Initial Evidence of a Direct Cultural Link between Vestonice in the Czech Republic and Lemba in Cyprus: Presence of Identical Early Astronomical Writing and Lunar Symbolism on the Lemba and the Dolni Vestonice Venus Figures Suggesting the Continuous Worship of a Lunar Moon God Figure for a Period of Circa 20,000 Years

Midnight Science (2013-2014), Volume 12, Paper 7

Author: Derek Cunningham

Paper Submitted: 11th Dec 2013, Published: 21st Dec 2013


2016 July Website Ad Page The Long JourneyDespite a difference of circa 20,000 to 25,000 years between the date of estimated production of the Vestonice Venus and Lemba “Lady” figures, it is found that both figures contain the same astronomical data, and that they are drawn to an apparently identical template. The only reasonable explanation is the two figures represent an archaic lunar god or goddess. Because of the substantial difference in age and the large distance between the two locations it is considered impossible that the similarities can be explained by other cultural links, such as a worship cult based on the achievements of a prominent powerful leader. The results argues that the two figures were used as part of a long-standing lunar religion that was widespread in Europe in the late Paleolithic period.


A prior study of the circa 25,000 to 30,000 year old Dolni Vestonice figure reveals that the linear marks drawn on the back and front of the figure are consistent with an astronomical-based text, recently described in the book 400,000 Years of Stone Age Science (3,4). The angular array present on the Venus figure is largely identical to the values seen on the circa 35,000 year old Ishango, and Lebombo bones, the upper Paleolithic-era Remouchamp Bone, and also the markings found on a circa 30,000 year old engraved stone recently uncovered at the Shuidonguo Paleolithic Site. This suggests that the same astronomical writing system was employed in Africa, Asia and Europe circa 25,000 to 30,000 years ago.

In agreement with the proposed theory, the astronomical/compressional writing found on all Paleolithic samples studied to date is based on the study of solar and lunar eclipses. The writing is clearly very basic and involves the simple conversion of each astronomical value to an angle. To date the oldest known samples range from circa 100,000 years old (the Blombos Carved ochres – see 400,000 Years of Stone Age Science) to between circa between 200,000 to circa 400,000 years old (as seen on the linear carved stones and bones uncovered at La Grotte de l’Observatoire, Monaco, and Bilzingsleben, Germany). Of the oldest samples studied to date the fan motif uncovered at Bilzingsleben is structurally the most impressive.

Though a writing system based on the simple conversion of astronomical values to an angular array would appear to produce an extremely limited writing system, the choice of astronomical values is significant. The specific choice of values used makes the various simple linear marks found on various bones and stones more a codified book, which contains an entire encyclopedia of astronomy, a detailed study of Paleolithic knowledge of navigation/map-making and also a detailed study in advanced mathematics. As such the marks can be considered to be perhaps the first code ever invented, and the lines form a compressional writing that is unlike any written style currently employed today (1,2).

Though there is some degree of variation in the list of astronomical values used, a study of close to 50 artifacts of various age has shown that in all samples the core astronomical values used are identical, and that they record the astronomical values that are considered most central to the accurate measurement of time, and the correct prediction of eclipses.

The primary astronomical value used by astronomers to physically measure time is the sidereal month, which is drawn in early astronomical texts simply as an angle at either 13.66 or 27.32 degrees to represent the half and full month values. After this is known it is then a simple matter to calculate that the earth is moving approximately 1 degree per day around the sun, and then through more careful observation an astronomer will quickly deduce that there is then an eclipse season every 6.511 draconic months, this being a time period a time period equivalent to 6 synodic months. Other parameters important for predicting eclipses are the 5.1 degree angle of inclination of the moon’s orbit, and the 9.3/18.6 year lunar nodal cycle. Finally a value of 11 degrees is found on many early artifacts, which corresponds to the 11 day difference between the lunar and solar year.

