Schindler’s Religion of Illyrian (“Slavic”) Sun-god Dazhbog (a stećak near Stolac, upper left) spread throughout the World: into Syria as Sun-god Shamash (Palmyra, 150 BCE, bottom-left), Old Rome as Sun-god Sol Indiges whose worshipers in the late Roman Empire (1-3 century CE) formed what is today regarded as a “mysterious religion of Sun-god Mithra” (bottom-right), into western China (undated tombstone, top-right), prehistoric Egypt (6000-3100 BCE) as Sun-god Amun Ra that later on became Horus or just Ra (not shown), into Celtic lands as Sun-god Belenus (3rd c. CE), into India, etc.

Escutcheon seal of Illyria . Four regal scepters symbolize the Fourth Kingdom as Illyrians saw what we call today Ancient Greece – a view that was later adopted by Protestants based on the Book of Daniel. Stećak from Daorson near Stolac (top), versus ancient hydria, c. 530 BCE, Museum Louvre, France (bottom), whose origin has not been precisely determined but which carries the seal of manufacturing province: Greek Illyria (Illyria under Old Greece). A manufacturer seal on luxurious amphorae had the same role as a mint seal on coins. A scepter was often shaped as ram horns – a favorite religious symbol (of power and fertility) since times before Antiquity, when a ram was a common sacrifice (scapegoating was one of the purposes of stećci as well). Just like with all cross-like coats of arms and seals from ancient eras, the Church has hijacked this symbol too and called it “anchor cross” (cercelée), while merely describing its looks according to what it reminded them of, without providing an explanation so it is obvious the symbol is not Christian originally. So they created an entire tale in which the cross “commemorates St. Clement” (the Church’s very first saint no less), whose “killers had tied an anchor around his neck and threw them both into the sea” – one can tell by that reaching for the earliest physically possible time in Church’s history to fake the origin of a cross (suitably named “sailors’ cross”), that in fact this cross was the most important coat of arms of Rome’s archenemies. Given the level of effort that took Rome to conquer (in fact: close a rather humiliating peace treaty with) Illyrians, those archenemies could only be – the Illyrians. (It is worth noting that a western fake encyclopedia – Wikipedia – as a modern tool for global information control – cuts off photos of antique amphorae so that the seal of manufacturing province is not seen.)  

The Escutcheon of Illyria got transformed with time into “Byzantine” and Serb Escutcheon.

Ancient Greek mythological motif on a stećak (Pržine near Ljubuški), with the depiction of Trojan war (1200 BCE ?) – Iphigenia in golden carriage observing her father King Agamemnon killing the holy deer in a field encircled from all sides by braiding of thunder (war) in the astronomically described era of Trojan war. Ljubuški is situated on the outskirts of Trojan war theater, according to archaeologist R. Salinas Mythological motifs were merely a method for depicting history lapidary (“in stone”) using metaphors; but, Trojan war was just an aggression by which Greece colonized Illyria for the first time.

Ljubuški, outskirts of Troy war theater, according to archaeologist Roberto Salinas Price.

Phrygian (Brygian) cap on stećci, aka Liberty cap. The Phrygi or Bryges (or Brigi, meaning highlanders in local languages) were one of the three main Trojan (Illyrian) tribes in Trojan war according to Homer’s epic Iliad. In the top depiction of Trojan dance, the players are holding a cloverleaf (the symbol of Illyrian god Triglav meaning Three-head) – a symbol of Trojans. Phrygian cap is a symbol of liberty worldwide, e.g. the Seal of the US Senate.

The most picturesque stećak of ancient Bosnia (Zgošća near Kakanj), ascribed to medieval Bosnia. However, the stećak does not feature any symbols from the medieval period. All ornaments on the stećak originated in Antiquity: frequent antiquity motifs Leaf of Life and Tree of Life(top), versus golden Leaves of Life, found in a female tomb at Mycenae, Greece (1600 BCE), from Archaeological Museum in Istanbul (bottom). The displayed stećak is from antiquity and not medieval, as seen from the fact that stone slabs from the walls surrounding ancient city of Daorson near Stolac were too made in the style found in the walls of the Greek city of Mycenae.

Stećci with motifs added by followers of the Gothic cult of Germanic God of snakes, 7th-9th century, amateurishly interpreted in the UNESCO nomination (and designation as a national monument) as a “depiction of dragons from the 12th century.”] so to place a necropolis in Catholic pilgrimage shrine at Međugorje on the list of World Heritage and thus ascribe another symbol of Old Bosnian Civilization to Catholicism (the necropolis has no clear symbols of Christianity).

