By Polat Kaya


This is in response to an enquiry by Mr. Thomas Roed Jakobsen,

Dear Thomas Roed Jakobsen,

Thank you for your e-letter.  I am happy to hear that you have been reading some of my writings. Regarding the GÖBEKLI TEPE findings and the culture that it represents, my views are as follows:

GÖBEKLI TEPE is an extraordinary discovery giving us another example of how advanced ancient human beings were in thinking complex concepts and creating techniques to use elements of nature for their purposes. Some people are using the label of "hunters-gatherers" for these ancient people but, I say, this is a misnomer and a put-down term that belittles our ancestors. GÖBEKLI TEPE once again shows how advanced civilization was as far back as some 12,000 years ago - or even older. I say "advanced civilization" because if they were so-called "primitive hunter-gatherers", then they would neither have the need nor the skill to be able to cut multi-tonned stones from hard rockbed, shape them into T-shaped forms, carve on them very well defined figures, carry them uphill over a distance, and then relocate them in an orderly fashion to serve their religious or other purposes. This highly skilled activity elevates them to a very advanced civilization status.  I salute them with great admiration.   Eastern Anatolia, where these Göbekli Tepe civilization artifacts were found, has been one of the migration routes of the ancient Turanians from Central Asia on their way to Anatolia, western "Iran" geography, all of the Middle East, ancient Misir (Masar) and North Africa.  

2.   The T-shaped stones are time enduring documents showing pictures of a number of animal species that the people of that time interacted with. The animal figures carved on the stones are done extremely well and accurately. Further to these, I also noted that significant drawings have also been carved on them. In the picture below we note on the top of five T-shaped stones in the so-called "Temple" area, there are some dots (depressions) which seem to be intensionally arranged rather than being random depressions due to external forces. (See Figure 1 below). I view them as some kind of writing system that needs to be examined carefully. What has been inscribed on the top of these stones could be the names of peoples or concepts.  Particularly, two-dots, that is, one above the other making a "colon",  is a symbol that has been used in ancient Turanian writing systems as a word separator. If they are a kind of writing system, then the concept of pictorial writing must have been invented some 12,000 years ago - at least.  Information saved in these "dot" inscriptions reminds me of information saved on the Inca KUIPU (knotted) strings. In that system, knots on a string make up "dots" along the string similar to that of the Göbekli Tepe.  If knots on a string could be used as a system for storing information, then, so could be the "dots" with word separators on top of the T-stones.

It seems that using "dots" was an important "ornamentation" and possibly part of  pictorial expressions used by ancient Turanians. I show a very old example of this at Figure 2 below which is even older than the findings at Göbekli Tepe. 


Figure 1.  Göbekli Tepe T-shaped stones with "dots" designs on their tops.

3.    Comparable findings at Malta, Central Asia. 


Figure 2A


Figure 2B




Figure 2.    The above two figures are the two sides of a Central Asian 'pendant' found in Malta, south of Lake Baikal, Altai mountains, carbon dated at 14,700 years old (initially estimated at 21,900 years old)  see the web pdf document at<http://www.folklore.ee/folklore/vol18/pa06.pdf>. Spirals made with depressed dots are prominent here also.


