Sumer, Akkad, and the signs engraved on the Fuente Magna vase

In Mesopotamia, speakers of two languages, Sumerian and Akkadian, coexisted for several centuries, resulting in a Sumero-Akkadian symbiosis. The Akkadian vocabulary was also enriched by other languages, Semitic and non-Semitic, such as Hurrian and Elamite.
Based on an analysis of the signs engraved on the Fuente Magna vase, the text presents the hypothesis of a relationship between the Aymara and Quechua languages, on the one hand, and this Sumero-Akkadian symbiosis, on the other, despite the great geographical distance between Mesopotamia and South America, and very different historical periods in the use of these languages.
It is generally accepted that a comparison between languages ​​in order to detect a link is all the more relevant since this study takes syntax into account. However, the simple approach chosen here by the author is to take from the semantic field a few words that are not part of secular life but are attached to symbols of sacred science. Divine authority would have been maintained there through language, it would have been affirmed there in the continuity of speech. This is because the sacred word itself contains the god. To express badly is to oppose divine directives, to kill the god or the ancestor, to disrespect their intercessors, and therefore to risk reprobation or punishment. To express correctly is to solicit benevolence and hope for reward. Languages ​​are spoken by humans, who live with their religious feelings and their vision of the world.
The author of this text proposes that many languages ​​around the world have their roots in Sumerian and Akkadian. The languages ​​of Sumer and Akkad spread to other regions of the Earth.
When the AI ​​is asked if there is a relationship between Sumer or Akkad and languages ​​from distant regions on Earth, such as Quechua, Aymara, Navajo, Hopi, Toraja, or Inuit, it lacks concrete evidence in data centers to support this claim, and therefore responds that there is no widely accepted linguistic or historical connection. However, it indicates that some speculative theories explore potential cultural and linguistic connections dating back to distant times between Sumerian or Akkadian languages ​​and those of other peoples, particularly regarding sacred terms and rituals.
The documents written by Michel Leygues do not present any speculative theories. Based on observable data, this information is verifiable. These are empirical findings, allowing researchers to test and address an initial hypothesis.
A new development is that genomic analyses—genome: the entire material of an individual or species encoded in DNA—provide information on migratory events. These genomic analyses will help us understand the relationship between Sumer or Akkad and other populations around the world.

1. 1

Sumer, Akkad, and the signs engraved on the Fuente Magna vase
By Michel Leygues
PhD in Social Sciences
Paris 1 Panthéon-Sorbonne
In Mesopotamia, speakers of two languages, Sumerian and Akkadian, coexisted for several
centuries, resulting in a Sumero-Akkadian symbiosis. The Akkadian vocabulary was also enriched
by other languages, Semitic and non-Semitic, such as Hurrian and Elamite.
Based on an analysis of the signs engraved on the Fuente Magna vase, the text presents the
hypothesis of a relationship between the Aymara and Quechua languages, on the one hand, and this
Sumero-Akkadian symbiosis, on the other, despite the great geographical distance between
Mesopotamia and South America, and very different historical periods in the use of these languages.
It is generally accepted that a comparison between languages in order to detect a link is all
the more relevant since this study takes syntax into account. However, the simple approach chosen
here by the author is to take from the semantic field a few words that are not part of secular life but
are attached to symbols of sacred science. Divine authority would have been maintained there
through language, it would have been affirmed there in the continuity of speech. This is because the
sacred word itself contains the god. To express badly is to oppose divine directives, to kill the god
or the ancestor, to disrespect their intercessors, and therefore to risk reprobation or punishment. To
express correctly is to solicit benevolence and hope for reward. Languages are spoken by humans,
who live with their religious feelings and their vision of the world.
Keywords
Fuente Magna, Sumerian, Akkadian, Aymara, Quechua, mallkus, kulla, Titicaca, Tiahuanacu, puma, jaguara,
jaguatirica, kenua,
Documents
The Assyrian Dictionary, Oriental Institute, Chicago University, USA.
Akkadishes Handwörterbuch, Von Soden, Wiesbaden, Germany.
Sumerian Lexicon, John A Halloran, Los Angeles, USA.
The tables of sign evolutions reproduced below are taken from the Manuel d’Epigraphie Akkadienne by
René Labat, Paris, France, which shows the double evolution of the cuneiform syllabary, in Assyria and in
Babylonia.
Abbreviations
Sumerian: Sum.
Akkadian: Akk.
Sumerian and Akkadian ideographic values are presented in upper or lower case, and always in italics, for
example : AN or an.

