimicked by the two central pillars 31 and 18, and the vulva stone. Picture credit goes to Rodney Hale and the German Archaeological Society. In the celestial realm, the author proposes a symbolic alignment mirroring its V earthly counterpart within the Milky Way, particularly observed in the formation known as the summer triangle. This celestial configuration is interpreted as representing the pubic area of the serpent Mother Goddess, with Deneb in the Northwest serving as a focal point symbolizing her Vulva and serving as the astronomical focus for the shamans during the origins of Göbekli Tepe [1, 7,16] (refer to Figure 3 and 6). According to the author's hypothesis, this alignment facilitated the transmission of the Mother Goddess's serpent power to two distinct shamanic cults: the Snake priestess and the Bull priests. These empowered shamans were able to tap into their shamanic abilities and establish a profound connection with the serpentine Mother Goddess, embodied by the Milky Way, as well as with their ancestral spirits residing within her domain. This concept bears resemblance to the ancient Egyptian pharaohs who were believed to reside within the goddess Nuit, illustrating a deep spiritual connection between the earthly and celestial realms [1, 16]. This empowerment, achieved through a connection to the celestial serpent mother goddess facilitated by her shamans, was integral to aligning the original enclosures of Göbekli Tepe with Deneb. This alignment, combined with ancestor worship and the use of ritual paraphernalia such as the Shaman Phallus, culminated in a profound endeavor to bridge heaven and earth (refer to Figure 3). This shamanic act, symbolized by the presence of a two-chevron necklace, served as evidence of the shamans' sanctioned authority to perform the sacred union known as Hieros Gamos—a fundamental ritual believed to be the driving force behind the construction of Göbekli Tepe. Thus, the presence of these two chevrons together signifies the pivotal role of the shamans in facilitating the connection between the celestial and earthly realms through the performance of Hieros Gamos [1, 16]. In ‘Göbekli Tepe’s Vulture Stone: Deciphering the Mysteries of the Vulture Stone by tracing the Zarzian and Natufian’s connection that effectuated the construction and demise of Göbekli Tepe,’ the author provides evidence suggesting that around 9,200 BC, a conflict erupted in the region, purportedly stemming from shamanic disparities between the Zarzians and the Natufians. This conflict, as posited by the author, serves as the underlying cause for the abandonment and deliberate burial of Enclosure D at Göbekli Tepe and the subsequent abandonment of the Zarzian basecamp at Kortik Tepe and other Neolithic sites in the area [2]. The violence during this period has been documented at both sites by Dr. Clare and his colleagues in their academic paper titled "Ritual Practices and Conflict Mitigation at Early Neolithic Körtik Tepe and Göbekli Tepe, Upper Mesopotamia." This paper delves into the intriguing intersection of ritual practices and conflict resolution during the Early Neolithic period at these two significant archaeological sites: Körtik Tepe and Göbekli Tepe [9]. The departure of the bull and female snake cults around 9,200 B.C. coincided not only with the conflict and subsequent ritual covering of Enclosure D but also with the presence of what was initially perceived as a Zarzian skeleton crew left to protect and conceal the enclosure. However, further investigation revealed that this group was more substantial and consisted primarily of boar shamans from Hallam Cemi and their clan. These shamans, initiated into the Zarzian mysteries by the bull shamans represented by Pillar 31 and the female feathered serpent goddess represented by Pillar 18 during the early stages of Enclosure D, played a significant role in the site's evolution. Further details on this hypothesis are explored in the author's manuscript, 'Göbekli Tepe: The Shaman Chronicles: Deciphering the Symbols Beneath the Boar Statue at Enclosure D.' [13]. Figure 4 A stone bench on the northern end of the hill at Karhan Tepe. Beneath the length of the bench is a long snake led by a fox at its head. Picture Credit: Ken Lawrence Figure 5 Bull depicted above a porthole (false door) with two foxes flanking its sides, symbolizing the central pillar and the spirit animal of the serpentine Mother Goddess. This image is situated on the Northwest wall of Enclosure B and was aligned to Deneb in 9,156 B.C. (Photo: N. Becker, Copyright: DAI) Originally, at Enclosure D, two central serpent pillars stood. Pillar 18, identified as a female shaman with her fox spirit animal, and Pillar 31, representing a masculine Bull shaman, were regarded by the author as the primary conduits through which the Mother Goddess, symbolized by the Milky Way, bestowed fecundity and eternal life upon regional shamans. This concept is extensively discussed in ‘The Shamanic Chronicles Unveiling Cosmic Mysteries and Rituals at Göbekli Tepe’, ‘The Vulture Stone’s Sister Stone Pillar 33, and ‘The Zarzian Snake