2A)  Front face: This composition with multiple spirals made with dot depressions on the ivory face, in my view, represents the sun, the moon and the seven planets that the ancient Turanians were well acquainted with.  The spiral figure at the top-center is surely a representation of the crescent moon.  Just below it, is a centrally located large spiral which most likely is a representation of the sun itself.  The seven smaller spirals around the centrally located large sun-spiral are a portrayal of the seven planets revolving around the sun.  Since the sun and the moon were sacred sky-deities for ancient Turanians, it would make sense to carry this pendant on the body as a good luck charm.  The hole in the center of the sun symbol would have had two purposes.  One purpose is to be used to hang the pendant around one's neck and the other purpose would be to make the large "sun" spiral represent an "eye" symbol - which was one of the names of the sun and the moon in ancient Turanian religious understanding (i.e., GÖZ in Turkish). The spiral representation can be taken as a continuous projection line on the surface of a round object as observed directly. This ivory pendant of Central Asia is said to be some 15,000+ years old which makes it (and the other companion artifacts found at Malta, Lake Baikal) older than the Göbekli Tepe findings.  We note that the "crescent and the sun" symbol is also carved on some of the stones from Göbekli Tepe, (see Figure 8 below).  Having the representations of the sun, the crescent moon and the seven planets around the sun shown on this ancient ivory artifact, seems to indicate that even as old as some 15,000+ years ago, the Turanian civilization was a much advanced civilization with accurate knowledge of the solar system - and its representation!  With regards to the "dots", I note that artwork ornamentation with "dots" is very prominent in many forms of art among Turanians.  There are many ancient Scythian (who were the SAKA (ISKIT) Turks), Etruscan and other Turanian jewelry that have used "dots". Ottoman arts have also used this style. For example, one gold throne (called Bayram Tahti in Topkapi Sarayi Müzesi), of Sultan Süleyman the Magnificent has been embellished with 954 dots made with precious stones of peridots [1, p. 115],  Similarly, another one, made for Sultan Ahmed I, is also embellished with ornaments dotted with precious stones. It also has two interlocking spirals, [1, p. 116]. The same reference book is filled with many examples of Ottoman artwork using dots.  In this regard, the spiral motives on items 178 on p. 255 and 179 on p. 260 of Reference 1, are also significant.

2B)  Reverse face: Most likely river symbols carved on mammoth ivory from Malta, Central Asia. Such wavy symbols are the representation of running water in the hieroglyphic writings of ancient Masar (Misir, so-called "Egypt"). Some have likened these wavy carvings to large headed "snakes" such as cobra, but it must be noted that river beds do resemble a snake shape where the water flows as a snake slithers.  The so-called "large snake heads" in Figure 2A probably represent the lakes or seas that would form naturally at the end of a river.  In central Asia there are many rivers flowing into large lakes such as Lake Baikal, Lake Aral and even the Caspian sea (i.e., "Hazar Denizi).  

For the article about the Malta findings and other objects, see link at:


The following is a relevant citing from this article:

"Malta is the richest site of prehistoric art in Siberia. It is located in the district of 
Bratsk, some 85 km northwest of Irkutsk, on the left bank of the Angara’s tributary Belaia. The settlement was discovered in 1928 and became known not only for pre-historic art finds, but also for remnants of houses and a child’s burial with lavish grave goods. Directly after the discovery and later, in 1956, a well-known archaeologist and anthropologist M. M. Gerassimov conducted archaeological excavations at the site. The settlement of Malta was first estimated to be 22 millennia old; later radiocarbon dating, however, revealed that the age of the settlement is 14.7 millennia (PSSSR 1984: 314–315). Objects found from this site are preserved in the State Hermitage Museum and the Moscow National History Museum." 


"Buret is another famous site of Palaeolithic art in Siberia, located on the right bank of the Angara, near its tributary Belaia. During 1936–1940 A. P. Okladnikov studied this prehistoric settlement. Finds discovered from Buret are analogous to those found in Malta although despite the fact that both settlements existed almost at the same time. Buret is considerably poorer in finds of prehistoric art. Its cultural stratum has been estimated 14.8 millennia old, which contradicts to the 22 millennia dating based on stratigraphy and finds (PSSSR 1984: 314–315)."


4.   To me, the fact that the stone-monuments of Göbekli Tepe have been shaped into T-shapes is also significant.  The T-shape is an ancient representation of man himself, and also the "Man of the Sky" - so called "God".  A good example of this is the so-called"Ankh" symbol of ancient Masarians (so-called "Egyptians"). The "Ankh" symbol of the ancient Masarians has been taken and "adapted" by the Christian church into the Christian "cross" sign - which has nothing to do with the so-called "Crucification" event of "Jesus".  Ancient Masarians (MISIR) were Turanian peoples and their stone based culture of six-thousand years ago (or more) seems to be very much an improved continuation of this ancient Göbekli Tepe civilization.

