This is the last, third part of "Bulgarian Sacred Script, The Slavic Chapter". Here the search for meaning behind inscriptions from Raven continues. More graphs and inscriptions will be examined using different approaches and finally the goal of this study will be fulfilled: Discovering which is the language behind the inscriptions and how BSS is connected with Glagolitic alphabet.
3. Character
occurs only once in materials from Raven. In Bulgarian and Russian embroidery, such a motif is called "frog". Was this a random name or there is hidden meaning in it. Fortunately, Herodotus tells the following story: "and the kings of the Scythians perceiving this sent a herald bearing as gifts to Dareios a bird and a mouse and a frog and five arrows...for he conjectured that the gifts expressed this: Unless ye become birds and fly up into the heaven, O Persians, or become mice and sink down under the earth, or become frogs and leap into the lakes, ye shall not return back home, but shall be smitten by these arrows" (Herodotus, History p. 89) Scythians used a frog to represent realm of water. According to Marina Kachaeva motif represents the master of the waters (Kachaeva, M. 2008, p. 88). On other hand, motif 
, pursuant to Kumandinian believes, stands for Thunderbird, master of the skies (Slavnin, V. 1992). Only the mouse is missing from ornamental imagery and thus the Underworld. However, its presence is implied by motif 
, called in Smolensk and Estonia water well. In mythology a water well connects Middle Earth with the underworld. By the way, Marina Kachaeva noticed that this ornamental motif is identical with Chinese character for water well, and also that Earth motif (number 2 in table below) and Chinese character for grain (Kachaeva, M. 2008, p. 89) are similar. Other ancient Chinese characters also have their matches in world of textile ornament. Table below show five such comparisons. Those similarities, sometimes in both shape and meaning, might imply that some of the ancient Chinese graphs might started as an ornament that played an important role in life of Neolithic farmers.
4. Characters
and 
are used to make a very distinctive ligature:
Comparing with
brings the idea that and 
might be alographs of the same graph, but to understand the meaning of the ligature helps comparison of two inscriptions that has been presented previously:
After the doublet 
, Ins. 1 ends with a character 
, when the Ins. 2. have 
at its end. It is possible that they both have same meaning? In Murfatlar alphabet (Ovcharov, N. 2014A), character have a phonetic value of /š/. At the Rosette of Pliska it is used to write the name of pagan god Osh (3):
Similarity between
and leads to conclusion that is yet another way to write the same name and also that , and are alographs of the same graph. In this case character has to mean "o". Perhaps the forms and were developed from in result of writing with pen on soft materials (4). The search, in sources about religion of 10th century Bulgaria, for a possible pagan God's name starting with /oš/ (Оšъ)(5), doesn't give any result. In this case is relevant to search Caucasus region where Bulgar tribes used to live. Here two religious terms resemble Оšъ. First one, "Ash" is included in the name Ash Totur, master of wolfs in pre-Islamic Balkar and Karachay religion, whose prototype is Christian saint Theodore of Tyre (Dzhurtubaev, M. 1991). Idiom "Ash" comes from Ossetian “Uac-”, appellation for "Saint" as in Uacilla (St. Elias) and Uaskergi, Uashgergi (St. George) (Gershe-vitch, I. 1955 p. 478). According to V. Abaev, Uac- can be connected with Chorezmian Waxsh, "Saint", Pehlevi Vaxshvar, "Prophet", and Sogdian waxshik, "divine", and it must have been a pre-Christian religious term (Abaev, V. 1989 p.26-27). Second similar to Оšъ divine name, Aspandiat, Caucasian Hun's God is mentioned by Movses Kaghankatvatsi (Dasxuranc'i) in his work "The History of the Country of Albania": "Using horses as burnt offerings they worship some gigantic savage monster whom they invoke as the god T'angri Xan, called Aspandiat by the Persians" (Dasxuranc'i, M. 1961 p.159) According to H. Hübschmann, Aspandiat comes from Avestan spenta "holly" (Hübschmann, H. 1897). Others see in its root Middle Persian and Avestan aspa "horse" (Novoseltsev, A. 1990). Another passage from the same source also suggest that Aspandiat was worshipped with horse sacrifices: "From among the tall, leafy oak-trees (which were dedicated to the abominable Aspandiat and to which they sacrificed horses, pouring their blood over the trees and throwing their heads and skins over the branches." (Dasxuranc'i, M. 1961 p.161). Old Bulgarian(5) Оšъ also can be connected with a "horse" ritual. Оn Ins. 3 word Оšъ
is preceded by
. This doublet is known from Murfatlar Churches and Oxford Manuscript. In the latter it accompany drawing of horses participating in some sort of ritual:
.JPG)