Shamans of Anatolia’. Further evidence of the summoning of these ancestral male bull and female snake shamans with the fox spirit animal, leading up to and after the interpersonal violence of 9,200 BCE, can be found in the first false door located in the Northwest wall of Enclosure B (refer to Figure 5) [15, 27], and the depictions of the snake and fox at Karahan Tepe (refer to Figure 4). Notably, in 'Göbekli Tepe: The Figure 6 The comprehensive ground plan of Göbekli Tepe's enclosures, expertly crafted by the German Archaeological Institute and further annotated by the author with red markings denoting dates and astronomic alignments. This collaborative effort integrates valuable insights from Alessandro De Lorenzis and Vincenzo Orofino. Origins of the False Doors in Ancient Mesopotamia and Egypt,' the author reveals that this false door, situated in the Northwestern wall, features a square hole with a bucranium above it and two foxes flanking its sides, aligned with Deneb in 8,463 BCE (refer to Figure 6) [10]. This arrangement further emphasizes that the male bull shaman, along with the female serpent shaman and her fox spirit animal, were originally the sole means of communication with their shamanic ancestors emanating from the serpentine mother goddess. The author suggests that the disdain for the snake and the bull shamans is evident in deliberate acts leading up to and following 9,200 BCE. These acts include the excavation of enclosures serving the serpentine Mother Goddess and the destruction of her T-shaped ancestral pillars, which the author argues represented snakes that became anathema during this period. According to the author, these shamanic snake ancestors later transformed into gods, a knowledge passed on to early Mesopotamian priests, along with the concept of Hieros Gamos [2, 4, 5, 8]. Figure 7 The vase from Körtik Tepe presents T-shaped Pillars adorned with bird effigies, with a Bee Shaman positioned between them. Above, in the heavens, appears a doughnutshaped object identified as Deneb, accompanied by an enormous snake symbolizing the Mother Goddess In 'The Vulture Stone's Sister Stone Pillar 33 and the Zarzian Snake Shamans of Anatolia' and ‘The Shamanic Chronicles Unveiling Cosmic Mysteries and Rituals at Göbekli Tepe,’ the author presents compelling evidence indicating that the original two central pillars at Enclosure D initially supported bird head effigies. These effigies, symbolizing feathered serpents directly associated with the Serpentine Mother Goddess, are depicted on the ‘Vulture Stone (refer to Figure 27), a vase from Kortik Tepe (refer to Figure 7), and engraved on Pillar No. 33, featuring on one side a bird with 11 serpents emanating from its body; and on the other side a fox with a snake emanating from its body as well, identified as Pillar No. 18 by the author (refer to Figure 8). The author posits that this representation signifies the serpent power originating from the Mother Goddess, bestowed upon the female snake shaman with the fox spirit animal, from which the bull shamans derived their shamanic authority to assist in bridging heaven and earth [3, 16]. Figure 8 Pillar No. 33, featuring on one side a bird with 11 serpents emanating from its body; and on the other side a fox with a snake emanating from its body as well, both identified personifications of Pillar No. 18 by the author. The author contends that this contempt for the bull shamans and their feathered serpent masters is also evident in Enclosure H on Pillar No. 66 (refer to Figure 9). In Tepe Telegrams by Oliver Dietrich titled 'The death of an aurochs: Göbekli Tepe, Pillar 66, Enclosure H,' he writes, "The two animals, however, do not seem to be the original decoration of the pillar. They are scratched into the surface with rough lines, which is usually indicative of preparatory drawings for reliefs at Göbekli Tepe. Moreover, above the large animal's head rests an older relief, maybe of a bird, and several unclear lines are visible. The placement of the pillar deviates from the usual arrangement; it is not 'looking' towards the central pillars but stands parallel to them. Taken together, all clues hint towards a secondary use of an older pillar." The author's interpretation differs slightly from Dietrich's, suggesting that the bull cult has met opposition through rival shamans, and its calf represents that any new bull shamans emerging from this cult are to be opposed, with its odd placement representative of the bull no longer holding the power to bring heaven and earth together. Thus, Figure 9 Pillar 66 in Enclosure H (copyright DA, Photo N. Becker). this pillar does not look towards the center of the enclosure where this power was once bestowed. The name of Dietrich's article is 'The death of the Aurochs.' However, in Michael Rice's book "The Power of the Bull," he notes that the last aurochs died in a Polish forest in 1627, thousands and thousands of years after this stone image was engraved, leaving the author to speculate that its death is rather a symbolic gesture towards the bull shamans that herald at Göbekli Tepe's origins [6, 16, 