Göbekli Tepe: The ‘Vulture Stone’s’ Sister Stone Pillar 33 and the Zarzian Snake Shamans of Anatolia.

Copyright © 2022 Mark Black

Keywords: Göbekli Tepe, ‘Vulture Stone’, Pillar 33, Zarzian, Natufian, Enclosure D, Snake Gods, Ancestor
Worship, Orion, Pillar 18, Zarzian, Natufian, Feathered Serpent, Mother Goddess, Shamanism, serpent
shamans, Hieros Gamos, Orion, Summer Triangle, Karahan Tepe, Geb, Nuit, Egyptian mythology, Kortik
Tepe, ‘The Shaman Phallus’, sacrificial lamb, sacrifice, Cain and Able, Zarzian mysteries, Adam and Eve
and the snake, Eden, skull cult, Janus, Mesopotamia, Ubaid culture.

Abstract: This paper will investigate Göbekli Tepe’s Orion connection to Pillar 33 as an expansion and
magnification of the motifs and symbols found on the head of the ‘Vulture Stone ‘or pillar 43. With
revelations:
1) The three bags on the ‘Vulture Stone’ correspond to Pillar 33’s three waterfowl, both represent
ancestral shamans; with any set of three identical motifs representing Orion’s star belt.

2) Both pillars track the shaman’s astral journey to the mother goddess and depict Orion as an H.

3) In enclosure D, Pillar 33 further reveals the 11 snakes emanating from the bird’s body is the Janus
Stone (pillar 18) which must be given a sacrifice. A revelation that in turn unlocks the serpent’s motif
blocking the H on the ‘Vulture Stone’ from the segmented line surrounded by the V motifs.

4) This Bird/Snake motif will reveal a feathered serpent.

5) The 11 snake heads on the side of Pillar 33 are connected to the ‘Vulture Stone’s’ 11 squares that
construct the segmented line surrounded by the V motifs. In ‘The Shaman Phallus’ I state the symbol V
represent the mother goddess, who embodies the Milky Way. If these snake heads are represented
within the Mother Goddess, it would indicate that the mother goddess is attached to these snakes.

6) That these serpents represent the ancient ancestors of the Zarzians, and that the T shaped pillars at
Göbekli Tepe are serpentine as well as those at Kahan Tepe and other Neolithic sites in the area.

7) This paper supports my earlier hypothesis in ‘The Shaman Phallus’ that the V represents the Mother
Goddess, and the V’s apex is the star Deneb. A ‘V’ that is found on both pillar 33 and the ‘Vulture Stone’.

8) Research has revealed the serpentine Janus Stone (pillar 18) must be given a lamb sacrifice. With
possible links to the Cain and Able story in Genesis. Giving us a possible reason for the rejection of Cain’s
vegetable sacrifice and the murder and contention at Kortik Tepe. With a new hypothesis of Adam and
Eve’s meeting with the snake linked to the destruction of the heads of the T-shaped snake pillars at
Göbekli Tepe.
 Göbekli Tepe: The ‘Vulture Stone’ sister stone Pillar 33 and the Zarzian Snake Shamans of Anatolia.

Figure 1 #1 Pillar 33 #2 Vulture Stone/Pillar 43

My previous hypotheses have been structured to lay the groundwork for this next paper. A paper that
will further investigate Orion’s connection to Pillar 33 as an expansion and magnification of the motifs
and symbols found on the head of the ‘Vulture Stone ‘; and establish a Zarzian serpent’s presence at
Göbekli Tepe and Karahan Tepe (Figure 1). Below is the ground plan for Göbekli Tepe designed by the
German Archaeological Institute of Enclosures A, B, C, D, F and E. (Photo credit: German Archaeological
Institute) (Fig, 2). Dates and astronomic alignments are superimposed in red to display Alessandro De
Lorenzis and Vincenzo Orofino work that discovered those that built Göbekli Tepe were looking NW at
Deneb. A hypothesis that is explained fully in ‘The Shaman Phallus’. But this earlier hypothesis is only
half the story. In the opposite direction to the SE there is an astronomical alignment for Orion shown in
blue (Figure 2.)
Figure 2 Ground plan of Göbekli Tepe. Image Credit German Archaeological Institute. Diagram Modifications: Mark Black