5.    Although, we do not know anything about their language, the Göbekli Tepe civilization, being in an area where remnants of most advanced Turanian civilizations have been found, makes one think of a possible connection between the Göbekli Tepe people and, say, the later Turanian Sumerians. For example, in the language of the Sumerians, the word ATA (ATTA), same as in Turkish"ATA", meant "father" - which referred to a person's father and ancestor - and the creator Sky-God.   Again, the Turkish word"ATAM" meanning "my father, my ancestor" refers to persons' father and ancestor, and in the form of the Turkish word ADAMmeaning "man; mankind" refers to man himself. Letter "T" and "D" represent related sounds that get converted to each other in speech dialects. In the form of "UTU" in Sumerian, it referred to the sun-god. In the form of "T" (uT) it referred to fire, etc..  So the symbol "T" is a very ancient and important Turanian symbol. 

6.   The fact that Göbekli Tepe temple is structured on a "hill" may also be significant.  Because, for the ancient Turanians, the name "TEPE" was very significant.  Turkish word "TEPE" means "hill, hill-like objects; top of the mountain; the head of man  and other living beings; the tip of of anything".  The English words "TOP" and "TIP" and the Native Indian word "TIPI / TEPEE / TEEPEE" are all variations of the Turkish word TEPE.  For example, the Turkish term "TEPE ER" means the "top man, king, hero man". Similarly, the "SKY-GOD" concept is also "TEPE ER" who is regarded as "One-Father-Man" who assumed to live way up in the sky.  Additionally, the term "TEPE ER" refers to the hidden "man" that lives in the head of each person.  That hidden man living within the closed box (called the "skull") of man is the one that conceived the concept of constructing the Göbekli Tepe monuments and directed the men of those times to build it.  Thus the "TEPE" (the "head") is most important to man and to all other beings since it is the one that rules and guides the living beings. A headless being is nothing but a dead body. 

7.   Similarly, the Turanian Turkish word "TAPI" (which is a similar word to "TEPE") means "worshipping". Additionally, the term "TAPI ÖY" (TAPI EV, TAPI YER, TAPINAK) means "temple",  that is, the place where man does his worshipping to some concept. The YURTS of Turkish peoples in Central Asia are made in TEPE (hill) form. Some of the constructions at Göbekli Tepe have circular forms and seem to be temple-like arrangements.  Particularly, the house area in Figure 1 where two T-shaped stone monuments are located at the center and others around them are oriented towards the center point, appears to be a temple. If the area was indeed a temple and cemetery area, then again the T-stones may also represent the "head-stones of the dead ancestors".  Burying dead ones into a temple or temple back-yard seems to have been a common practice and a very old concept. It must also be noted that the ancient Turanians were ancestor worshipping peoples in addition to the Sky-God, Sun-god and Moon God concepts.  Therefore the T-shaped heavy stones might have been the rememberance monuments of their ancestors. Such headstones (not all in T-shaped forms) are all over ancient Central Asia as well as Eurasia. 

8.   Among the Göbekli Tepe findings, there is the so-called "Balikligöl Statue" which is the oldest representation of man in stone found so far.  See link   [http://www.thelivingmoon.com/43ancients/02files/Turkey_Gobekli_Tepe_004.html].

What is observed from this statue is that the man of that time was interested in being dressed up.  The two "V-neck sweater" shapes on his upper chest seems to be part of his attire (i.e., clothing). If so, then, this indicates their desire for being well dressed.  Additionally, this brings with itself the ability to make "clothes" out of fabrics that require the skill to make fabric, to weave wool and other matherial and acquire all the skills of achieving it, meaning that they were indeed very advanced civilization and they had already established the most of the skills of our modern living. Again, this clearly shows that the Göbekli Tepe people were not "hunter-gatherers", as some self serving writers have labelled them so, but rather, rather they were the followers of an advanced civilization. We also see that the T-shaped stones are very well designed, cut and well ornamented. Lines are straight or curved as required. They are not random scribles which indicates their geometrical and the archtectural skills.  


Figure 3.  "Balikligöl Man" from Göbekli Tepe.