17]. Finally, further interpretations and reiterations to these enigmatic symbols were made in ‘Göbekli Tepe: The Zarzian Solar Snake Shamans vs The Natufian Solar Lion Shamans’ © 2022. A paper that investigates the phenomenon of recurring motifs of an individual between two animals called the ‘Master of Animals’. Images that included an analysis of the animals and humans engraved on the lime bench at Sayburç. Sayburç To save time, I will quote from a previous paper to clarify this hypothesis, adjusting the references to reflect the numerical format sequence of the current paper. "In my previous paper 'Göbekli Tepe: The Zarzian Solar Snake Shamans vs The Natufian Solar Lion Shamans,' I discussed how these pillars were originally ancestral Zarzian shamanic snake pillars [3, 4]. This research will further expand upon those findings to reveal that anything associated with the snake Figure 10 Centered Zarzian Snake Pillar (No. 18) with Fox Spirit Animal within D’s circle Enclosure at Göbekli Tepe. Figure 11 Bench at Sayburç; Figure 12 One of two centered lion pillars within the lion Depicting Masturbating Shaman Square Enclosure at Göbekli Tepe. flanked by two lions. pillars with implied foxes on their sides were systematically removed and destroyed as anathema by Natufian shamans. These shamans replaced the fox on the snake pillars with lions and then completely removed the snake pillars from any subsequent imagery, leaving only the motif of an image of double lions or other animals on either side of an individual, which became the origin for the concept of the 'Master or Mistress of Animals' (refer to Figures 1, 10, 11, 14). Figure 13: Layer II Lion Enclosure with EastWest Cardinal Direction. Photo Credit: O. Dietrich, Schmidt In my hypothesis, I propose that the Zarzian shamans held elite status over the Natufian culture, and it was this alliance that led to the construction of Tell Qaramel and Göbekli Tepe. This shamanic elitism emerged after the Natufians became enthralled by the Zarzian shamanic fertility rituals and promises of eternal life. However, it appears that this Zarzian shamanic religion, characterized by its centered T-shaped pillars supporting fox and bull motifs, experienced a collapse around 9,200 B.C. This collapse followed a clash over shamanic differences, leading the original Zarzian to effectively abandon the area along with their circled enclosures and T-shaped pillars supporting foxes within enclosure D. These subsequent structures were then systematically covered, violated, and slowly transformed into Natufian squared enclosures with lion pillars that instead of tracking Deneb, the original focus of the Zarzian shamans, now tracked the sun (refer to Figure 13, 6) [1, 16, 2, 4]. In all my papers after ‘The Shaman Phallus’, I assert at Göbekli Tepe from 9,500 B.C. through the 10millennium (Level III), a shaman stood between the two central pillars that pointed northwest towards Deneb to perform the Hieros Gamos (refer to Figure 6) [1,2 3, 4, 7,11, 13, 16]. Figure 14 Wide-eyed shaman depicted holding his phallus between two snarling lions. Photo credit: Erhan Yıldırım The author suggests this neolithic depiction at Sayburç, marks the 'beginning of the end of Göbekli Tepe’s Bull and Snake Shamans' before its complete abandonment. On a panel or bench unearthed at Sayburç, we find a shaman depicted holding his phallus between two snarling lions (refer to Figure 1 and 14). This phallic motif bears resemblance to the Egyptian Old Kingdom's phallic god Min and the pharaoh's masturbation rituals as described in 'The Shaman Phallus'(refer to Figure 15) [1]. However, at Sayburç, we notice that the shaman no longer stands between the two snake pillars, but instead he now stands only between the images of two lions, with the snake pillars completely excluded (refer to Figures 1, 14) [4]. Figure 15 Egyptian God Min During the late phases of Göbekli Tepe, it is intriguing to note that not only are the snake pillars excluded from the depiction of the 'Master of Animals' found at Sayburç, but there is also evidence indicating that many of these centered snake pillars at Göbekli Tepe were deliberately dug up and had their heads crushed, smashed or altered. This premeditated act of smashing the snake pillar heads leads us to draw a couple of conclusions about the ideologies of the recalcitrant shamans during this epoch. Firstly, it suggests that generations later, Natufian shamans still retained knowledge of the positions of these pillars. Secondly, considering the evidence of ancestor worship at Göbekli Tepe and other Neolithic satellite sites, this act of destruction at an ancestral site provides evidence of the hatred and contempt the Natufian shamans held for these Zarzian ancestral shamanic snake cults. A conclusion that reinforces the author’s earlier belief this symbolic violence to the Zarzian snake pillars is linked to the origin story for the snake’s relationship with Eve and the snake’s downfall in Genesis [2, 3]. Deciphering the meaning behind the Neolithic story carved onto the lime bench at Sayburç These comprehensive insights provide