August 25
th
, 2025. Contact author: [email protected]

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During the years 2000-2006, while I was writing the book « The Mystery of the Living: Sumer,
Akkad, Babel, the Origin of Languages », I thought that the hypothesis of a relationship could be
defended between the Sumero-Akkadian symbiosis and the languages of the Navajo, Hopi, Zuni,
Raramuri, Nazca, Aymara, Quechua. But it needed to be supported, and there was no archaeological
evidence. I didn't know that in 1950, in Chua, near Lake Titicaca, a farmer had discovered, while
digging in a field, a stone vessel, about 1 meter in diameter, engraved with anthropomorphic and
zoomorphic figures, as well as cuneiform signs that could evoke this Sumero-Akkadian script. This
container is now called "Fuente Magna."
These signs are inspired by the Sumero-Akkadian syllabary. How is it possible that this vessel
contains inscriptions of Mesopotamian origin, near Lake Titicaca, at an altitude of 3,800 meters?
Did someone transport this vessel to the shores of this lake? Was the Fuente Magna container made
by navigators who settled in Bolivia around 2400 to 1800 BC, or later? Did navigators from the
region of present-day Indonesia arrive in America after crossing the Pacific Ocean in ocean-going
canoes? Did they leave with this writing, which would have been transmitted from generation to
generation and from one island to another in the Pacific before our era? Or did the Sumerians and
Akkadians travel from Mesopotamia to Turkey, Egypt, the western Mediterranean, and West Africa,
then cross the Atlantic Ocean to South America? Or could some ships have rounded the Cape of
Good Hope in South Africa and entered one of the currents that lead across the Atlantic to South
America?
The authenticity of the Fuente Magna vase has been disputed: it has been suggested that it was a
hoax, a fabrication by an archaeologist to gain undeserved international recognition. However,
thermoluminescence dating of the Fuente Magna vase has reportedly been done, attesting to its
antiquity, without apparently providing a more precise period.

3. 3
The cuneiform writing on this vase may appear to have an uncertain outline. However, it should
be remembered that cuneiform writing is the most important graphic system of ancient Near Eastern
writing. Classical writing is read horizontally from left to right, but on the oldest monuments, the
writing is arranged in horizontal bands and in boxes that follow one another from right to left and
are read from top to bottom. The oldest aspect of this system is the Old Akkadian syllabary, used
from the reign of Sargon until the Third Dynasty of Ur, during which the Akkadians adapted the
Sumerian script to their language. Over time, there were alterations to the script, phases of
stagnation, or even regressions. On some documents, the writing is arranged in columns; on others,
it appears disorganized, arranged in all directions.
The evolution of this script was carried out separately by the two ethnic groups, Babylonians and
Assyrians, although they had numerous interactions. The influence of the Babylonians was
predominant. This Mesopotamian cuneiform script is cursive; the signs are not always similar, as
each scribe has their own particular style, more or less applied. Furthermore, significant derivations
from the classical syllabary were made by the Hurrians, and there was also an Akkado-Elamite
syllabary in southeastern Mesopotamia. It is therefore not surprising that the signs engraved on the
Fuente Magna vase may appear disordered or approximate.
***
Among the indigenous languages of South America, Aymara is the third most widespread after
Quechua and Guarani. Aymara is an agglutinative language, like Sumerian.
« Aymara » refers to the « Kolla », or « Kulla » people of the Lake Titicaca region, and the language
spoken by them. In pre-Incan times, the Aymara were organized into political units called
kingdoms, ruled by lords called « Mallkus ».
- kulla :
. Sum.: Kulla points to:
kul-la = sig 4, še-eb : sun-dried unbaked brick; brickwork. Can be completed with:
sig 10: to engrave to apply, place, set, put in.
sig 7: to let live; to create; to live; to dwell; to complete; to be/make pleasant or beautiful.
eme: language, mammy, content of an inscription.
eme-gir15/gi7: Sumerian language ('tongue' + 'native').
. Akk.: SIG 4-NA 4 libittu: brick, inscription on brick or clay, and its content.
God Kulla is the god Brick.
Min Eme.Sal: laudatory, eloquent speech.
- mallku :
. Akk.:
malku = ma-al-ku, ma-li-ku: king.
NIR-GAL maliku: prince, associated with the ideas of what is haughty and of help.
AD-GI4-GI4 māliku: advisor (same sign as: prince, secret).
***