The "Balikligöl Man" have his hands put together at his belly.  The hands being together is also significant because it also resembles some of the Sumerian statues where the person has his/her hands held together or one above the other as shown above .  This is a sign of respect in front of elders and/or respectful people in Turkish culture.  This very common cultural tradition is still practiced by Turkish (Islamic) peoples during praying to God rituals (namaz kilarken kadinlarin gögüste ve erkeklerin göbekte el baglamalari hali).

Figure 4. Göbekli Tepe T-stone embellishments.

The picture above shows the mid-part of a man with a belt-like object around it. The figure at the middle section of the belt, just below the hands, seems to be that of a bull-head (this figure must be carefully examined on the stone itself as it seems to be faded on the picture). If so, it would be very significant since there are wall mounted bull heads found at Çatal Höyük (and other places) also.  The "bull" logo was an ancient Turanian logo of the Sky-God, Sun-God and the Moon-God. 

On the left side of the stone, two crescent-like symbols having an H-like symbol between them are seen as part of the belt. 

The "crescent-like" symbols and an "H" like symbol between them constitute as good an artistic  composition as any other found in our times. However, they also give me the impression that they are a representation of a concept, and in this regard, are some kind of "picture writing system".  



Figure 5 


This figure seems to be a lion (or a lion cub) attacking a lamb like animal. The picture is well executed. To me the most significant aspect of the figure is the three V-shaped lines carved on its side. They could be the representations of the ribs of the animal, but alternatively, it could have a special meaning. We see such designs on Sumerian lions and bulls as well. See Bilgamesh (Gilgamesh) picture (Figure 7) below for comparison.  




9.   "Fish-bone motives".


Figure 6.

This picture from Göbekli Tepe has a "fish-bone" type design that is similar to the one that the Sumerians used, as seen in a Bilgamesh (so-called  "Gilgamesh") pictorial description shown in Figure 7.  This very same "fish-bone" design was also shown on the royal robe of king Priam of Troy as portrayed in the motion picture called "TROY". It is interesting to note that, in the movie, this kind of "fish-bone" style ornamentation has been associated with the Trojans - who were Turanian Tur/Turk/Oguz people.  Even the name "Trojan" embeds in itself the Turkish names of TUR, TURK (that is, with letter "J" being a down shifted letter "K"), TORAN (TURAN) and TANRU (TANRI).

In this picture also is the circular "Sun" symbol just below the  top portion of the stone.  The sun disk in this symbol seems to have some dots around it. Theembellishments shown in this column, from top to bottom ending with a water symbol, give the impression that it is a pictorial writing system.  Ancient Turanian writings (even the Sumerian writings) initially were also from top to bottom. The symbol just below a "crab" like figure at the bottom, most likely, is a representation of "water" (i.e., "SU" in Turkish). It is very likely that the bottom part of the picture depicts a controlled water irrigation system.  This is indicated by the cuts between the channelized water on the column and the left face of the stone where again there seems to be water in a much larger area where water birds are shown.  Ancient Turanians are well known for their water channelization and control systems. 


Figure 7

In this Sumerian representation.  King Bilgamesh, (the name is from Turkish word BILGI meaning "knowledge"), is holding the upper lions by one leg and upside down and also riding on the back of lion kings who might be mighty in power but when  compared with "King BILGAMESH" (i.e., "GILGAMESH"), that is, man who has been enlightened with wisdom, are humbled.  The "Bilgamesh" is a personification of "knowlege", that is, the king who rules over everything else.  The lower part of the garment on Bilgamesh is shown with a "fish-bone" design. 

Note that the triple curved lines on the sides of the lion in Figure 5 of the Göbekli Tepe picture, is also shown on the sides and the rumps of the lions in the Sumerian Bilgamesh representation of Figure 7.  This connects the Turanian Sumers to the culture of Göbekli Tepe.  Sumeria and Göbekli Tepe are in the same geographical area. It should be noted that even in this Sumerian depiction, dots are used to indicate the toes of lions. 




10.   Crescent Moon and Sun symbol at Göbeckli Tepe.


Figure 8A. Göbekli Tepe T-shaped stone with crescent moon and sun symbols.

Figure 8B. Crescent moon and the sun symbols on Göbekli Tepe stone.