a framework for decoding the narrative carved onto the lime bench at Sayburç during the Neolithic era. Within this archaeological context, the bull depicted in the carving likely represents the bull shamans originating from Göbekli Tepe, embodied by Pillar No. 31, who derived their power and the "Shaman Phallus" from the serpent mother through her female serpent shamans with a fox spirit animal, symbolized by Pillar No. 18 [1, 16]. Consequently, the deceased snake held before the bull by the six-fingered man, along with the protruding phallus from his midsection, symbolizes his role in the deprivation of the serpent's power through sympathetic magic and the physical destruction of Zarzian ancestral pillars and related motifs. This suggests that the shamanic tribe at Sayburç perceives the bull shamans as no longer possessing the shamanic abilities bestowed by the serpent mother to unite heaven and earth in performing the Hieros Gamos with the "Shaman Phallus," which, as previously stated, is the primary motivation behind the construction of Göbekli Tepe. Instead, the attributes of these rituals are now embodied by the six-fingered man, who consequently controls the ritual object of the Hieros Gamos, known as the "Shaman Phallus," emanating from his ribcage to bestow fertility upon the land. This narrative finds intriguing parallels in a more precise translation suggested by Professor Ziony Zevit, who posits that the Hebrew word for "rib" in the Book of Genesis implies that Eve was created from another part of Adam's anatomy—his os baculum (penis bone). Furthermore, the presence of polydactyly, or the condition of having six fingers, further strengthens this narrative. Notably, prior to the discovery of the six-fingered man at Sayburç, the earliest known figurative representation of a person with six toes originated from Ain Ghazal, a Natufian Neolithic site located in Jordan, dated to 7,500 BC (Mithen 2003). The figure of the six-fingered man with the bulbous nose and distinctive round cap depicted on the lime bench at Sayburç undoubtedly represents a shaman of significant prominence within the region. This portrayal is not isolated, as similar depictions of this distinct individual have been unearthed at other archaeological sites (refer to Figure 16). Figure 16 Six-fingered man with the bulbous nose and distinctive round cap Sayburç At Karhan Tepe, the presence of a wide-eyed bulbous-nosed figure accompanied by exposed teeth, mimicking the snarling lions flanking the wide-eyed masturbating shaman at Sayburç, suggests a potential connection and amalgamation of characteristics between these two individuals. Similarly, archaeological findings at Göbekli Tepe include the discovery of an individual's stone head adorned with a round cap (refer to Figure 17), along with a statuette depicting a figure with a similar round cap and arms Figure 17 Miniature mask of shaman with round cap found at Göbekli Tepe. positioned to the side, resembling the posture of the central pillars of enclosure D, yet found on Level II within a square building. These discoveries further strengthen the continuity of this specific shamanic tradition across various sites with its possible Natufian origin (refer to Figure 18). Several centuries later, within the square 'Lion’s Enclosure' at Göbekli Tepe Level II (refer to Figure 13), the symbolism reflected in the snarling lions of Sayburç remains prevalent in shamanic practices (refer to Figure 12, 14). Situated between the lion pillars, an elevated bench integrates these symbols, adorned with scratchings depicting a woman (refer to Figure 19). Klaus Schmidt, a renowned archaeologist, observed this depiction, noting the woman's position as "a cowering one, with bent arms Figure 19 Serpentine and legs," depicting nudity with hanging breasts and her Mother goddess between the lion pillars pudenda. He pointed out the enigmatic V-like shapes, likely representing the large labia majora, suggesting a readiness for sexual intercourse, rather than childbirth. Remarkably, the woman's head bears the likeness of a snake, a motif first observed at Göbekli Tepe by Klaus. Schmidt proposed that this depiction, perhaps originally graffiti, signifies a protest against the advent of the new Neolithic era, portraying it as a time of uncertainty and transition [14]. Schmidt's observations align with the author's expanded hypothesis of an original Zarzian fertility rite centered around a serpentine heavenly Mother Goddess ritually accessed through her vulva using a V-shaped paradigm with the apex pointed towards Deneb (refer to Figure 3), now possibly usurped by changing cultural dynamics [1,3, 4, 5]. Figure 18 An intentionally placed statuette of a person looking skyward and wearing a round cap found face-down in a square enclosure. copyright DAI, photo D. Johannes). At Sayburç, the wide-eyed masturbating figure positioned between snarling lions is adorned with double chevrons around his neck. According to Erhan Yidirim, a friend and guide in the area, this figure, like the enclosures on Level III, aligns with the Northwest (refer to Figure 