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Signs engraved on the Fuente Magna vase
On next page here is the reverse image of these signs, which allows comparison with Mesopotamian
signs. Six signs are identified there, numbered from 1 to 6, which are close to Sumero-Akkadian
signs from the periods called "Old Babylonian", "Middle Babylonian", "Neo Babylonian", or "Old
Assyrian", "Middle Assyrian", "Neo Assyrian".

5. 5

6. 6
Research of relationship with the sign 1 of Fuente Magna
Fuente Magna's sign 1 may be related to these Mesopotamian signs, which designate:
. Dingir: determinative preceding the names of deities. Celestial world, divine wrath, prosperity,
blessing.
. AN: god Anu, sky, protective deity, designation of stars.
. AN-NA annaku: tin, lead, connected to the name "Tiawanaku," the lead and tin that were mined on
the Island of the Sun or around Lake Titicaca.
. AN-ZA-AM assammu: large pot, zarbabu: vase.
. protection, ripening of the ear of grain.
. šabattu: full moon festival.
The left column shows the original pictogram, numbered 1, which means it is from the Sumerian
period of Uruk. The other columns show the evolution of the sign over time, during the Old
Assyrian and Old Babylonian periods, up to the Neo-Assyrian and Neo-Babylonian periods.

7. 7
The original Sumerian pictogram of these signs is numbered 3: from the Archaic Ur period.
The letters 'A' and 'B' denote 'Assyrian' and 'Babylonian'.
Signs similar to Fuente Magna's sign 1 are found here in the upper part of this table. They
designate:
. MUL kakabbu, kak-kab-bu: star, constellation.
. MUL nabātu: to shine brightly, to make resplendant.
. MUL bibbu: planet, comet.
. MUL-MUL mulmullu: emblem of the god Marduk.
Human beings address the stars at night, which are or represent the gods: "attunu MUL-MEŠ ša
mušiti": "you, stars of the night" was a ritual, an incantation to be repeated three times. MEŠ
expresses plurality, large numbers, a sign similar to that which designates: rite, prescription, oracle,
decision, splendor, adornment, exorcism.
In the lower part of the table are the signs that depict:
. UG uggu: anger.
. Storm demon.
The sign of nimru: leopard, image of vital force and danger, is very similar. In the Andes, the
symbolism of the puma seems closed to that of the leopard in Mesopotamia. God Wiracocha is
represented by a puma on the sun gate of Tiahuanaco.

8. 8

Sign 1 of Fuente Magna is to be compared to the signs that appear in the central part of this sign
board. They originate from a pictogram from the Archaic Ur period.
In the upper part of the table, the signs express the value AŠ: the One, and god Aššur, goddess
Innana, planet Venus, atmospheric phenomenon, sanctuary.
In the central part of the sign board, a line of the archaic Ur pictogram, the signs designate HAL
bārû: soothsayer, pirištu: secret, divine decision, HAL-HAL-LA: “opening”, “descent”. Example:
“dàra si.hal.hal.la.ta nam.ta.e.dè”: “the headache has “descended” to us on earth from the mountain
ibex with its widely spread horns…”. The mountain gods have thus “distributed” the illness, have
decided on it.
Ibex are familiar from the Zagros Mountains or Cappadocia, their image has always been
associated with life and death, with fertilizing power, with the incarnation of the vital Principle, or
they are bearers of evils to be expiated.
In the lower part of the table, the sign designates the Sumerian value MUG: cord, thread, tow,
common ferrule.
The number 2 indicates that the original pictogram is from the Sumerian period of Djemdet Nasr,
the number 3 indicates the period of Archaic Ur.