On Figure 8A, on the left, we are seeing the crescent moon and the Sun symbols. These symbols are shown in larger form on Figure 8B above.  The "H" like symbol with a whole at its center, above the sun, could be another symbol perhaps representing the Sky-God (i.e., "Gök Tanri" in Turkish) concept.  These eternal religious symbols of Sun and Moon of the ancient Turanians have survived to present times on the flags of Turanian Turkish states all over the world. 

Sun (i.e., "Gün" in Turkish) and the Moon (i.e., "Ay" and also "Ma" in Turkish) were regarded as the eyes of the Sky-God. (i.e., Gök-Tanri).  As seen, the sun symbol has been made in the form of an "eye". Similarly, the crescent moon is a partially "closed eye". If the crescent moon and the sun symbol were portrayed in an  upside-down position, that is, crescent moon embracing the sun from the top, then it truly becomes a "human eye" which spells the Turkish expression "GÖZ" meaning "eye".   From this comes the Turkish term "O GÖZ" (OGÖZ, OKÖZ; OGUZ; ÖKÖZ) meaning "that eye; that fire; Oguz the Sky-God, Sun-God and Moon-god; and Bull" respectively.  





Figure 9  at right is another Göbekli Tepe stone on which a Bull (i.e., "Okoz" or "Boga" in Turkish),  a "wolf-like" animal (i.e., KURT in Turkish) and a Crane (i.e., "Turna" in Turkish) are carved.  In ancient times, the Bull was a sacred animal of the Turanians, and their primary logo of the Sky-God.  Secondly, the wolf (i.e., KURT or BORI) was a sacred personification of the sky - and the sky-god.  Thirdly the Crane (i.e., TURNA) is also a sacred bird for the Turanians as it carries the name "TANRU" (i.e., God) and the names TURAN (TURLAR) and TURAN in its name. So the three animal pictures carved onto this stone could be religious representations of the Turanian deities.  We must also note that many bull heads were found mounted on the walls of Çatal Höyük settlements in Anatolia.


Figure 9. 




11.   Göbekli Tepe and Stonehenge comparison.


Figure 9.   Artist's rendition of Göbekli Tepe temple.

An artist's rendition of Göbekli Tepe structures is shown at left, Figure 9.  Although the Göbekli Tepe structures remind us of the Stonhenge monument,Göbekli Tepe is some 7,000 years older. Like the Stonehenge monument, these temples are also made in a circular format and an "eye" format.   It is most likely that the ancient Sun-God, Moon-God and Sky-Father-God worshipping Turanian Tur/Turk/Oguz peoples built both structures in accordance with their religious beliefs. Pictures of Stonehenge are given below for comparison. 

For another reconstruction of the "temple" area, see the link at: 

The author of this reconstruction shows a possible "fire pit" at the centre of the temple area.  For Sun-worshipping ancients, fire was a symbol of the "Sun" in temples.




Figure  10.  Artist's rendition of Stonehenge 

Figure 11.  Stonehenge as seen from above


12. The name "

Stonehenge is "a megalithic monument on Salisbury Plain in Wiltshire, England. Completed in several constructional phases from c. 2950 bc, it was probably used for ritual purposes", [Oxford American Dictionaries].

The name STONEHENGE, rearranged  letter-by-letter as  "GONESH-ENET", is a restuctured, Anglicized form of the Turkish expression "GÜNEŞ ANITI"  meaning "Sun Monument".  This decipherment proves that those who coined the term "STONEHENGE" knew that it was a "sun monument" and knew that it was known as such in Turkish, but they had to keep that knowledge hidden, therefore, they altered and anagrammatized the Turkish expression to come up with the name "STONEHENGE".  

Alternatively, the name STONEHENGE, rearranged  letter-by-letter as  "GON-ENE-TESH", is a restuctured, Anglicized form of the Turkish expression "GÜN ANI TAŞ"  or "GÜN TAŞ ANI " meaning "Sun monument in stone" 

Stonehenge is very much a sun-emulating religious structure made in an "EYE" (i. e., Turkish "GÖZ") format.  In the language of ancient Turanians, that is, Turkish, the Sun was called "eye" of the Sky God. 