In Figure 2 the yellow line now connects the ‘Vulture Stone’ (pillar 43) in the NW, to pillar 33 in the SE.
That I suggest communicates the same story of a shaman’s astral flight link to Orion and his journey to
the Mother Goddess represented by the
Milky way.
Figure 3. Left Panel: Pillar 33. Right Panel: Vulture Stone. Image Credit
To make a comparison between these two
German Archaeological Institute pillars, I first began with the ‘Vulture
Stone’s’ three-square bags outlined in
yellow in Figure 3. In my earlier writings, I
have named these squares “Shamanic
Squares”, asserting they represent shaman
ancestors from the Zarzian and Natufian
cultures. Outlined in yellow on pillar 33 we
find these three ancient ancestors
represented as three waterfowl. This
suggests the three bags on the head of pillar
43, and the three birds on the head of pillar
Figure 3
33 both represent ancestors from different
generations and points to a long-standing
belief in ancestor worship. All near eastern
cultures have performed ancestor worship. This belief in Sumerian society was so essential that
‘Eldership’ is listed as one of the divine laws (Me’s) in the myth in “Inanna and Enki.” Today many
religions believe the dead (ancestors, gods, saints, shamans, etc.) help the living while on earth and that
these ancestors are waiting and preparing a place for them in the hereafter. At Göbekli Tepe, I suggest
these beliefs were the same and were a fundamental part of their shamanic ideologies for both the
Zarzian and the Natufian cultures.

In ‘The Shaman Phallus’, I state shamans at Göbekli Tepe performed

Figure 4 Sky goddess Nuit (Milky
Way and Geb with the head of a
snake. Serpentine motifs are
prominently found at Göbekli
Tepe.
fertility rituals dedicated to a Female sky Goddess symbolized by the Milky
Way. My research has determined she represent their concept of heaven
and her symbol is the V. That is formed by the stars Altair, Vega, and
Deneb, which represents her vulva. At Göbekli Tepe this V is found within
Enclosure D marked by the two centered pillars and the ‘Vulva Stone’
(Figure 8). I suggest these shamanic fertility rituals performed at Göbekli
Tepe with a ‘Shaman Phallus’ is encapsulated in an Egyptian myth
thousands of years later. With the story of Geb and the sky goddess Nuit,
that states she ‘holds a thousand souls’ and is represented as the Milky
Way.

Nuit’s phallic counterpart Geb was an earth god known as ‘The Father of
Snakes’ and often depicted with the head of a snake or waterfowl and a
large phallus (Figure 4 and 7). Incidentally, the ancient Egyptian ancestral
god ‘Sah’ is represented with a goose or waterfowl on his head and has
been linked to Orion by Egyptologist.

In ‘The Shaman Phallus’ I explain that the Bird head with the ithyphallic
man at the bottom of the ‘Vulture Stone’ denotes Sagittarius (Figure 5).
That I link to an ancient Sumerian’s ancestral constellation named
Pabilsag, whose name is composed of two elements - Pabil, meaning
“elder paternal kinsman” and Sag, meaning “Chief, Head”. A name that
may thus be translated as the “Forefather” or “Chief Ancestor”.

I suggest at Göbekli Tepe elite Zarzian shamans wore bird head effigies
Figure 5 The Bird head outlined in
atop their heads to embody their ancestral shamans represented by
Orange. Orion/ Shaman initiate
outlined in red. Sagittarius. With the headless ithyphallic man denoting a shamanic
initiate as the headless Orion who clings to a shamanic ancestral guide
that will take the initiate through the stars to the mother goddess (Figure 5). Not surprising to this
theory, we find birds attached on top of human heads at Gobekli Tepe and Nevali Cori (Figure 6 and 17).
These archaeology discoveries expands my hypothesis to include the Egyptian primordial gods that
support birds atop their head originated with the Zarzain shamans at Gobekli Tepe.