13). If this assertion proves true, it suggests that although these shamans at Sayburç held malice towards the Zarzian snake and bull shamans at Göbekli Tepe, they continue, for now, to adhere to their same celestial orientation towards Figure 20 Egyptian Kings and Deities housed within the Goddess Nut’s body. Deneb: suggesting their shamanic ancestors as with the Zarzian shamanic ancestors still occupied a region within the Milky Way as the Egyptian Goddess Nuit held the Egyptian Kings and Deities housed within her body, as proposed by the author in 'The Shaman Phallus' (refer to Figure 20). This implies those from Sayburç are either an offshoot of the original Zarzian shamans or, more likely, the Natufian acolytes who had gone rogue, as detailed in 'Göbekli Tepe’s Vulture Stone: Deciphering the Mysteries of the Vulture Stone by tracing the Zarzian and Natufian’s connection that effectuated the construction and demise of Göbekli Tepe'. By Level II at Göbekli Tepe, a significant shift in cardinal orientation towards the rising and setting sun in the east and west is observed, particularly within the lion's enclosure. This marks a notable departure from the earlier dominance of the heavenly serpent mother symbolism during Level III. As serpent power diminishes, the lion emerges as the new prominent spirit animal for this distinct class of shamans. The deliberate astronomical alignments and replication of these symbols suggest a purposeful divergent and symbolic evolution in the shamanic practices and beliefs of the time (refer to Figure 13) [4]. This transition from snake to lion symbolism is further elucidated in the author's manuscript 'Göbekli Tepe: The Zarzian Solar Snake Shamans vs The Natufian Solar Lion Shamans’. Additionally, the presence of wide-open eyes on the masturbating shaman symbolizes a departure from the original squinted eyes faces found at Göbekli Figure 22 Wide-eyed Tepe (refer to Figure 17, 18, 21) [12]. statue at Karahan These wide-eyed entities are found at Tepe. Photo Credit Yusuf Usul. Urfa Karahan Tepe (refer to Figure 22) and Figure 21 Anthropomorphic heads unearthed at Guide (see Mention). prominently at Ain Ghazal (refer to Göbekli Tepe (Photos: DAI). Figure 23) and Kharaysin in Jordan (refer to Figure 24), suggesting a new shamanic religion or tradition is emerging, perhaps influenced by external cultural factors or evolving beliefs within the community. It must be noted that these wide-eyed motifs proliferated during the Mesopotamian period, indicating potential continuity or influence of these emerging traditions on later cultures in the region. This evolution also suggests that these shamans transitioned from shamans to priests, and their shamanic ancestors became Figure 23 Ain Ghazal a Figure 24 Pre-Pottery deified over time. pre-Pottery Neolithic settlement near Amman, Jordan. 7250 BCE to about 5000 BCE. Neolithic site of Kharaysin, located in The figure depicted on the lime bench at Tas Tepe, the village of Quneya, distinguished by its six fingers, bulbous nose, and a unique at the Zarqa River round cap, likely signifies a prominent shaman in the valley in the Arab Figure 26 Flint cortex country of Jordan in region. Similar miniature mask discovered western Asia.. Credit: representations of this at Göbekli Tepe, Newsflash/ mysterious individual have photographed by N. Becker, DAI. been unearthed at other sites like Karhan Tepe, albeit with the intentional removal of the nose with the cap now a double V(see Figure 25), and Göbekli Tepe. This suggests an enduring tradition of shamanism and hints at a shared cultural heritage among ancient societies, revealing a profound understanding of the original fertility rites practiced at Göbekli Tepe, as discussed in the author's work on ‘The Shaman Phallus.’ Furthermore, it's noteworthy that the head from Karhan Tepe no longer retains its original T-shaped geometric brow and nose, now replaced by several chevrons. This motif is also observed on the shamanic mask found at Göbekli Tepe, near central Pillar No. 51 in enclosure H (see Figure 26) [18]. With the author's insights, the neolithic panel carved into the lime bench at Sayburç communicates a profound message of victory and upheaval to those who encountered it. It vividly portrays the triumph of the six-fingered man over the revered serpentine mother goddess and her esteemed counterparts, the bull and snake shamans of Göbekli Tepe—a triumph that strips them of their shamanic authority. The author posits that this victory was achieved through an act of sympathetic magic and physical violence, likely enacted amidst the turmoil that led to the abandonment of enclosure D at Göbekli Tepe and the continued destruction of the snake pillars at Göbekli Tepe and evacuation of other Neolithic sites in the area. The deliberate obliteration of these sacred pillars not only underscores the rebellious shamans' intimate knowledge of their locations but also reflects their fervent zeal and deep-seated resentment towards their Figure 25 Karhan Tepe Erhan Yidirim shamanic overlords of the Zarzian tradition. By defiling these ancestral sanctums