Stećak with an astral motif, probably of 3-taled comet Hyakutake discovered in 1996 as the brightest (having the closest approach to Earth) since the beginning of optical astronomy (around 250 years). Hyakutake could be observed for nearly 6 months day and night with a naked eye, and it is the only known 3-tailed Great comet (20 or so historical comets visible with naked eye day and night). Its orbital period estimated as 17330 yrs means that comet Hyakutake last time passed by the Earth in 6670 BCE, which is then the likely time of engraving of the stećak. Astronomical symbol for a comet ☄ (circle with 3 rays) is of unknown origin, reaches in deep Antiquity and astronomy inherited it from astrology, so the symbol likely represents comet Hyakutake whose earlier spectacular pass-by around the Earth got captured on the above stećak. This means that Stone Age in Bosnia (Illyria) ended before ending in the Middle East – c. 7500 BCE, instead of 5200 BCE as imputed by the schools of thought dominated by Catholic philosophers i.e. scholars who consider Butmir Culture (5200 BCE), although the oldest artistic culture, as merely “imported” from the Middle East, and that it did not develop naturally from creative abilities of Illyrians who in that case could not be considered a civilization and thus antecedent to both Greek civilization and Ancient Rome – in other words as the cradle of today’s Western and other civilizations. The comet sighting was likely source of Illyrian (“Slavic”) theology in which the supreme god Triglav(meaning: The 3-headed) is the highest deity of “Sky, Earth, and Underworld”. Romans (Vatican) plagiarized the supreme Illyrian god (incorporated it into their fake religion) as a doctrine of Holy Trinity: Sun -“Father”, Earth -“Son”, Underworld -“Holy Spirit”.

Ancient Celtic tombstone from Ireland, Bosnian style, the Tree of Life with Sun-on-top motif (old style, before 1200 BCE). One of the proofs that Celts are originally from Bosnia (Illyria), and not Germany as the west-European historiography imputes.

Typical stećak from today’s Serbia, with the same motif as the upper stećak from Bosnia (the supreme Illyrian deity Triglav represented by the metaphor of Three Suns, i.e. a three-tale comet). Stećci of Serbia are more complex in expression and form than Bosnian stećci, making them also more recent. That, together with a significantly greater number of Bosnian stećci (the Illyria Proper, after J. Wilkes) of over 85% relative to the neighboring countries, constitutes one of the proofs that the Old Bosnian (Illyrian) civilization spread from Bosnia outward in a radial fashion, first to today’s Serbia, the Danube basin, and further.

Stećak near Jelašak, Olovo, Bosnia. Stećak destroyed by the Church in the 1960s, under the pretext of “expansion of the Catholic cemetery”. The specimen contained astral motifs and an unknown lettering with numerous glyphs shared with the Tartaria-Vinča script (5500-5200 BCE) and the unknown script of the Harappa culture, India (3300-1300 BCE). The text was titled “ILOS” – Greek for Ilus, the founder of the city of Ilios (lat. Illium), that later became known as Troy. Homer in Iliad mentions “The tomb of Ilus, son of Dardanos, in the middle of the Troy lands”. Great Germanic imperialism through Vuk Karadžić, who was on Austria’s and Germany’s payroll, imposed a grammar and spelling that suited that imperialism – by the expulsion of “Greek” letters as a key proof that the Illyrian (Vinčan) script, which is also found on stećci like the one depicted above, was the origin of ancient literacy including Eastern.

Stećak from Žgošće near Kakanj, Bosnia, with motifs of ancient astrology. It also contains a common symbol of the Star of the North (top right), usually depicted in ancient scrolls as letter x with four “crescent moons” (in fact, highlighted stellar rays, as the observers saw it with the naked eye in the night sky). In a simplified form, the symbol resembles the coat of arms of Illyria, but it is merely a prayer mark expressing a desire for happiness and success. Namely, the coats of arms of pre-Antiquity and Antiquity states are exclusively connected with kings and their dynastic symbols such as scepter, crown, throne, etc., but not with astral symbols that belonged exclusively to clergy and religions as official insignia.

Illyrian city Dillultnnum (Hutovo city), at the site of a prehistoric settlement, with so called 3 necropoleis of stećak tombstones. An ancient road connects it to another Illyrian city Daorson nearby. The ancient noun is a Latin mocking riddle: di ult num (“Do the gods last?”) by which the Church mocks the Illyrian polytheism after the Romans demolished the city. Some facilities were added in the 18th century.

The Hum tablet found near Ljubuški in Southern Bosnia, which some place in the 10th century and consider the oldest document of literacy in Bosnia, claiming that it was written in Bosančica (the Bosnian version of the Cyrillic alphabet). However, only a minor part of the text can be deciphered by Bosančica, while the incomplete translation gives illogical words and location names that do not exist in post-Antiquity Bosnia. On the other hand, the Hum tablet shows some similarities with the Vinča script, while sharing some glyphs as well.

The first step towards destruction of a nation is destruction of its memory. Destroy its books, culture and history and then find someone to write new books, invent a new history. Such a nation will soon start to forget what it is and what it was.
Arthur Schlesinger