Figure 6 From Göbekli Tepe of a bird (the head is missing) perched upon a human head (Dierich et al.2014:15). Photo: N. Becker,
Deutsches Archaologisches Institut (DAI)

Nuit’s lover Geb’s genealogy decreed he was the father of Osiris who is
personified by Orion. To achieve immortality and fecundity for Egypt all
pharaohs must travel to Nuit through Orion after their deaths. In ‘The
Shaman Phallus’ and ‘The Origins of the Roman god Janus at Göbekli
Tepe’, I contend that shamans at Göbekli Tepe traveled to and then went
within the mother goddess by means of Orion in a shamanic flight that
achieves these same Egyptian objectives of immortality and fecundity.

In the ‘Shaman Phallus’, Nuit’s lover Geb is the Phallic god that I paralleled
to the shamans that used ‘Shaman Phalluses’ to perform Hieros Gamos
with the mother goddess at Göbekli Tepe. A sky goddess whose pubic
area is symbolized by a V in the heavens and marked by Vega, Altair and
with Deneb signifying her Vulva, which is mirrored at Göbekli Tepe within
Enclosure D (Figure 8). In 9,590 B.C. within Enclosure D, Deneb aligned
with the ‘Vulva Stone’ with Vega and Altair symbolized by Pillar 31 and 18,
which forms the V of the mother goddess (Figure 2 and 8).

In ‘The Origins of the Roman god Janus at Göbekli Tepe’ this fertility ritual
is expanded to include the shaman taking the role of Orion as he appears
in the SW between pillars 32 and 19. Next to pillar 32 is pillar 33. A pillar
Figure 7 Geb that my research has uncovered is a magnification and expansion of the
‘Vulture Stone’. With both pillars tracking the H motif. The H represents
the shaman as Orion on their astral flight to and inside the mother goddess and the ancestral shamans
they will encounter along this journey.
Below is Figure 8 which illuminates a basic understanding of the Vulture Stone’s meaning within
Enclosure D (For a more complete interpretation see ‘The Shaman Phallus’, ‘Uncovering the contents of
the three bags and their power animals etched into the ‘Vulture Stone’: By tracing the Zarzian and
Natufian’s relationship that effectuated the construction and demise of Göbekli Tepe’, and ‘The Origins
of the Roman god Janus at Göbekli Tepe).

Figure 8. The summer triangle is represented by a V at Göbekli Tepe, and this V is the sign of the Mother Goddess. I have
superimposed this V on the ‘Vulture Stone’ using the two-birds marked as Vega, Altair and by using the solitary hole located on
the Vulture Stone’s eastside, if it was synchronized to the Vulture Stone’s westside’s segmented-line to represent Deneb (Pic
Credit Rodney Hal, Andrew Collins, and German Archaeological Institute). The upright 90-degree H is marked as Orion. At
Enclosure D this V is mirrored by the two central pillars 31 and 18, and the ‘Vulva Stone. The first panel pic credit is an image
from the German Archaeological Institute with my interpretations in Black and Red. The middle picture is Rodney Hale's
reconstruction of Enclosure D with my diagrams of the V’s superimposed with both earthly and astronomic alignments. The
Third image Credit German Archaeological Institute of the solitary hole located on the Vulture Stone’s eastside that I have circled
in red and label as Deneb.

The Feathered Serpent and the H Symbols

Having established the three birds found on the heads of pillar 33 reflect the ‘Vulture Stone’s three
bags: with both motifs signifying shamanic ancestors and the three belt stars of Orion. I now turn to the
‘Vulture Stone’s’ two birds and the upright 90-degree H symbols; that are both mirrored on pillar 33
(Figure 9).

This research has discovered Pillar 33 not only tracks the H/Orion/shaman’s astral journey to the mother
goddess (Figure 8, 9 and 12). But its magnification of the ‘Vulture Stone’ communicates the bird that
signifies Vega/Janus Monolith (pillar 18) at Göbekli Tepe, is meant to reflect snakes are emanating from
its body, which is outlined in yellow in Figure 9 Panel #1. This magnification of Pillar 33 unlocks the
meaning of the ‘Vulture Stone’s’ serpent/bird motif outlined in yellow that confronts the 90-degree
H/Orion outlined in red from the segmented line (Figure 9 panel #2 and 12).

