Art and Religious Beliefs in the Neolithic and Aeneolithic From Romania

Sabin Adrian Luca, Art and Religious Beliefs in the Neolithic and Aeneolithic from Romania

1

MINISTERUL CULTURII MUZEUL NAIONAL BRUKENTHAL

BIBLIOTHECA BRVKENTHAL LXVII

Sabin Adrian Luca Art and Religious Beliefs in the

Neolithic and Aeneolithic from Romania

Dedic aceast carte marelui iubitor de art, Lucian Pop

Editura Muzeului Naional Brukenthal

Sibiu 2014


2

Descrierea CIP a Bibliotecii Naionale a Romniei LUCA, SABIN ADRIAN Art and religious beliefs in the Neolithic and Aeneolithic from Romnia / Sabin Adrian Luca. - Sibiu : Editura Muzeului Naional Brukenthal, 2014 Bibliogr. Index ISBN 978-606-93508-4-3 2


3

TABLE OF CONTENTS

Cuvnt nainte din partea autorului .......................... 5 Foreword by the author..................................................................................................................... 6 Data concerning a zoomorphic stylized statuette discovered in the Neolithic site from Miercurea Sibiului-Petri (Sibiu County) ........ 9 About a new archeological discovery from Gornea-Locurile Lungi (Cara-Severin County). ...................... 13 Contributions to the discussions concerning the ovens form Starevo-Cri culture ..................... 17 New prehistoric anthropomorphic plastic art discoveries from Carei area (Satu Mare County)...................................................................................................................... ..................... 23 Contributions to Neolithic History. The Neolithic fine art objects from Liubcova-Ornia settlement (Cara-Severin County)..................... 31 Data concerning an novelty statuette from Liubcova-Ornia (Cara-Severin County).. ..................... 65 Explanatory notes concerning the chronological and cultural framing of the Statuette from Liubcova (Cara-Severin County) ... ........... 73 Data concerning the Statuette from Liubcova II (Cara-Severin County) ...................... 77 The ritual feature from Ortie-Dealul Pemilor, X2 point (Hunedoara County).. ...................... 85 The fine arts objects from Turda Culture discovered in the new archeological researches from Turda-Lunc (Hunedoara County) . .. 89 The incised decorated amulet from Turda .................. 105 New Neolithic and Aeneolithic fine arts objects discoveries from Trtria and Lumea Noua (Alba County)..and some discussions concerning their typology and chronology ...................... 115 Cteva idei despre plastica neolitic i eneolitic .................... 135 Some ideas about the Neolithic and Aenoelithic fine art objects ................................................. 137 Mulumiri... ................... 139 Acknowledgement ................... 140 Abreviation ...................................................................................................................................... 141 Literature ......................................................................................................................................... 145


4


5

Cuvnt nainte Arheologul preistorician este pus n faa unui patrimoniu cultural mobil imens n

momentul dezvelirii fie i pariale a unui sit. Materialul arheologic este copleitor numeric, chiar i n cazul existenei unei echipe complexe de cercetare. Activitatea este febril i dorina de rezultate publicabile este mare. Una dintre categoriile de patrimoniu care par mai uor de neles este plastica. Toi arheologii au ncercat s dezvluie atributele individualizante ale pieselor i s fac descrieri ct mai exacte. Luate individual, ns, piesele plasticii nu ne arat direct ce caracter au. Religios sau artistic ? Tocmai de aceea sunt numite idoli, statuete sau figurine, din neputina de a le fixa un loc intelectual i de interpretare stabil.

Mai nou o dat cu realizarea unor cercetri mai ample , fie sistematice, fie preventive, se profileaz existena a trei mari categorii de obiective ce se pot numi pstrtoare de piese ale plasticii: sanctuarele (cldiri sau locuri consacrate pentru cultul major), altarele casnice i omul (aman, conductor sau om simplu). Acesta din urm este vehicul pentru piese simple, unicat (amulete, tblie cu scriere sacr sau) sau compuse (coliere cu diferite componente (dini, oase, rondele, greuti rotunde de mici dimensiuni, amulete).

Am simit nevoia republicrii sub forma unei cri a unor articole din perioade diferite ale activitii mele arheologice pentru mai multe motive:

- n primul rnd pentru c majoritatea au aprut ntr-un moment politic n care se putea publica doar n limba romn, fapt ce a dezavantajat diseminarea informaiei. Chiar dac s-au publicat i articole n limbi de circulaie internaional, citarea acestora n strintate a fost filtrat, adeseori, de bariere ideologice;

- n al doilea rnd pentru a le aduce la cunotin ntr-o limb de larg circulaie internaional i a intra n circuitul de valori tiinifice actual. Chiar dac am preferat ca bibliografia i trimiterile s rmn aproape n totalitate acelea din momentul publicrii, acest lucru nu afecteaz coninutul prea mult dup prerea mea.

- n al treilea rnd, am cutat s demonstrez n primul rnd existena altarelor casnice, ca o component de netgduit a construciei mentalitii religioase a omului neoliticului. Acestea au caracteristici diferite (asigurarea succesului la vntoare, iniierile, ritualurile de trecere, succesul n familie, fundarea locuinei, comemorarea) i concur la formarea opiniei, n neolitic, asupra locului familiei n cadrul comunitii.

Aceast carte n forma publicat arat i cteva dintre treptele parcurse de cercettor de-a lungul carierei. Nu am lipit aici i ultimele articole publicate legate de materie deoarece consider c acestea exprim o alt etap n parcursul formrii mele intelectuale i sunt influenate mult de cercetrile preventive i de salvare.

Prin aceast carte aduc un omagiu nesfrit familiei mele, soiei mele Corina i fiului meu Adrian. Fr ei, linitea necesar cercetrii i redactrii nu ar fi fost atins.


6

Foreword by the author The archaeologist specialized on prehistory has to face a huge movable cultural heritage

in the moment of unveiling even partially of a site. The archaeological materials are overwhelming numerous, even when working with a complex research team. The activity is feverish and the will of having results to be published is high. One of the categories oh heritage that seems to be easier to understand is fine arts. All the archaeologists have tried to reveal the particular attributes of these pieces and to make as accurate descriptions as possible. But, individually the fine arts pieces reveal directly their character. Religious or artistic ? This is the reason why they are called idols, statuettes or figurines, due to the inability to place them in an intellectual place or a stabile interpretation.

Lately once with more ample researches either systematic, or preventive, it is teethed the existence of three large objective categories that can be called keepers of the fine art pieces: sanctuaries (buildings or places dedicated to the major cult), domestic altars and the man (shaman, leader or simple man). The last one is a vehicle for simple pieces, unique (amulets, tables with sacred writing) or composed (necklaces with different parts (teeth, bones, rings, round small 'weights', amulets).

I felt the need to republish under the form of a book of some articles from different periods of my archaeological activity, for several reasons:

- First, because most of them were issued in a political moment when it was possible to publish only in Romanian, fact which disadvantaged the dissemination of information. Even though there were some articles published in foreign languages, their quoting abroad was filtered, often by ideological barriers;

- Second, to bring them to knowledge into an international language and to bring them into the actual scientific values circuit. Even though I preferred that the references and quotations to remain almost entirely the ones from the moment of the publication, this doesnt affect the content too much in my opinion.

- Third, I have tried to prove first of all the existence of domestic altars, as an undeniable component of the construction of religious mentality of Neolithic man. These have different characteristic (hunting success, crossing rituals, initiations, success in family, housing foundation, commemoration) and contributes in shaping the opinion, in the Neolithic period, about the family's place inside the community.

This book in the printed edition shows some steps taken by the researcher during its career. I havent attached here the last articles published on this topic because I consider that they express another Phase of my intellectual formation and they are very much influenced of preventive and salvation researches.

Through this book I bring a forever tribute to my family, my wife Corina and my son Adrian. Without them the peace of mind so necessary for research and writing wouldnt have been reached.


7

DATA CONCERNING A ZOOMORPHIC STYLIZED STATUETTE

DISCOVERED IN THE NEOLITHIC SITE FROM MIERCUREA SIBIULUI-PETRI (SIBIU COUNTY)1

The prehistoric settlement from Miercurea Sibiului-Petri it is known since the release

of Petreti culture monograph authored by Professor Iuliu Paul (Paul 1992, 141, point 29a). The professor mentions the existence of the Aeneolithic cultures, Turda and Petreti, fortuitously discovered in this point, at the boundary of Miercurea Sibiului. The survey through which the prehistoric site was identified was made by Iuliu Paul along with Dumitru Popa. At that moment, both of them were working as archeologists at the Brukenthal National Museum from Sibiu.

The prehistoric dwellings from Petri are located at approximately 500 m east from Miercurea Bi watering place and at 50-80 meters north from Sebe-Sibiu national road, on the edge of an elongated terrace, having a slight slope, elevated with approximately 4-5 meters from the Seca River flooding meadow. The archeological remains are being displayed on a length of approximately 300 meters along the terrace, parallel with the flooding meadow. The archeological remains camp doesnt have more then 80-100 meters breadth.

The site was rediscovered by our colleague, Cristian Roman, who is now working as an archeologist at the Museum from Piatra-Neam, in the spring of 1997 (Luca et al. 2000, 40; Luca et al. 2000b, 7). The archeological materials discovered on that occasion, but also the ones from the further surveys, have been already published. On this occasion, it can be noticed that there are archeological materials belonging to the early and classical Phases of Starevo-Cri culture, but also ones belonging to early Phases of Vina culture, Aeneolithic Period and Bronze Age.