The interest here in the Lemba Lady is the fact that the geometrical pattern drawn on this particular statue is unusually similar to that seen on the much older Dolni Vestonice figure. Both samples show on the torso a distinct V-shaped pattern comprising of four lines, with a stem line drawn up through the center of the figure. Both figures also show a distinct asymmetry in the shape of the hips, which in the previous study of the Vestonice Venus was determined to represent the change in the apparent size of the moon as the moon travels from apogee to perigee.

The purpose of this study is to make a direct comparison is thus made between the Dolni Vestonice Venice discovered in Morava, Czech, and the Lemba Lady discovered on the Island of Cyprus, with the specific aim of determining if the two pieces are constructed to the same astronomical template.


Following the now standard protocol developed in previous studies (3,4) the Lemba “Lady” is simply rotated until the various lines align to the list of astronomical values mentioned in the introduction. If the various lines do not align to the listed values then the linear pattern present on the figure can be argued to be not astronomical writing.

As is also now standard the piece can be aligned to both the horizontal and the vertical (3,4). This dual alignment is most clearly seen in written text such as proto-cuneifrom, early Chinese texts and early Ogham texts (3,4). In this piece the four lines that create the V-shaped pattern are aligned on the right side of the piece to the horizontal, and on the left side to the vertical. The lines forming the stem, or ridge-line are offset to the vertical.

For comparison the same analysis is undertaken for the circa years old Dolni Vestonice figure. In this piece the alignment of the torso lines is offset from the horizontal, and the stem-lines making up the “legs” are offset to the right of vertical. This offset to the right of horizontal occurs in both the front and the back projections.

The most striking feature here is the common use of the asymmetric hips to apparently represent Apogee/Perigee data for the moon. This theoretically could  be accomplished in numerous ways, such as by the use dissimilar size eyes, but here the use of asymmetric hips is common to both pieces, despite the Dolni Vestonice figure being dated to be circa 27,000 to 31,000 years old, which is circa 22,000 to 25,000 years older than the Lemba “Lady”.

As can be seen this is not the only common feature between the two pieces. Also common between the two pieces  is the presence of a double V etched in the torso that form alignments to the 13.66/27.32-day sidereal month, and on the Dolni Vestonice figure to the 18.6 year lunar nodal cycle. Both pieces thus contain astronomical writing, though in this case the number of lines observed are much fewer than the complex pattern seen on the Atacama Giant, or the Orkney Venus. See 400,000 Years of Stone Age Science for a study of the causeways located in front of the Great Pyramids of Giza.

There is also in addition the common use of a vertical stem line, in the case of the Dolni Vestonice figure the stem line is drawn to represent the “legs” but when viewed from the front it is noteworthy that the angle drawn by the line is from both the front and the back aligned to the right of vertical; the angle being 5.1 and 1 degree respectively. If the statue was designed to be anatomically correct this would clearly be an error, as an alignment to the right of vertical when viewed from the front should logically produce an offset left of horizontal on the reverse side. It thus appears that the offset to the right of vertical is deliberate, and is designed here to match a specific astronomical value.

The third common feature present in the two statues is of course the common use of astronomical writing. In both cases there is a strong link to the sidereal month, which is the primary lunar month used by astronomers to calculate time.

The presence of three identical features (four if the humanoid nature of the figures is also included) on such simple statues indicates that they were designed to the exact same template. Such similarities could only reasonably exist between two distant cultures, separated by thousands of years if they were used in a religious setting. It thus appears that the two figures represent a lunar god/goddess that was worshipped as part of an archaic Stone Age religion. This agrees with prior studies of the Great Pyramids, which concludes that the structure is a lunar maritime temple linked to the tidal motion of the seas – see again 400,000 Years of Stone Age Science.


  1. The Archaeology of Cyprus: From Earliest Prehistory Through the Bronze Age By A. Bernard Knapp.
  2. James B. Harrod Keys to Deciphering Later Acheullian Period Marking Motifs
  3. See papers published in Volumes 8 through 12 Midnight Science.
  4. 400,000 Years of Stone Age Science By Derek Cunningham, 

© 2010 – 2013 Derek Cunningham; Midnight Science, ISSN 2160-0201; Volume 12, Paper 7.

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