through intensive labor and undoubtedly ritualistic acts, the rebels boldly asserted their defiance and sought to challenge the entrenched hierarchy of Zarzian shamanic power. Driven by their anger and quest for autonomy, these rebellious shamans and their followers dedicated precious time and resources to unearth, dismantle and smash these snake pillars. This brazen act symbolized their rejection of the authority held by the male bull and female snake shamans, who monopolized shamanic power over the region and claimed exclusive control over the sacred rite of the Hieros Gamos—a ritual believed to ensure fertility and eternal life for their communities. The narrative depicted on the lime bench suggests the emergence of the six-fingered shaman as the victor in this tumultuous struggle, symbolized by the lifeless snake clutched in his hand—an unmistakable representation of the defeated serpentine mother goddess. With her downfall, the sixfingered shaman ushers in a new era of shamanic leadership, characterized by the authority vested in him and his successors. This authority is symbolized by the wearing of double chevrons, signifying the newfound ability of these newly appointed shamans to bridge heaven and earth, performing the sacred union of the Hieros Gamos, a ritual believed to bestow fertility upon the land [1, 2, 4, 9, 13, 16]. Thus, the neolithic panel at Sayburç serves as a poignant testament to the transformative power of rebellion, victory, and exodus offering a glimpse into the evolving spiritual landscape of ancient societies and the dawn of a new paternal shamanic order. Figure 27 From: Göbekli Tepe: The ‘Vulture Stone’s’ Sister Stone Pillar 33 and the Zarzian Snake Shamans of Anatolia’ Panel #1 is Pillar 33. Panel #2 is the Vulture Stone. Photo Credit: German Archaeological Institute. Diagram Modifications: Mark Black Excerpt from: ‘Göbekli Tepe: The ‘Vulture Stone’s’ Sister Stone Pillar 33 and the Zarzian Snake Shamans of Anatolia’ with modifications: The Feathered Serpent and the H Symbols: An Analysis “The examination of the three birds depicted on pillar 33, correlating with the imagery of the 'Vulture Stone's' three bags, is indicative of a symbolic resonance pertaining to shamanic lineage and the alignment with the three belt stars of Orion. This investigation now shifts focus towards the two birds and the upright 90-degree H symbols prominently featured on both the 'Vulture Stone' and mirrored on pillar 33 (see Figure 27). This study has unveiled that Pillar 33 not only traces the astral journey of the H/Orion/shamanic archetype towards the mother goddess, but also serves as an amplification of the symbolism embedded within the 'Vulture Stone'. Specifically, it elucidates that the bird denoting Vega/Janus Monolith (pillar 18) at Göbekli Tepe is intended to convey the emanation of serpentine forms from its figure, delineated in yellow in Figure 27 Panel #1. This amplification of Pillar 33 serves to elucidate the significance of the serpent/bird motif on the 'Vulture Stone', outlined in yellow, juxtaposed with the 90-degree H/Orion symbol outlined in red along the segmented line (Figure 27 panel #2). Within the imagery of the 'Vulture Stone', the 'Feathered Serpent' appears to engage with the H symbol, identified in yellow, corresponding to Vega and pillar 18 (Figure 27 panel #2). This depiction reinforces earlier assertions made in 'The Origins of the Roman god Janus at Göbekli Tepe' regarding the necessity of an offering before the shaman could progress towards the 'Vulva Stone'/Deneb to enact the Hieros Gamos ritual with the Mother Goddess. Further scrutiny of Pillar 33 under magnification unveils insights into the nature of the offering required at Pillar 18/Janus Monolith/Vega, as indicated by the presence of the 11th snake head on the pillar (Figure 27 Panel #1). It is noteworthy that this particular snake head is depicted with an a gape mouth directed towards a motif representing a sacrificial sheep, a detail corroborated by Klaus Schmidt in his work 'Göbekli Tepe: A Stone Age Sanctuary in South-Eastern Anatolia' (p. 177). This analysis concurs with Schmidt's identification of the animal depicted on pillar 33 as a sheep. Through this examination, we deepen our understanding of the intricate symbolic interplay present within the imagery of Göbekli Tepe, shedding light on the ritualistic practices and cosmological beliefs of its ancient inhabitants.” Conclusion: The exploration of Göbekli Tepe and its surrounding sites offers a fascinating glimpse into the complex world of ancient shamanic practices and beliefs. Through meticulous archaeological analysis and interpretation, researchers have uncovered a rich tapestry of symbolism, ritualistic practices, and cultural evolution. At the heart of this investigation lies the transition from serpent to lion symbolism, signifying a shift in shamanic power dynamics and celestial orientation. This transition, marked by deliberate astronomical alignments and symbolic representations, suggests a profound evolution in the spiritual beliefs and practices of the Neolithic peoples of