4. Inscription 5 and 6 are both found at Plate 1 (Ovcharov, N. 2017A).
The same doublet is presented in an inscription from Kalugeritsa originally published by Geza Feher. Here the name of God Rod is accompanied by two IYI graphs.
( ....or the Castilian solder [they] worship as a god. And the Greek enlightenment, the magical narration, and the stinking strings (amulets)....... and the Phrygian dreams, and the charms, and the evil fate, and the lot.)
3. Character
occurs only once in materials from Raven. In Bulgarian and Russian embroidery, such a motif is called "frog". Was this a random name or there is hidden meaning in it. Fortunately, Herodotus tells the following story: "and the kings of the Scythians perceiving this sent a herald bearing as gifts to Dareios a bird and a mouse and a frog and five arrows...for he conjectured that the gifts expressed this: Unless ye become birds and fly up into the heaven, O Persians, or become mice and sink down under the earth, or become frogs and leap into the lakes, ye shall not return back home, but shall be smitten by these arrows" (Herodotus, History p. 89) Scythians used a frog to represent realm of water. According to Marina Kachaeva motif represents the master of the waters (Kachaeva, M. 2008, p. 88). On other hand, motif , pursuant to Kumandinian believes, stands for Thunderbird, master of the skies (Slavnin, V. 1992). Only the mouse is missing from ornamental imagery and thus the Underworld. However, its presence is implied by motif , called in Smolensk and Estonia water well. In mythology a water well connects Middle Earth with the underworld. By the way, Marina Kachaeva noticed that this ornamental motif is identical with Chinese character for water well, and also that Earth motif (number 2 in table below) and Chinese character for grain (Kachaeva, M. 2008, p. 89) are similar. Other ancient Chinese characters also have their matches in world of textile ornament. Table below show five such comparisons. Those similarities, sometimes in both shape and meaning, might imply that some of the ancient Chinese graphs might started as an ornament that played an important role in life of Neolithic farmers.
Comparison of ornamental motifs with Chinese characters (1)
4. Characters
and are used to make a very distinctive ligature:
Ins. 2 and 3, Plate 1
Comparing
with brings the idea that and might be alographs of the same graph, but to understand the meaning of the ligature helps comparison of two inscriptions that has been presented previously:
Inscription 2, Plate 1 and Inscription 1, Plate 3(2)
, Ins. 1 ends with a character , when the Ins. 2. have at its end. It is possible that they both have same meaning? In Murfatlar alphabet (Ovcharov, N. 2014A), character have a phonetic value of /š/. At the Rosette of Pliska it is used to write the name of pagan god Osh (3): Similarity between
and leads to conclusion that is yet another way to write the same name and also that , and are alographs of the same graph. In this case character has to mean "o". Perhaps the forms and were developed from in result of writing with pen on soft materials (4). The search, in sources about religion of 10th century Bulgaria, for a possible pagan God's name starting with /oš/ (Оšъ)(5), doesn't give any result. In this case is relevant to search Caucasus region where Bulgar tribes used to live. Here two religious terms resemble Оšъ. First one, "Ash" is included in the name Ash Totur, master of wolfs in pre-Islamic Balkar and Karachay religion, whose prototype is Christian saint Theodore of Tyre (Dzhurtubaev, M. 1991). Idiom "Ash" comes from Ossetian “Uac-”, appellation for "Saint" as in Uacilla (St. Elias) and Uaskergi, Uashgergi (St. George) (Gershe-vitch, I. 1955 p. 478). According to V. Abaev, Uac- can be connected with Chorezmian Waxsh, "Saint", Pehlevi Vaxshvar, "Prophet", and Sogdian waxshik, "divine", and it must have been a pre-Christian religious term (Abaev, V. 1989 p.26-27). Second similar to Оšъ divine name, Aspandiat, Caucasian Hun's God is mentioned by Movses Kaghankatvatsi (Dasxuranc'i) in his work "The History of the Country of Albania": "Using horses as burnt offerings they worship some gigantic savage monster whom they invoke as the god T'angri Xan, called Aspandiat by the Persians" (Dasxuranc'i, M. 1961 p.159) According to H. Hübschmann, Aspandiat comes from Avestan spenta "holly" (Hübschmann, H. 1897). Others see in its root Middle Persian and Avestan aspa "horse" (Novoseltsev, A. 1990). Another passage from the same source also suggest that Aspandiat was worshipped with horse sacrifices: "From among the tall, leafy oak-trees (which were dedicated to the abominable Aspandiat and to which they sacrificed horses, pouring their blood over the trees and throwing their heads and skins over the branches." (Dasxuranc'i, M. 1961 p.161). Old Bulgarian(5) Оšъ also can be connected with a "horse" ritual. Оn Ins. 3 word Оšъ is preceded by. This doublet is known from Murfatlar Churches and Oxford Manuscript. In the latter it accompany drawing of horses participating in some sort of ritual:
Oxford, Bodleian Library, Roe 27
Also, among the marginal notes of the Oxford Manuscript, several times, is mentioned St. Theodore's Day known in Bulgaria as Horse Easter ( Granberg, A. 2005). After Christianisation, on that day was tradition to take special care of horses and its culmination were horse races. Another reason to connect Old Bulgarian Оšъ with Dagestani Aspandiat is the fact that they both are accompanied by a Solar Gods, beаring similar Iranian names: Old Bulgarian Hǎrs and Dagestani Hun's Kuar. Now, God Hǎrs, which name also had been casted on Rosette of Pliska (Ovcharov, N. 2016, section 17) have Iranian origin: Middle Iranian xvaršêt, and Persian xuršēt "shining Sun" as well as Ossetian hur. "Sun" (Fasmer, М. 2004). This synchronises perfectly with the etymology(6) of God Kuar mentioned by Movses Kaghankatvatsi: "If flashes of thundering fiery lightning and ethereal fire struck a man or some material object, they considered him or it to be some sort of sacrifice to a god K'uar"(Dasxuranc'i, M. 1961 p.159). By the way, Hǎrs has been considered as master of the thunder as well: "There is two angels of the thunder, Hellenic old man Perun and Hǎrs, the Jew" (Kaloyanov, A. 2004). In addition the name of God (or Goddess) Osh is written in three short inscriptions. First two, Ins.2 and Ins. 1, have identical part that can be read with some degree of certainty (7): (Almighty Lord Oshǎ). Third one is written with Greek letters and the challenge is not reading it but interpreting it: OXCI TZIT MA ГΙΛC (Oshǎ worship and Ma Gils or Oshǎ worship, Ma Gils). The second translation, indeed, implies that Oshǎ is Ma or The Mother Goddess, Mother Earth (8).
(Almighty Lord Oshǎ). Third one is written with Greek letters and the challenge is not reading it but interpreting it: OXCI TZIT MA ГΙΛC (Oshǎ worship and Ma Gils or Oshǎ worship, Ma Gils). The second translation, indeed, implies that Oshǎ is Ma or The Mother Goddess, Mother Earth (8).
Inscription from Silistra, (Beshevliev, V. 1979, p.239)
It has to be admitted that all observations made in this section about God (or Goddess) Oshǎ, although valuable, are still not enough to clarify its image.
There are several similarities between those inscriptions. First, they both share the graph 
once in Ins. 5 and twice in Ins. 6:
once in Ins. 5 and twice in Ins. 6:
However, the second in Ins. is involved in ligature. Second, both inscriptions have in their core same two characters:
in Ins. is involved in ligature. Second, both inscriptions have in their core same two characters:
And third, there is additional signs added to the inscriptions:
Fortunately, doublet 
is well known, it is presented on one of the rays of Pliska Rosette. It is spelling of the name of pagan God Rod.
is well known, it is presented on one of the rays of Pliska Rosette. It is spelling of the name of pagan God Rod.