Turkish word GÜN (GÜNEŞ) means "sun" ANIT means "monument" ANI means "monument, reminder, remembrance"TAŞ means "stone".

The Sonehenge monument is claimed by the ancient native peoples called DRUIDS as being a monument done by their ancestors.  The name Druid is defined as "a priest, magician, or soothsayer in the ancient Celtic religion. A member of a present-day group claiming to represent or be derived from this religion".  DERIVATIVES of the name are Druidic (adjective), Druidical(adjective), Druidism (noun). ORIGIN from Latin druidae, druides (plural), from Gaulish; related to Irish draoidh ‘magician, sorcerer.’ [Oxford American Dictionaries.]

The name DRUID, rearranged  letter-by-letter as "DUR-ID", is an altered, restuctured, Anglicized form of the Turkish expression"TUR IDI" (TURK IDI)  meaning "he/she was TUR", "He/she was TURK".  Ancient Turanian SHAMANS (i.e.,  "KAM" in Turkish) are regarded as "magicians" and "soothsayers" by the westerners, although they were known as highly enlightened and specialized "medicine men".  Actually, the name SHAMAN is from Turkish word "IŞIMAN" meaning "man of light", that is,  the "enlightened man". 

Even the name DRUIDIC, rearranged  letter-by-letter as "DURC-IDI", is an altered, restuctured and Anglicized form of the Turkish expression "TÜRK IDI" (TUR IDI)  meaning "he/she was TURK", "He/she was TUR" 

So this shows that the ancestors of Druids were Turkish speaking Turanian Tur/Turk/Oguz peoples who were living some 5,000 + years ago in what is presently known as the so-called "British Islands" or "Brittania".  This is another proof that the ancient world was a truly Turanian world before the Turanians in the continent of "Europe" were Aryanized and their Tur/Turk/Oguz identity obliterated by the invading so-called "Indo-Aryans" or "Europeans".  Ancient native peoples of "Europe" were Turkish speaking Turanian Tur/Turk/Oguz peoples - contrary to all kinds of denial explanations that have been designed to change the ancient Turanian history of the world .  Even the name SCOT of Scotland, is an altered form of the Turkish name ISKIT, that is, the ancientSAKA Turks, who retain their original name in a semblence format. 




In concluding, it can be said that the Göbekli Tepe civilization artifacts are most likely a small portion of the ancient Turanian civilization that has recently shined back into daylight. It is part of an ancient world wide civilization of Turanian Tur/Turk/Oguz peoples that were much earlier in time than the later Aryan "Indo-European" and "Semitic" civilizations. These late-comer Aryans and Semites made sure that they not only usurped every aspect of the ancient Turanian civilization, but that they also destroyed and obliterated the Turanians in every way possible - so that the world would not be aware of that very ancient civilization.  Much of the obliteration was done by altering and restructuring the Turanian Turkish language into different formats as referred to in Genesis 11.

I also shared my observations of the pictures from both the Göbekli Tepe findings and also from much older findings at Malta, a Central Asian region of Altai Mountains, and from the Sumerians - and compared them with each other.  They all seem linked to each other. Labeling these ancient people of Göbekli Tepe  as "hunter-gatherers" (as some have done) is a very unfair and unwarranted put-down in view of the artifacts that they left behind.  It is fair to say that the Göbekli Tepe civilization was much more advanced than any hunter-gatherer society would be.

In addition to Göbekli Tepe findings, the Turanian artifacts found at Malta, near lake Baikal, Central Asia make the ancient Turanian civilization older than 15,000 years. 

This concludes my study (at present) of the Göbekli Tepe findings. 


1.   Esin Atil, "The Age of Sultan Süleyman the Magnificent", National Gallery of Art, Washington, Harry N, Abrams, Inc., New York, 1987.

Best wishes to to you and to all,

Polat Kaya



Thomas wrote:

Dear sir, I have been reading some of your material at http://www.polatkaya.net/Polat_Kaya.htm

I was wondering what your view on Gobekli Tepe is, as it may seem a perfect fit for you that 
there was an advanced civilisation there maybe more than 10.000 years ago.

Best regards,

Thomas Roed Jakobsen

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