On the ‘Vulture Stone’ the ‘Feathered Serpent’ appears to dip its beak into the H, outlined in yellow on
the ’Vulture Stone’ as Vega and pillar 18 (Figure 9 panel #2 and 12). This image reinforces my earlier
writings in ‘The Origins of the Roman god Janus at Göbekli Tepe’ that Pillar 18/Janus Monolith/Vega
required an offering before the shaman could proceed to the ‘Vulva Stone’/Deneb to perform Hieros
Gamos with the Mother Goddess.
Pillar 33 magnification reveals the type of offering required to Pillar 18/Janus Monolith/Vega, which is
denoted by the pillar’s 11th snake head (Figure 9 Panel #1, Figure 10). And it was noted this is the only
snake with an agape mouth towards a sacrificial sheep motif found in the area (Figure 10). Klaus Schmidt
identifies this animal on pillar 33 as a sheep on page 177 of his book Göbekli Tepe: A Stone Age
Sanctuary in South-Eastern Anatolia; and I concur.

Figure 9 Panel #1 is Pillar 33. Panel #2 is the Vulture Stone. Photo Credit: German Archaeological Institute. Diagram
Modifications: Mark Black
Figure 10 Enlargement of Pillar 33’s 11th snake head reveals the snake is going to devour the sacrificial lamb.

Once I determined that Pillar 33 revealed Pillar 18 as a Zarzian serpent ancestor that required a sheep
sacrifice. The story of Cain and Able from Genesis came to mind, as well as the ancient Mesopotamian
snake gods lost to time mentioned in Frans Wiggermann’s research paper ‘Transtigridian Snake Gods’. In
which he suggests these snake gods were the most ancient of the Mesopotamian gods. And this fact did
not escape me as archaeologists at the oldest Mesopotamian cities of Ur and Eridu found evidence of
the prehistoric Ubaid lizardmen and women (Figure A). This prehistoric culture parallel to ancient
Mesopotamian myths of ancient snake gods suggest a remembrance of these Zarzian snake shamans at
Göbekli Tepe, which kept this snake cult active.
Figure A. Ubaid Culture

In “Uncovering the contents of the three bags and their power animals etched into the ‘Vulture Stone’:
By tracing the Zarzian and Natufian’s relationship that effectuated the construction and demise of
Göbekli Tepe.” I revealed Zarzians shamans at Shanidar cave and Zawi Chemi dressed as birds and used
snake motifs as ritual paraphernalia. I further suggest Zarzian shamans traveled down the Batman River
to establish Kortik Tepe and established an outpost at El Qaramel where we find an insect motif. An
insect motif that was brought to Göbekli Tepe and chiseled on both the ‘Vulture Stone’ and pillar 33. An
insect motif extensively analyzed as one of the reasons the Zarzians abandon Göbekli Tepe in 9,200 B.C.

I have further proposed the Zarzians were the shamanic elites over the Natufians. And achieved this
superiority by convincing Natufian shamans these Zarzian ideologies would grant them eternal life and
fertility for their tribes. And now that I have identified the Zarzians as the origins for these snake gods
mentioned in Jewish and Mesopotamian literature. A couple of hypotheses have developed after I
discovered several similarities with the Zarzian snake shamans in the Anatolia and the tales told of Eden.

In Genesis there is a talking, walking snake that tells the woman, if she partakes from the tree of life,
she, and her husband will live forever; and their eyes will be opened to see as the gods. In “Uncovering
the contents of the three bags and their power animals etched into the ‘Vulture Stone’: By tracing the
Zarzian and Natufian’s relationship that effectuated the construction and demise of Göbekli Tepe,” I
state female Natufian shamans may have been an archetype for Eve; and that they became involved
with the Zarzian shamans. Now that the snake has been firmly allotted to these Zarzian shamans this
hypothesis falls further into place as an explanation for these astonishing stories of Eden in Genesis.
My hypothesis suggests these many gods walking around Eden were Zarzian snake and bird shamans at
Göbekli Tepe, Karhan Tepe and the other neolithic sites in the area. Of course, the tree of life is the
Mother Goddess or the Milky way. And the Zarzian snake god’s fertility ritual described in the ‘Shaman
Phallus’ would have granted immortality to any Natufian shaman initiate (Eve/Adam) that was inducted
into these Zarzian Mysteries. The ability to see as the gods is to have the ability to read the ‘Vulture
Stone’s’ star map as the Zarzians and see the heavens as the constellations described in ‘The Shaman
Phallus.’ A knowledge that would impart an understanding of the Zarzian mysteries that brought heaven
and earth together, bring fecundity the land and eternal life to their shamans.