One of the rays of Rosette of Pliska
Inscription from Kalugeritsa (Doncheva-Petkova, L. 1980, Table XXV/2)
In Inscr. 5 the first
graph is connected in ligature with graph V:
As it means "praise" the Ins. 5 can be read: "Praise Mighty Rod". In Ins. 6 Rod is called also Mighty but other graphs are unknown so it is impossible to read the whole inscription.
According to Russian scholars, Rod is an East-Slavonic god. However, some Bulgarian researchers believe that works in which information about Rod is found, particularly a piece known as "Word of Interpreter"(), are copies of Old-Bulgarian originals and reflect Bulgarian pagan believes, Here Rod and Rozhdenici() are pictured as gods known to Greeks, Egyptians and Romans:
(From here Greeks began
prepare food for Rod and Rozhdinitsi, also Egyptians, also Romans,
even it came to Slovene.)
Also, it becomes clear
that cult to Rod and Rozhanitsi at one point is adopted by Slovene,
certainly from native Balkan population, and gradually this cult
became more important then other, oldest believes:
(Same those Slovene begun
put meals for Rod and Rozhanitsi, before Perun their God. And before
that they prepared sacrifices for Upirs and Beregins.) Now, written evidence from Raven inscriptions supports the claim that Rod was worshiped
in Medieval Bulgaria.
6.Inscription 7 is written on stone block found at church St. Nicolas:
Blaga Aleksova believes that those three graphs prove that Glagolitic alphabet was created during Cyril's mission at Bregalnitsa as they encapsulate the very structure of the most of Glagolitic letters: cross (symbol of Jesus), triangle (symbol of Trinity) and circle (symbol of Universe and thus God) (11). However, although those three graphs are certainly building blocks of Glagolitic letters, according to inscription found at Raven and other centers of First Bulgarian Tsardom, their semantics might be slightly different. Triangle, although rotated in 180 degrees means "spirit" (), circle God father and cross Jesus, thus the above triplet represents Holly Trinity.
5. Inscriptions that has been examined so far reveal the mixed character of BSS: in the same inscription are used logographs and phonographs. For example, Inscription 2 ends with four characters:
. First two of them are logographs and second two of them are phonographs. Such writing system is modern Japanese writing system where are used kanji which are logographs and kana which are phonographs (8b).
. First two of them are logographs and second two of them are phonographs. Such writing system is modern Japanese writing system where are used kanji which are logographs and kana which are phonographs (8b). 6.Inscription 7 is written on stone block found at church St. Nicolas:
Plate 25 (Aleksova 1989) p. 289
7. Graph 
appears to be included in several interesting inscriptions. Apart from the fact that it shares similarity with Glagolitic letter vede: 
(9) it is virtually unknown graph. Comparison between Ins. 1 and 8 suggest that it might be first character in Ins. 1 thus clearing the word order of otherwise strangely constructed monogram:
(10).
appears to be included in several interesting inscriptions. Apart from the fact that it shares similarity with Glagolitic letter vede: (9) it is virtually unknown graph. Comparison between Ins. 1 and 8 suggest that it might be first character in Ins. 1 thus clearing the word order of otherwise strangely constructed monogram:(10).
Ins. 1 Plate 3(left) Ins. 8 Plate 15 (right)
Graph is also is also first character in Ins. 9 from Plate 2:
Key to understand this inscription is its last character:. It is well known to be one of two graphs that define Byala type Inscription (11). Then is much easier to notice that the middle character shares similarities with two other Raven Script graphs: 
(P3) ,
(P11) (Ovcharov, N. 2017B, Plate 3 and 11) and thus all three of them appear to be alographs of IYI. Now we can identify the first character in the inscription, as alograph of 
, which leads to the inference that Ins. 7 is Byala type.