9. 9
Fuente Magna's sign 1 evokes the signs in the central part of this sign board, which evolved from
a pictogram from the Sumerian period of Uruk.
They designate:
. MUL kakkabu: constellation, star.
. TE eû: to approach, near (the stars, which were much more visible than in the low-lying plains).
. TEMEN temennu: terrace, foundations, foundation document.
They are close to the signs which appear in the upper part of the sign board, designating the
grains of malt, the rushes, the forest, the groves, and the goddess Nidaba of grains (see sign 3).
The original pictogram of these signs on the left is mentioned 1: Sumerian period of Uruk.

10. 10
The signs in the upper part of this table denote UL kakkabu: star.
Those in the central part have the ideas of kirru: large vase, gerseqû: servant of the temple or
palace.
In the lower part of the table: PIRIG-TUR nimru: leopard, demon (see further the name “puma”),
NÈ-IRI 11-GAL: strength of the god Nergal.
On the Fuente Magna vase, the sign 1 is represented twice, each time with an animal drawn and
added to it. Why are these animals included? Three hypotheses:
. the drawing represents the powerful puma, venerated, delegated or intercessor of the gods and
the stars, as the leopard was in Mesopotamia.
. it is related to a request for protection of small livestock from the gods.
. it depicts a request from the gods for a good hunt of wild animals such as the vicuña or the
guanaco, called huanaco in the region.

11. 11
Research of relationship with the sign 2 of Fuente Magna
These signs express in Mesopotamia the ideas of:
. IZ kunāšu: épeautre.
In Sumerian, ZI…: high-altitude plant, Akkadian kinu = kēnu, related to the idea of planting
correctly, straight. perhaps the word kinu is origin to « quinoa », species of edible herbaceous plant
around Lake Titicaca , - etymology: quechua « kenua » -.
. ÁŠ araru: to curse, arratu: curse.
Other signs in this sign board express related ideas related to crops and harvests:
. GÁN: harvest, field, plantation.
. abundance, wealth, masabu: grain basket.
. canals, water pipes necessary for crops.
. staff, scepter, resplendent, glorious branch, of the same sign as those of the gods Muati, Hendur,
Ninurta, and related to the Sumerian KÚN. The Andean god "with sticks" may have his origins here.
This sign 2 of Fuente Magna designates breath, the action of striking.
The number 3 which appears in the left column signifies that the original Sumerian pictogram is
from the Archaic Ur period.

12. 12
Below, another sign which can be related to sign 2 of Fuente Magna. It designates:
. UR 4 eēdu: to harvest, to reap.
The signs in the table below are related to this:
. DÚB-DÚB lapāu: to lacerate, to mark in hollow, as does the feline, a demon which is “dressed”
in a yellowish color (such as the puma, see below: puma). The neighboring sign SIG 7 urqu
expresses the idea of what is pale yellow or gray-yellow.
The word ocelot, which refers to a feline with gray, spotted fur, is of Nahuatl origin. It could correspond
to the Akkadian lú UŠ and the idea of pursuit. The ocelot is called « jaguatirica » in Tupi.
. Tirica : akk. tirku: bruise, chew, whose original Sumerian sign is:
or tarāku: to mark in hollow, depicted by the same Sumerian sign but also the one which expresses the idea
of lacerating:

13. 13
Another sign that can be related to sign 2 of Fuente Magna is presented below. It represents ŠU:
"hand" or claw of god, or his staff, vital force, benefit, trust, favor; prayer, washing, lustration,
blessing, ablution of the priest; and first element of several names of illnesses requiring the
intervention of the priest or diviner-healer:
. ŠU: « hand of God », which is favorable, benefactor, guarantor.
. first element of names of diseases due to the "hand of God."
. lustration, washing, blessing, prayer, ablution, immersion for devotees.
. force, violence, fury.