This research coupled with “Uncovering the contents of the three bags and their power animals etched
into the ‘Vulture Stone’: By tracing the Zarzian and Natufian’s relationship that effectuated the
construction and demise of Göbekli Tepe,” which revealed in 9,200 B.C., Enclosure D was covered by
Zarzian shamans. After, the Natufian shamans drove out the Zarzians from varies Neolithic sites in
Anatolia and the snake is demonized. With evidence from later enclosures at Göbekli Tepe that these
snake pillars were dug up after being buried to break their serpent heads. An action that may indicate
why we are told God said to the serpent in Genesis: And I will put enmity between you and the woman
and between your descendants and her descendant. He will crush your head, and you will bruise his
heel.”

I believe once the Zarzians departed, and the serpent is demonized by the Natufians. The knowledge to
these Zarzian mysteries is slowly lost, as Natufian shamans intentionally changed Zarzian rituals and
motifs to reflect the snake as anathema. But it does appear the snake’s knowledge is retained by
cultures like the Ubaid culture and through the snake god cultures of ancient Mesopotamia. The
nakedness that Adam and Eve realize after their eyes were open as the gods is perhaps found at the
bottom of the ‘Vulture Stone’. With the naked ithyphallic individual as this archetype; with clothes now
imparted to eliminate this phallic practice by Zarzian Shamans. Although as shown in ‘The Shaman
Phallus’, this practice makes a re-emergence with the masturbation rituals of ancient Egypt.

I further propose the Cain and Able story represents a Natufian Shaman initiate and Abel as a Zarzian
shaman initiate. With evidence that the Natufians were the earliest to exploit wild cereals, experiment
in the early domestication of plants, and even dabbled in alcohol production. This fact suggests a
possible scenario where Natufian Shamans attempted to give a plant-based offering to the Feathered
Serpent aka: Pillar 18/Janus Monolith/Vega. And although this produce was no doubt the Natufian
shamans very best. This sacrifice was soundly rejected due to the sheep’s required offering to the snake.

This rejection of course would deny the Natufian initiate the ability to perform Hieros Gamos with the
mother goddess, achieve eternal life, and fecundity for their respected tribes. A rejection and insult that
would have no doubt resulted in contention and resentment between the Zarzians and the Natufians. A
contention that could have perhaps led to murder and violence as was reported at Kortik Tepe in a
recent paper ‘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. Körtik Tepe is a neolithic site that I have identified in the ‘Vulture Stone’: By tracing the Zarzian
and Natufian’s relationship that effectuated the construction and demise of Göbekli Tepe,” as a major
Zarzian hub with Natufian acolytes. And although the Zarzian and Natufian cultures both lived at Kortik
Tepe. The evidence reveals its residence were buried separately from each other and had no sexual
intermingling between the two.
 The importance of this sacrificial lamb and
snake that emanates from the Vega Bird also
labeled as Pillar 18 and the Janus Monolith
cannot be overstated. As nowhere else at
Göbekli Tepe or any surrounding sites is this
sheep and snake with an agape mouth motif
detected. A fact that I believe demonstrates
not only the importance of this sacrifice, but
the secrecy of this offering that was only
reserved for shaman initiates being inducted
into the Zarzian shamanic mysteries.