Anatolia. Key figures, such as the bulbous-nosed, six-fingered man depicted wearing a round cap in various contexts, serve as potent symbols of shamanic authority and continuity across different sites. Their presence underscores a shared cultural heritage and the persistence of Zarzian shamanic traditions despite the passage of time, disagreements, or interpersonal violence. The neolithic panel at Sayburç, depicting the victorious six-fingered man and the destruction of the serpent’s power, speaks volumes about the power struggles and rivalries that characterized ancient shamanic communities. It symbolizes a transformative moment in the region's spiritual landscape, where new orders emerged amidst acts of violence and rebellion. Ultimately, the study of Göbekli Tepe and its environs offers valuable insights into the complexities of ancient belief systems and their profound impact on early human societies. Through interdisciplinary research and inquiry, we continue to unravel the mysteries of our distant past, shedding light on the origins of human spirituality and cultural evolution. Thoughts: The author's comparison of the story depicted on the limestone bench at Sayburç to ancient Mesopotamian myths is indeed thought-provoking. The narrative of the six-fingered man prevailing over the serpent, reminiscent of the tale of Marduk and Tiamat, evokes a universal theme of overcoming primordial chaos or feminine power to establish a new patriarchal order. In the Babylonian myth of Marduk and Tiamat, we are immersed in the cosmic struggle between the younger god Marduk and the primordial serpentine goddess Tiamat, who embodies chaos and the old order. Marduk's victory over Tiamat represents a pivotal moment in Babylonian mythology, ushering in a new cosmic order where Marduk assumes the role of supreme deity. This transformation echoes the defeat of the serpent mother goddess depicted on the limestone bench, suggesting a broader transition from matriarchal to patriarchal dominance in ancient belief systems. Moreover, the defeat of Tiamat, as perceived by the author, symbolizes an astronomical shift from celestial alignments centered on Deneb to a solar aspect, marking the onset of a new cosmic era characterized by the emergence of light from darkness and chaos. Similarly, the epic of Gilgamesh offers another perspective through which to interpret the symbolism of the Sayburç narrative. In this tale, Gilgamesh's refusal to yield to the advances of the goddess Ishtar and his subsequent defiance of divine authority culminate in a confrontation with the bull of heaven, representing the forces of chaos. Gilgamesh, alongside his companion Enkidu, emerges victorious over the bull, asserting mortal power and challenging the established divine order. This theme of rebellion and mortal triumph over divine authority resonates with the narrative of the six-fingered man and his conquest over the female serpent and male bull to establish a new kingdom through a new shamanic order symbolized by the masturbating shaman wearing the double chevrons, capable of performing the sacred union of the Hieros Gamos depicted on the limestone bench. These myths, when viewed alongside the interpretation of the limestone bench narrative, reveal a recurring motif of rebellion against established authority and the assertion of human agency over divine forces. They reflect a nuanced interplay between gender dynamics, power structures, and the intricacies of cosmic order, providing valuable insights into the evolving shamanic beliefs and cultural paradigms of ancient societies. Next Paper: Title: Unraveling the Enigma of Göbekli Tepe's Elite: Origins and Ascension of Ancient Shamans Abstract: In recent years, extensive research conducted at Göbekli Tepe has shed light on various aspects of this enigmatic archaeological site. However, one intriguing puzzle remains: the identity and ascent of the elite individuals who once inhabited this area. While the term "shamans" has been proposed tentatively, Dr. Clare and others hesitate to definitively assign this label without further evidence [10]. This paper aims to delve into the origins and emergence of these elite figures, exploring their roles, origins, and the symbolism surrounding them. By examining the intricate animal and symbolic representations found at Göbekli Tepe, along with archaeological evidence from neighboring sites, we seek to uncover the pathways through which these individuals attained their elite status. This investigation represents a crucial step in understanding the socio-religious dynamics of Göbekli Tepe and its significance in ancient society. Mentions and Credits: My friend Erhan Yidirim has been a beacon of guidance in the beautiful tapestry of Turkey, offering invaluable support and insights to those seeking to explore its rich culture and history. He extends a warm invitation to connect and delve deeper into the wonders of this enchanting land. Turkish Guide: Erhan Yidirim +90 5302656144 email izol-44@hotmail.com My friend Yusuf Usul is a licensed local guide hailing from Urfa, offers personalized guiding services