14. 14
Research of relationship with the sign 3 of Fuente Magna
. TU alādu: to give birth, TU-TU: god Marduk.
. KU 4-RA nērebu: temple entrance, l KU 4-È ērib biti: person admitted to the temple.
. TU(RA) muru: sickness.
. The red arrow indicates URU abūbu: flood.

15. 15
. at the top of the sign board: goddess Nidaba, who was the goddess of agricultural activities, grains
and harvests. She was also the goddess of writing. Sum. :
. GIŠ-TIR : forest, grove.
. NINNI 5 : reeds (for the manufacture of huts).
. god TIR-AN-NA, god of the rainbow.
These signs are very close to that which was seen in sign 1 and which depicts the stars, the
terrace, and the action of approaching the constellations or the stars.

16. 16
In the central part of the table the signs correspond to the Sumerian value SAR, determinative
following the name of the leguminous plants, or in orchard:
. example : MÚ-SAR : orchard.
Sum. ŠÁR : Totality, ŠÁR : dieu Aššur (link with TIN : to live, to heal, TIN-TIR-KI : Babylone).
. sar: surface measurement: 1/100 of an iku, soit 35 ca 29.
The sign at the bottom of the table designates UBARA kidinnu: protection, privilege.

17. 17
. URI-GAL: god Nergal.
. URU 3 naāru: to keep, to protect.
URI 3-GAL: hut for ritual lustrations, urigallu: high priest, his action of ritual lustration, his hut, his
temple.
. SIS: secret.
. ŠE-MUŠ 5 sēgušu: a cereal.
A sign similar to the one that designates divine strength, the protection of herds against disease.
This sign designates the god Nanna or Nannaru, god of the new moon, of herds and fertility when
associated with the sign of the sky and stars, studied above in sign 1. See the animals drawn on the
vase Fuente Magna lamas ou vigognes.
Also sign to compare with GANA 2 eqlu: field, GÁN-BA: harvest, IKU: surface measurement.

18. 18
The signs at the bottom of this sign board designate :
. PIRIG-TUR nimru : leopard ( probably here : puma), demon, angry, animal attribute.
. ÚG aggu: fury.
. God Nergal, strength, relation to Totality, universality, power.
. God Sumuquan, who is associated with animals, and who is the god of nomads.

19. 19
Research of relationship with the sign 4 of Fuente Magna
These signs designates :
. KUR : to shine, to appear, rising of a star.
. KUR ekallu : palace.
. KUR-GAL : god Enlil.
. SAT-TUG : regular offering to the god.
It is also the determinative preceding the names of countries and mountains, and medicinal or
garden plants. The sign is very similar to that which is the determinative preceding the names of
seeds, and which is next page :

20. 20
These signs depict ŠE: a determinative that precedes the names of grains, especially barley.
The ideas of harvest, of obedience to the goddess Nisaba, goddess of grains, so that she may be
benevolent.

21. 21
Researching relationship with Fuente Magna's sign 5
These signs designate TAB-BA: companion, association, taputaki: solidarity, friendship.
AB: father, AB-BA: elder, AB: opening of ÈŠ-GAL: temple, house of the god.
The sign can be compared to the Sumerian signs depicting:
. KU: to throw, to found.
. DÚ: dwelling, foundation.
. KU-NU: to approach
And express the ligature for 60, šuššu = 60 = 1, and the extension in the Sumerian system: 60 x 60 =
3600 = Totality).

22. 22
Researching relationship with Fuente Magna's sign 6
The sign 6 of Fuente Magna points to the Akkadian IA 3 šamnu: 'fat' which is on the surface of the
water, does not mix with it, oil, anointing, pouring of a perfumed oil on a person who is sanctified,
symbol of divine election, of the divine spirit.
Ce signe qui désigne IÀ šamnu  est inspiré du signe présenté ci-dessous qui désigne DÙ bānû: the
Creator, divine word, command, ritual; DÙ kalû: Totality.