From ‘The Shaman Phallus’ this picture in

Figure 11 was submitted by Andrew Collin
and Rodney Hale. After I was convinced the
segmented-line surrounded by the V motifs
on the ‘Vulture Stone’ represented the Milky
Way; and therefore would incorporate the
Summer Triangle or the V of the
MotherGoddess. To answer this musing I
sumbitted a question in a discussion group at
‘Gobekli Tepe and Other Turkish Sites’ on
Facebook. My question: If pillar 43 or the
Vulture Stone’s, eastside solitairy hole is
synchronized with its opposing engraved
West side, where would it appear? Andrew
Collins and Rodney Hale submitted the
picture in Figure 11 of a synchronized
Figure 11 Photo Credit: German Archaeological Institute Photo solitary hold on the Vulture Stone’s Eastside.
Manipulation Andrew Collins and Rodney Hale.
Although, Mr. Collins nor Rodney Hale found
any further significance from this discovery. I however, knew that once the eastside solitairy hole was
synchronize on the engraved westside, it would reveal Deneb. That in turn would now allow Deneb,
Vega, and Altair to form a V symbol, which is the symbol of the mother goddess (Figure 8 and 12).
Durning my reseach for this paper on pillar 33, this solitairy hole that synchronized on the engraved
West-Side also revealed another revelation; as it marks the 6th square of the segmented-line that I have
circled in blue in figure 12. When this 6th square from the ‘Vulture Stone’ was applied to the 11 snake
heads on the side of Pillar 33, I found that the 6th serpent's head was directly in front of a ‘V’ motif
(Figure 13).

This ‘V’ in front of the 6th snakehead on pillar 33, is marked by the sychronized hole that is indicated by
the 6th Shamanic Square’ on the west-side of the ‘Vulture Stone’ (Figure 12.) And confirms my original
hypothesis in ‘The Shaman Phallus’, that not only do these ‘Shamanic Squares’ represent ancestral
shamans on the ‘Vulture Stone’, they represent ancient ancestral Zarzian snake shamans. And confirms
the ‘V’ made by Deneb/ “Vulva Stone”, Vega/Pillar 18 and Altair/Pillar 31 is a valid hypothesis. But in
addition, validates that Deneb/Vulva Stone is in fact the V’s apex that points to the object of the
initiate’s desire, which is the Vulva Stone/Deneb; or the Mother Goddess’s vulva (Figure 8, 11, 12, and
13). This revelation may equally imply that the ‘Shaman Phallus’ has a serpentine quality embedded
within its interpetation.

Figure 12 Enlargement of the Vulture Stone. Pic Credit: German Archaeological Institute. Diagram Modifications: Mark Black
Figure 13 Enlargement. Pic Credit: German Archaeological Institute. Diagram Modifications: Mark Black

On the ‘Vulture Stone’, the Vega Bird/ Janus Monolith/ Pillar 18’s head connects to the segmented line,
which consists of 11 ‘Shamanic Squares’ that denote shamanic ancestors (Figure 9 panel #2 and 12).
These ‘Shamanic Squares’ that are attached to the back of the Vega Bird/ Pillar 18/ Janus monolith’s
head reinforce my earlier hypothesis made in ‘The Origins of the Roman god Janus at Göbekli Tepe’.
That Natufian ancestral skulls hung from the back of pillar 18’s square head giving it a two-faced
appearance. If we examine the snakes that emanate from the Vega Bird on pillar 33, we similarly find 11
snake heads on the edge of pillar 33 (Figure 9 Panel #1). This would indicate these 11 squares that
attribute to the segmented line on the ‘Vulture Stone’ are snakeheads, which in turn, reveals the T-
shaped pillars at Göbekli Tepe are serpents, and their square heads are in fact serpent heads.
These 11 serpent pillars found within Enclosure D were first identified in ‘The Origins of the Roman god
Janus at Göbekli Tepe’. That were further linked to the 11 pillars found at Karahan Tepe within the Pit
AB, minus the two toppled centered pillars. These 11 square headed pillars at Göbekli Tepe’s Enclosure
D, minus the centered pillars. And the 11 pillars at Kahan Tepe found within Pit AB, minus the two
toppled centered pillars can now be identified with a fair amount of certainty to represent as Zarzian
serpents and represent the principal ancestral shaman to the Zarzians.