This realization brings to live several conclusions. First of all, it is possible now to identify a few previously unidentifiable inscriptions as a BSS type inscription. First one comes from Murfatlar:
is also is also first character in Ins. 9 from Plate 2:
Inscription R7, Plate 2
Key to understand this inscription is its last character:
. It is well known to be one of two graphs that define Byala type Inscription (11). Then is much easier to notice that the middle character shares similarities with two other Raven Script graphs: (P3) , (P11) (Ovcharov, N. 2017B, Plate 3 and 11) and thus all three of them appear to be alographs of IYI. Now we can identify the first character in the inscription, as alograph of , which leads to the inference that Ins. 7 is Byala type. This realization brings to live several conclusions. First of all, it is possible now to identify a few previously unidentifiable inscriptions as a BSS type inscription. First one comes from Murfatlar:
Inscription from Murfatlar
On the shoulders of the cross is incised triplet: 
(
). Next inscription is from Great Basilica at Pliska. Here are incised above three graphs plus one new graph thus adding to the list of identified BSS graphs:
(). Next inscription is from Great Basilica at Pliska. Here are incised above three graphs plus one new graph thus adding to the list of identified BSS graphs:
Inscription from Great Basilica, Pliska
Second conclusion that can be drawn from this successful analyzing of ins. 7 regards language of inscription from Raven. When inscriptions are written with logographs and phonographs are used to spell names that perhaps sound same in any of suspected languages only the word order might be useful instrument. In fact, the word order of ins. 7 (VS) is differ from word order of Byala inscription (SV). Unfortunately, language of Byala inscription is unknown as well. Luckily, a short phrase from Raven also differ in word order, this time with inscription from Murfatlar:
Inscription M38 from pronaos of church B1, Murfatlar
Here word order is 
in contrast with found several times at Raven . Also inscription M38 reveals the spelling of the graph : "Boiъ" (Lord, Master) which perhaps is a Bulgar word. What language stays then behind phrase ? To give answer to this question, it is needed to examine cultural and linguistic processes that occurred after establishment of Bulgar Khanate at Lower Danube. that might be language change. The old concept of change of Bulgar language with Slavic emphasized Christianization as a decisive point. However the concepts of Nomadic Pax and some pieces of evidence oppose this view. First of all, according to Omelijan Pritsak, a Nomadic Pax organises its subject in military units. Those units participate together in military expeditions and training, in process of which, one of the languages of the Pax eventually emerges as lingua franca. This process cannot be measured but some evidence suggest that by the time of administrative reforms of Khan Krum the language switch was completed. The actual reforms might also suggest that something already happened in linguistic area. Another evidence is Slavonisation of Bulgar words used in Greek language inscriptions of Bulgarian rulers (Beshevliev, V. 1979, p. 57). Also, as cooperation went further in religious area, a pagan religion was formed, that was neither Bulgar nor Slovene but, as A. Kaloyanov suggest, an Old-Bulgarian paganism. As sources from 10th century imply, in Old-Bulgarian pagan pantheon participated Gods with Bulgar, Slavonic, and Balkan origin. On light of that, it is not surprising that some historians think that on time of Khan Presian South-West was taken without a war. Interesting in this way is Philippi inscription witch inform that Bulgarian high priest so called Kana Boila Kolobar, spoke with Smolene tribesman. It looks that in South-West not the use of arms but wining over minds and hearts of the people was important. After all this, it doesn't look surprising that inscriptions found in ruins of Medieval city Raven and its vicinity were written with different word order, perhaps Slavic. To support this view comes another short inscription form Plate 5:
in contrast with found several times at Raven . Also inscription M38 reveals the spelling of the graph : "Boiъ" (Lord, Master) which perhaps is a Bulgar word. What language stays then behind phrase ? To give answer to this question, it is needed to examine cultural and linguistic processes that occurred after establishment of Bulgar Khanate at Lower Danube. that might be language change. The old concept of change of Bulgar language with Slavic emphasized Christianization as a decisive point. However the concepts of Nomadic Pax and some pieces of evidence oppose this view. First of all, according to Omelijan Pritsak, a Nomadic Pax organises its subject in military units. Those units participate together in military expeditions and training, in process of which, one of the languages of the Pax eventually emerges as lingua franca. This process cannot be measured but some evidence suggest that by the time of