Starting with 1997 we have started the systematical research of this archeological site, due to the collaboration between Lucian Blaga University and Brukenthal National Museum, History Section, both institutions from Sibiu.

Between 1997 and 2000 some sections were made, in order to control the stratigraphy of the overlapped prehistoric settlements but also for analyzing the main categories of dwellings, archeological features and the particular artifacts for this site (Luca et al. 1998; Luca et al. 1999; Luca et al. 2000a; Luca et al. 2001). The sections measured 20/1.5 meters. Huts, surface dwellings, hearths, deepened archeological features (domestic pits, foundation ditches and post holes) and graves (5th c. AD).

In 2001, with the occasion of the collaboration between Romanian and Canadian Universities, a surface of 20/20 meters was opened. Between 2001 and 2002 Petreti culture level was studied represented of surface dwellings, the most recent in the horizontal stratigraphy kept at Miercurea Sibiului-Petri (Luca et al. 2002).

The stylized statuette that is being the subject of this article belongs to Early Neolithic

level. The piece presented at Fig. 1, Photo 1-2 is a bucranium idol and it was discovered in hut

B1/1997. The deepened archeological features belong to the oldest level from this site, framed into Starevo-Cri IC-IIA Phase (perhaps only IC Phase).

The piece has 3.5 cm high and length 2 cm maximum. Its horns were broken from the ancient period. The body is being rounded, slightly thickened and ornamented with parallel and 1 Luca 2004 (RO); Luca 2002a (D).


8

angular organized incisions, in the anterior part. The stylized amulet is black coloured, of fine structure, carefully polished. The burning of this piece is a very good one.

In the specialized literature one can find this piece under the name of bucranium idol (after their symbolic signification; the pieces could represent the stylization of a Bovidae head) or labrets (jewelries that were worn in or on the chin by the old North American population (Karmanski 1986, 12, Prilog 1)).

This type of stylized amulets can be made of clay, stone, bone or other materials (Karmanski 1986, 11). Prevailing are the ones made of burnt clay.

In Romania this type of discoveries can be found in settlements belonging cu Starevo-Cri cultural complex. They can be framed in the early stages of the complex. The main discoveries are:

1. Dubova-Cuina Turcului (Mehedini County) (Lazarovici 1979, 34; Punescu 1979, 37, Fig. 14/11).

Here, an unornamented bucranium idol was discovered. The author of this discovery affirms that level II the one from where the piece belongs is contemporary with Lepenski Vir III. After all the characteristics of the artefacts, they can be framed in Starevo-Cri II, right at the beginning, or the end of Phase I of the same culture.

2. Timioara-Fratelia (Timi County) (Draovean 2001, 34, Pl. 4/4-5). From this site was recovered a bucranium idol ornamented with an impressed-perforation

in the central area of the belly. The colour of this piece is reddish-orange (Draovean 2001, Pl. 4/4).

Another stylized amulet, form the same type, unornamented this time, has the same reddish-orange colour (Draovean 2001, Pl. 4/5).

The station is being framed, from a chronological and cultural point of view in Phase IIA of Starevo-Cri culture (Draovean 2001, 35).

3. Cluj-Gura Baciului (Cluj County) (Lazarovici, Kalmar 1995, 155, Fig. 22/6). After the authors description, the piece discovered here is carefully processed, from fine

clay. At the quoted plate there is a fragment from a stylized statuette which doesnt seem to belong to a bucranium idol. The drawing of the amulet was made over the one of Nicolae Vlassa and other authors (Vlassa 1976, 211, Fig. 14/4). In the same article there is, is true, a stone bucranium idol (Vlassa 1976, 230, Fig. 14/3), very difficult to be framed in the typology suggested by us. It can be a part from a zoomorphic statuette (representing a Bovidae), after the head was detached. Other authors also took over, in the same manner, the information (Brukner 2000, 298-299).

4. Ocna Sibiului-Triguri (Sibiu County) (Paul 1995, 51, Pl. VIII/5-6; XXX/3a-b, 4a-b). In Ocna Sibiului there are several bucranium idols. The first piece is lithe (Paul 1995, Pl. VIII/5; XXX/3), the second one is paunched (Paul

1995, Pl. VIII/6; XXX/4) and the third one represents a series final for analyzed category (Paul 1995, Pl. VIII/4; XXX/1 a-b).