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Below the signs that express NU-DINGIR: hostile god, NU-KI: foreign land, NU: human, to
entrust, statue, figurine.
This sign refers to the signs which depict the stars (see sign 1),
***
Additions about felines in South America
The felines in South America that inspire devotion and fear are the jaguar, the cougar, the puma, and the
ocelot.
- Ocelot: is mentioned above in sign 2.
- Jaguar:
The most famous feline in South America is the « jaguara », or « yawara », a Tupi word which is related
to the Sumerian É-ZAG-GAR-RA: sanctuary, gift offered to the god or his representative as compensation for
an inappropriate action or to ward off evil.
Sum. or Akk.:
.É: underworld, temple, sanctuary, gift offered to the god or his representative, as a precaution or as
compensation.
.ZAG: sanctuary, limits; underworld, Akkadian ZAG maasu: to strike.
.ZAG-MÍ: praises, lauds.
.ZAG-TIL-LA: Totality; force, which is around, "next to" as an animal in the bush is in the sanctuary of nature
or the forest. The force present in the sanctuary: there one is at the edge of the world, or of the most sacred
underground place. Master of the underworld.
.zagga is the same sign as IA 3 šamnu (see sign 6 of the Fuente Magna vase).

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.GAR: attendant, placed there, who takes the form of the god, has his appearance, is his manifestation.
.GAR 4: who is strong, who leaps, who ravishes, who carries off and kills.
The Tupi « yawara » could be derived from the Akkadian ia: son of the Father, which is war: "in the
outskirts", called or named during wa'aru: oracle, order.
For the Tupi Guarani, « Pytujary » was the jaguar, master of darkness. The term seems close to the
Akkadian É bîtu: deep, underground dwelling, whose original Sumerian pictogram is:
and Akkadian pít, of the same sign, meaning: hell, place below, death, darkness, depth. Original sumerian
pictogram:

which is linked with ar: which pulverizes; and with uš: angry, which shows teeth, tears of the victims,
whose Sumerian pictogram is in the shape of a feline head:
. GARAŠ 3: oracle, divine or priestly decision.. AZAG: taboo.
Finally, it should be noted that among the Waiapi, groups of nomads who live in the north of Brazil and in
French Guiana, whose area of origin is in the lower Xingu in the Brazilian state of Para, the jaguar is
designated "onza" or "enza", which refers to the same Sumero-Akkadian origin as that of « jaguara »:
. en: divine name; EN-ŠU 2: guarant; EN-ZU = ZUEN: moon god SIN.
. za 4: prince.
. zà: UZUG ašertu: sanctuary = ZAG-GAR-RA.
. zá: stone-man, of the foundation, of the origin, ZAG-DU 8: cornerstone.
- Cougar:
The word « cougar », which refers to the yellow puma, has its origins in the Tupi word « sussu arana »,
derived in Portuguese: « cucu arana ».
« Susu arana » evokes the Akkadian verbal root a'rn, and arnu = ar-nu-u-a: sin, debt; aranu: to commit a
fault; refers to annu = ar-nu: bad behavior, inappropriate in relation to religious commandments, offense to
the god, crime against the king.
Arnu is of the same sign as barû: soothsayer, haruspex (who examines the entrails in order to formulate
omens), bâru: to seize, to catch (as in catching prey); as bārūtu: divination, šiptu: incantation, saknu:
attendant, šarrutu: royalty (from šarru: king).
In Sumerian, ÀRA: to devastate, to pulverize, to crush as does the god Ara; it is also in Akkadian He who
ARA 4: appears, blazing like šamšu: the sun and who šašu: shouts. He who in Sumerian ara 2: one prays to,
glorifies.
Šuššu designates in Akkadian the Whole: 60 = 1 in the Sumerian 60-based system, - god 60 is god Anu -,
of the Annunaki gods, of the complaints addressed to them, of the same sign as the idea of God (with
numerous representatives, including felines, animal-attributes of the god for their power). Sussu refers to
bâru: to seize, to catch, refers to mahasu: to beat, to give blows, to kill.
What "kills" is the One who suš: inhabits the foundation. The One who šuš-šuš: throws to the ground,
who šu 4: destroys, carries away, šùš-su: devastates, šuš 4: slaughters or tears to pieces. It is the god, the
divine part, šušana, šuššanu: the missing third in Sumerian mythology for Gilgamesh to be god.