administrative reforms of Khan Krum the language switch was completed. The actual reforms might also suggest that something already happened in linguistic area. Another evidence is Slavonisation of Bulgar words used in Greek language inscriptions of Bulgarian rulers (Beshevliev, V. 1979, p. 57). Also, as cooperation went further in religious area, a pagan religion was formed, that was neither Bulgar nor Slovene but, as A. Kaloyanov suggest, an Old-Bulgarian paganism. As sources from 10th century imply, in Old-Bulgarian pagan pantheon participated Gods with Bulgar, Slavonic, and Balkan origin. On light of that, it is not surprising that some historians think that on time of Khan Presian South-West was taken without a war. Interesting in this way is Philippi inscription witch inform that Bulgarian high priest so called Kana Boila Kolobar, spoke with Smolene tribesman. It looks that in South-West not the use of arms but wining over minds and hearts of the people was important. After all this, it doesn't look surprising that inscriptions found in ruins of Medieval city Raven and its vicinity were written with different word order, perhaps Slavic. To support this view comes another short inscription form Plate 5:
Inscription R8 from Plate 5
It consists of three graphs: ε, ω and . If ω is equal to Murfatlar letter then perhaps ε is equal to Murfatlar 
. Doublet εω thus, results in "ksh", which leads to Old-Bulgarian idiom "къшь" (lot). The whole inscription then must be then: εω= "къшь чти" (prаiсe lot). In fact, such an expression is found in Old-Bulgarian work "Speech of the interpreter":
. If ω is equal to Murfatlar letter then perhaps ε is equal to Murfatlar . Doublet εω thus, results in "ksh", which leads to Old-Bulgarian idiom "къшь" (lot). The whole inscription then must be then: εω= "къшь чти" (prаiсe lot). In fact, such an expression is found in Old-Bulgarian work "Speech of the interpreter":
( ....or the Castilian solder [they] worship as a god. And the Greek enlightenment, the magical narration, and the stinking strings (amulets)....... and the Phrygian dreams, and the charms, and the evil fate, and the lot.)
Thus, the interpretation of this inscription not only indicates one more time the language of the Bregalnica inscriptions, but also identifies one of the powers worshiped by the medieval Bulgarians, thus proving to the account of Old Bulgarian paganism preserved in "The Word of the Interpreter."
Third, the use of the graph as the alograph of the most famous Bulgarian character, IYI, sheds light on the connection between the Bulgarian Sacred Script and the Glagolitic alphabet. It's hard not to notice that Glagolitic letter "gerv", Ⰼ reminds the graph. But why would Cyril use the character IYI for a sound used only in borrowings from Greek? Is it by chance? For example, in the Marian Gospel, the letter of the letter is used for the Greek words: άγγελος, εὐαγγέλιον, λεγεών, ηγεμων. In medieval Greek, the place of the letter Ⰼ in these words was pronounced with two different sounds: "ŋ" and "ɣ". One of them is the sound that stands at the root of the word ἅγιος /a.ɣi.os/ (holly), translation of the Bulgarian IYI "ari" (good, holly). But that's not all. The letter gerv, Ⰼ is the 12th letter of the alphabet, and 12 is undoubtedly a sacred number. Also, Ⰼ has a numerical value of 30 and stands just below the letter Ⰲ, which has a numerical value of 3, thus also occupying a sacred position in the alphabet. Read vertically as logographs, the two letters repeat the beginning of the conscription RA7 from Raven: Honor the Good / Holy:
. But why would Cyril use the character IYI for a sound used only in borrowings from Greek? Is it by chance? For example, in the Marian Gospel, the letter of the letter is used for the Greek words: άγγελος, εὐαγγέλιον, λεγεών, ηγεμων. In medieval Greek, the place of the letter Ⰼ in these words was pronounced with two different sounds: "ŋ" and "ɣ". One of them is the sound that stands at the root of the word ἅγιος /a.ɣi.os/ (holly), translation of the Bulgarian IYI "ari" (good, holly). But that's not all. The letter gerv, Ⰼ is the 12th letter of the alphabet, and 12 is undoubtedly a sacred number. Also, Ⰼ has a numerical value of 30 and stands just below the letter Ⰲ, which has a numerical value of 3, thus also occupying a sacred position in the alphabet. Read vertically as logographs, the two letters repeat the beginning of the conscription RA7 from Raven: Honor the Good / Holy:
Two more Glagolitic letters, created after Bulgar graphs, that possess religious semantics, also have a magic numerical value: Ⰶ-7 and Ⰷ -8. The prototype of those two letters are the graphs 
(father) and 
(spirit). Actually, all three parts of the Holy Trinity are found embedded in the flesh of Glagolitic alphabet: Ⰰ- son, Ⰶ- father and Ⰷ- holy spirit. Viewed in that way,The Glagolitic alphabet appears as a symbiosis between pagan letter magic and Christian symbolism, a symbiosis typical for the first steps of Christianity in Pagan Bulgaria. But not only that - the Glagolitic alphabet is a testimony to the reality of the Bregalnica Mission.