across the breathtaking stone hills (Göbekli Tepe, Karahan Tepe, etc )and Southeastern Anatolia Region of Türkiye. Travelers seeking to unveil the region's wonders are encouraged to reach out for further information and unforgettable experiences. Mobile/WhatsApp: +90 543 573 46 77 Further Reading and Reference: [1] ‘The Shaman Phallus’ by Mark Black [2] ‘Göbekli Tepe’s Vulture Stone: Deciphering the Mysteries of the Vulture Stone by tracing the Zarzian and Natufian’s connection that effectuated the construction and demise of Göbekli Tepe’ by Mark Black [3] ‘The Vulture Stone’s Sister Stone Pillar 33 and the Zarzian Snake Shamans of the Anatolia’ by Mark Black [4] ‘Göbekli Tepe: The Zarzian Solar Snake Shamans vs The Natufian Solar Lion Shamans’ by Mark Black [5] ‘Göbekli Tepe: A Stone Age Sanctuary in Southeastern Asian Anatolia’ by Klaus Schmidt [6] ‘Power of the Bull’ by Michael Rice [7] ‘New Possible Astronomic Alignments at the Megalithic Site of Göbekli Tepe, Turkey’ by Alessandro De Lorenzis and Vincenzo Orofino [8] ‘Transtigridian Snake Gods’ by Frans Wiggermann [9] ‘Ritual Practices and Conflict Mitigation at Early Neolithic Körtik Tepe and Göbekli Tepe, Upper Mesopotamia.’ By Lee Clare, Oliver Dietrich, Julia Gresky, Jens Notroff, Joris Peters and Nadja Pöllath [10] Dr. Clare’s lecture on YouTube "Who built Göbekli Tepe? Of Inspired individuals and charismatic leaders" by Dr. Lee Clare. https://www.youtube.com/watch?v=PhMwY-1p-yk [11] ‘Göbekli Tepe: The Origins of the False Doors in ancient Mesopotamia and Egypt’ by Mark Black [12] ‘Losing your head at Göbekli Tepe’; MAY 2016 / OLIVER DIETRICH https://www.dainst.blog/the-tepe-telegrams/2016/05/05/losing-your-head-at-gobekli-tepe/ [13] 'Göbekli Tepe: The Shaman Chronicles: Deciphering the Symbols Beneath the Boar Statue at Enclosure D.' by Mark Black [14] ‘Göbekli Tepe: A Stone Age Sanctuary in South-Eastern Anatolia’ by Klaus Schmidt [15] ‘Tepe Telegrams’ Enclosure B, a short overview 3. FEBRUARY 2017 / OLIVER DIETRICH [16] ‘The Shamanic Chronicles Unveiling Cosmic Mysteries and Rituals at Göbekli Tepe’ by Mark Black [17] Tepe Telegrams: The death of an aurochs: Göbekli Tepe, Pillar 66, Enclosure H’ by Oliver Dietrich https://www.dainst.blog/the-tepe-telegrams/2017/03/02/the-death-of-an-aurochs-gobekli-tepe-pillar66-enclosure-h/ [18] Tepe Telegrams: ‘Behind the Mask: Early Neolithic miniature masks (and one larger-than-life example) from Göbekli Tepe (and beyond)’ by Jes Notroff [19] ‘The Sayburç reliefs: a narrative scene from the Neolithic’ Published online by Cambridge University Press: 08 December 2022 by Eylem Özdoğan https://www.cambridge.org/core/journals/antiquity/article/sayburc-reliefs-a-narrative-scene-from-theneolithic/3A35B54B3265C7224CB225FE70EBDD02 [20] The author posits a potential parallel between the imagery of the six-fingered man with a phallus emerging from his ribcage and the interpretation offered by Ziony Zevit, a Distinguished Professor of Biblical Literature and Northwest Semitic Languages at American Jewish University, regarding the traditional translation of the Biblical story of Eve's creation. Contrary to the conventional understanding that Eve was fashioned from one of Adam's ribs as depicted in the Book of Genesis, Zevit proposes an alternative interpretation. He argues that the Hebrew term translated as "rib" in Genesis actually refers to another anatomical structure of Adam's: his os baculum, or penis bone. The os baculum, a bone tube found in the penises of many mammals, challenges the orthodox understanding of Eve's creation. Although this bone is absent in humans, it is present in numerous other species. Zevit's analysis prompts a reconsideration of the symbolism and significance embedded within this ancient narrative. ‘Was Eve Made from Adam’s Rib or His Baculum?’ https://religionnews.com/2015/07/28/was-eve-made-from-adams-rib-or-his-baculum/ Moreover, the author suggests a potential connection between this reinterpretation of Eve's creation and the imagery depicted at the bench at Sayburç featuring the six-fingered man with a phallus protruding from his ribcage. This linkage implies a deeper exploration of the origins and symbolism underlying ancient narratives, inviting further inquiry into the interplay between myth, anatomy, and cultural symbolism. To my readers: Please note that all papers authored by me are unedited and rough drafts. In the future, once I have completed my research, I will edit and publish these manuscripts officially. However, for now, I have decided to draft these papers over a period of years and post them here for the sake of efficiency. I recommend starting with 'The Shaman Phallus' to gain a firm understanding of the topic, followed by my other papers in the order they were written. Also, I have noticed that on Academia several academics have read my material that have co-authored with other authors. If you think this is something you would be interested in let me know. You can find all links on my webpage. https://www.facebook.com/Gobeklitepepillar43 Or at Academia: https://www.academia.edu/42019363/The_Shaman_Phallus