25. 25
Therefore in Akkadian, šūši = šuššu: Totality, manifests itself by seizing, beating; and refers to šiddu and
pilakku = bala: spindle. The symbols of the spindle, and of the balam, - in Akkad "the one who carries
away" and in Mayan land « hidden predator » -.
The expression annu sussu appears in Akkadian texts. It expresses the idea of someone who is
overwhelmed, who suffers punishment for having been guilty, for having committed a fault.
Since aranu and annu mean fault, sin, and sussu expresses the idea of divine force, of the One who seizes
and punishes, is not « susuarana » the jaguar the one who, according to the Akkadian sussu ar-nu: inflicts
punishment?
- Puma:
The Akkadian root pum refers to būm: to lacerate, and pum: to venerate, an idea depicted by a sign very
similar to that of ARA 9: to roar. It also refers to bum: secret, and to pamu: cry, call to god. The corresponding
ideographic value: SIG 7, is also that of the pale yellow, pale yellow-grey color, the color of the eyes of the
puma or jaguar, and that of the fur of the arid zone puma. The same sign designates the idea of living,
creating, inhabiting.
The Sun Island located on Lake Titicaca was called « Titi Kar'ka »: the "puma rock", or "the stone puma",
or "puma mountain" in Aymara, « Kaká »: yellow-grey, rock, mountain. We can see there the Sumerian kar
or gar: form, physical aspect, and: placed there, governor, or again: to amass.
It was also called « Titi Jaya », for "Titi": puma, and "Jaya": stone, in reference to a legend where
drowned pumas were transformed into stone statues. "Ti-Ti" suggests the Akkadian ditillû, di.til.la: judicial
sentence, final verdict.
Before being the island of the Sun, this island was called « Tiahuanaku » island: the « hill of lead », since
lead and/or tin were apparently mined there, which is similar to the Akkadian annaku: tin, lead.
« Pumapumku » is "puma gate" in Aymara. The Akkadian pum (also see above) is the same sign as:
. karābu et ikribu: to pray, to bless.
. puzru: secret.
The sign of pum is linked to another sign which designates the "hand of god", benefit, favorable being,
Šu-Mú-Mú karābu: to pray, to bless, Šu-Naga rimku: praise, ablutions, ramāku: to bathe, to immerse, or Šu-
Lum-Ma: lustration.
The Akkadian sign for pum, since pum = bum, is similar to bumbulu: bu-u-bu-limbu-um-bu-li: the 29th
day, the last day on which the moon is visible, the day on which the gods of heaven and paradise, and also
those of the underworld, are gathered.
As for the value ku (see sign 5 of Fuente Magna), in Akkadian:
. Ku-Nu querēbu: approach the god.
. Ku nadū: lay the foundations.
See: k’akaya in aymara : offerings, and see sign 1 of Fuente Magna.
.Kù: pure, holy, forbidden taboo.pur, saint, interdit tabou.
.Ku-4-Ra erēbu: temple entrance, ou nērebu : ni-rib, ni-ri-bi-su: building entrance (see sign 3 of Fuente
Magna).
. l Ku 4-E ērib biti: person admitted into the temple.
***
This comparison between the signs on the Fuente Magna vase and the signs of Sumero-Akkadian
symbiosis lends credence to the defense of the relatioship hypothesis.
The vulnerable human beings who lived around Lake Titicaca had noticed that at this altitude the
stars were much more visible and more numerous, that they could approach and live closer to the
gods. Faced with distress, they made offerings on natural slabs, built altars and temples to make
sacrifices. Gifts were also left for the creator god who came from the depths of the lake, from the
underworld. The powerful and benevolent puma was venerated there, it also had the reputation of
punishing the guilty. Ceremonies and soothing prayers were intended for the gods to obtain good
harvests, protect livestock, guard against disease, have good fertility, and make good hunts in the
mountains.
***

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