(father) and (spirit). Actually, all three parts of the Holy Trinity are found embedded in the flesh of Glagolitic alphabet: Ⰰ- son, Ⰶ- father and Ⰷ- holy spirit. Viewed in that way,The Glagolitic alphabet appears as a symbiosis between pagan letter magic and Christian symbolism, a symbiosis typical for the first steps of Christianity in Pagan Bulgaria. But not only that - the Glagolitic alphabet is a testimony to the reality of the Bregalnica Mission.
In conclusion, some of the secrets of Inscriptions from Bregalnica has been revealed so far. The results add to understanding of very important exponent of culture of Early Medieval Bulgaria, Sacred writing. Although present work looks as huge improvement from point "zero", larger part of Bregalnica inscriptions remain undeci-phered.
Notes:
Literature:
1). Ornamental motifs are taken from: 1-Ivanov, S. 1963, p.137, 2- Durasov, G., Yakovleva, G 1990, p. 204, 3- Boeva, Y. 2015, p. 10, 4- Martjyanov, T. 1991, tab. 79, 5- Martjyanov, T. 1991, tab. 16. and Chinese characters after Wiktionary.
2). Both plates are presented in Ovcharov, N, 2017A.
4). For different stiles of writing on Raven stones see Ovcharov, N. 2017C, section 1.
5). According to A. Kaloyanov, Old Bulgarian paganism is religion formed and existed in Bulgar Khanate between 7th and 9th century AD. It had been practiced equally by all ethnicities in Khanate, Bulgars, Slavs and Thracians (Kaloyanov, A. 2002)
2). Both plates are presented in Ovcharov, N, 2017A.
4). For different stiles of writing on Raven stones see Ovcharov, N. 2017C, section 1.
5). According to A. Kaloyanov, Old Bulgarian paganism is religion formed and existed in Bulgar Khanate between 7th and 9th century AD. It had been practiced equally by all ethnicities in Khanate, Bulgars, Slavs and Thracians (Kaloyanov, A. 2002)
6). For this idiom Henning suggests
8b). See Wikipedia (https://en.wikipedia.org/wiki/Japanese_wri-ting_system)
9). This is actually the solemn form of the letter vede.
10). See section 1 of Ovcharov, N. 2017C
8b). See Wikipedia (https://en.wikipedia.org/wiki/Japanese_wri-ting_system)
9). This is actually the solemn form of the letter vede.
10). See section 1 of Ovcharov, N. 2017C
Literature:
Abaev, V. 1989- Абаев В.И. Историко-этимологический словарь осетинского языка. Том 4, Ленинград, 1989;
Aleksova B. 1989- Епископијата на Брегалница, Прилеп,1989; Chernyh P. 1951- Черных П. Я. Язык и письмо / История культуры древней Руси. М.; Л., 1951.Т. II;
Beshevliev, V. 1979 - Веселин Бешевлиев, Първобългарски надписи, София, 1979;
Boeva, Y. 2015- Юлия Боева, Богинята и рогатите глави, София, 2015;
Chukanova, R. 1957- Чуканова Росица, Болгарские народные вышивки. Западные районы, София,1957;
Aleksova B. 1989- Епископијата на Брегалница, Прилеп,1989; Chernyh P. 1951- Черных П. Я. Язык и письмо / История культуры древней Руси. М.; Л., 1951.Т. II;
Beshevliev, V. 1979 - Веселин Бешевлиев, Първобългарски надписи, София, 1979;
Boeva, Y. 2015- Юлия Боева, Богинята и рогатите глави, София, 2015;
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