The conclusion is the same as the abstract except

Figure B Gravettian. Pic Credit: Don’s Maps
for a few sidenotes. In #5 from the abstract I
state, “The 11 snake heads on the side of Pillar 33
are connected to the ‘Vulture Stone’s’ 11 squares
that construct the segmented line surrounded by
the V motifs. In ‘The Shaman Phallus’ I state the
symbol V represent the mother goddess, who
embodies the Milky Way. If these snake heads are
represented within the Mother Goddess, it would
indicate that the mother goddess is attached to
these snakes.” In ‘The Shaman Phallus’, I
demonstrated that these snake motifs as well as
the ‘Shaman Phallus’ were handed down through
specific cultures, naming the Gravettian culture as
one of these shamanic legacies. With the snake
now firmly attached to the mother goddess. The
image of this Gravettian sculpture that unites a
woman and serpent can now be understood
(Figure B). And further demonstrates this
connection of the woman and snake did not
happen in a vacuum at Göbekli Tepe, nor as Dr.
Clare has remarked was Göbekli Tepe a 0-point
event for these ideologies, as some have
erroneously suggested (Figure B). As a sidenote,
this image and revelations from this paper may
suggests this sky goddess intertwined with the
serpent is the origins of Tiamat; a subject I would
like to expand on one day.

In ‘The Shaman Phallus ‘I further suggest the Mal’ta culture were also linked to the Zarzians. With their
three snakes etched into a mammoth bone mirrored represented on pillar 33 (Figure 13) , which I have
attributed to the three ancestral stars on Orion’s belt (Figure C), which I will comment on my next paper
as I continue to interpret pillar 33 as I have with the ‘Vulture Stone’.
Figure C Photo Credit Don Map

https://www.donsmaps.com/images24/maltahermitageplateback.jpg

Here are my previous papers that one needs to discern to fully appreciate this research.

1st installment. I revealed in 9,590 B.C., at Göbekli Tepe within enclosure D, a shamanic fertility rite was
performed using a ‘Shaman Phallus’, a ritual paraphernalia that is traced back to its origins with the
Aurignacian culture. This ritual was focused on Altair, Vega, and Deneb, which makes a V or the symbol
of the Mother Goddess, who is represented by the Milky way. With Deneb marking the mother
goddess’s Vulva, which is aligned with the ‘Vulva Stone’ in the Northwest of enclosure D (Figure 2 and
8). A cosmic act of Hieros Gamos that will produce fecundity for the shaman’s respective tribes and
grant these shamans’ eternal life within the Mother Goddess.

‘The Shaman Phallus' 2018 link:

https://www.academia.edu/42019363/The_Shaman_Phallus
2nd installment: “Uncovering the contents of the three bags and their power animals etched into the
‘Vulture Stone’: By tracing the Zarzian and Natufian’s relationship that effectuated the construction and
demise of Göbekli Tepe.” Link:

https://www.academia.edu/44177465/Uncovering_the_contents_of_the_three_bags_and_their_power
_animals_etched_into_the_Vulture_Stone_By_tracing_the_Zarzian_and_Natufian_s_relationship_that_
effectuated_the_construction_and_demise_of_Gobekli_Tepe

Third installment: ‘The Origins of the Roman god Janus at Göbekli Tepe’ is a paper where I name
enclosure D’s pillar 18 the ‘Janus Monolith’. Due to my hypothesis that skulls hung off the back of its
square head giving it a two-faced appearance. Like the Roman god Janus, Pillar 18 required an offering.
This research explores Orion’s role at Göbekli Tepe, with the H motif on the ‘Vulture Stone’ representing
Orion. I further link the 11 squares that form the segmented lines on the ‘Vulture Stone’ to Göbekli
Tepe’s 11 pillars within Enclosure D minus the two centered pillars; and the 11 pillars found at Karahan
Tepe within the Pit AB, minus the two toppled centered pillars. With a hypothesis the three thrones at
Kahan Tepe are mirrored on the ‘Vulture Stone’ as the three bags.

Link:

https://www.academia.edu/59941968/The_Origins_of_the_Roman_god_Janus_at_Gobekli_Tepe