Florin Draovean noticed that Iuliu Paul considered these anthropomorphic amulets (Draovean 2001, 34; the pieces are to found, in the authors opinion, at Pl. VIII/3-4, not at Pl. VIII/4-6; XXX/1a-b, 3a-b and 4a-b, as in results from Iuliu Pauls paper; and Bogdan Brukner (Brukner 2000, 298-299, nota 30) cotes Pl. VII/4-6 and XXX/1-4 from Iuliu Pauls paper), as it results from the legend of the plates for this article, not from the text belonging to the regretted professor (Paul 1995, 51). Actually, the manner the pieces were draw can confuse you, the same


9

way the regretted professor Bogdan Brukner afirms, based on Plate VIII, position 4-6 and XXX, position 1-4, because here exists four pieces of bucranium type (Brukner 2000, 299, note 30).

Now, we shall analyze one step at the time, the pieces from Ocna Sibiului. At T. VIII/4 there is an amulet that has more than two ends (horns). The drawing of the

same stylized amulet published at T. XXX/1a-b shows the existence of three ends, fact which excludes it from the category of bucranium statuettes. Anyhow, the amulet represents, from the typological point of view a series end.

At T. VIII/5 and XXX/3a-b there is a piece that represents, without any doubt, a bucranium type.

At T. VIII/6 and XXX/4a-b there is another amulet that is, more likely, an anchor type idol, the same as the one published at T. XXX/2a-b. These one doesn have a photographical corespondence in the quoeted paper.

Iuliu Paul frames this piece in Precri culture, as he defined the early Phase of Starevo-Cri cultural complex (Paul 1995, 28-68).

5. Foeni-Sla (Timi County) (Ciubotaru 1988, 75, Pl. III/6-7, 9). In a deepened dwelling a stylized, elongated shape idol was discovered having most likely the shape of a nail (Ciubotaru 1988, Hut B23, 75, Pl. III/7).

From the cultural layer another idol of this type, unornamented, was recovered (Ciubotaru 1988, 75, Pl. III/9).

Another one, decorated with incisions on the external side, that doesnt resemble with a stylized bucranium type statuette was discovered in secondary stratigraphic position (Ciubotaru 1988, passimus, 75, Pl. III/6).

All these pieces are being framed by the autor in the early Phase of Starevo-Cri cultural complex Phase II (Ciubotaru 1998, 76).

6. Slcua (Lazarovici 1979, 34, note 170). Gheorghe Lazarovici is the one that mentioned the existence of a stylized amulet of this

type. We noticed that at the publication of the researches made by Dumitru Berciu at Piscul Corniorului the ceramic materials were chronologically framed very early (layer I Starevo-Cri from Slcua is contemporary with Verbia I, Starevo-Cri I, Starevo II from Serbia and the old levels from Sesklo, after Dumitru Bercius opinion) (Berciu 1961, 29-30, 160, 161, 162, 167, 185-192). The pottery published on this occasion showed that it is possible to chronologicaly frame the station in the Phase IIA of Starevo-Cri cultural complex.

Besides the pieces discovered in Romanias territory there are to be added others, form

the south-eastern Europe: 1. Blagotin. Here were discovered some amulets of this type, made of clay and stone

(Ciubotaru 1988, 75 the author affirms that the pieces were discovered near a ritual feature and it could have an utilitarian destination, maybe in relation with them).

2. Donja Branjevina. From this site was recovered one of the most representative samples of bucranium type idols. These were practically discovered in all the layers from this station and it reflects the existence of a very diverse typology (Lazarovici 1979, 34, note 166; Karmanski 1989, Pl. 9/2-6, 10-12, 14; Karmanski 2000, T. XXII; Brukner 2000, 309).

3. Lepenski Vir (Srejovi 1969, 306, Pl. 8; 85/2; Tasi 1973, 90; Lazarovici 1979, 34, note 167).

4. Divostin (Karmanski 1988, 12).


10

5. Grivac (Lazarovici 1979, 34, note 168). 6. Lug-Obrenovac (Jovanovi 1967, 20; Tasi 1973, 90; Lazarovici 1979, 34, note 169). 7. Kozluk (Tasi 1973, 90; Lazarovici 1979, 34, note 165 (19 pieces)). 8. Dobanovici-Ciglana (Tasi 1973, 89, 91, T. XLVIII/186-187). 9. Knjepiste (Stankovi 1985; Brukner 2000, 309). From here is the most compact lot of

idols of this kind. Along with these amulete (Stankovi 1985, T. I), golden heads applied on pottery were discovered (Stankovi 1985, T. II/19) or zoomorphic statuettes (Stankovi 1985, T. II/20-22).

10. Rakitovo. The idols form this site represent a short lot from the typological point of view (Matsanova 1996, 105-127).

The opinions of the researchers are diverse in what concerns the deciphering the

significance of this amulets, a fact that shows an uncertainty in interpretation of their role. We have joined these opinions before setting up one of our one.

A first set of opinions is being referred to the possibility that the pieces express one of the statuettes of Neolithic men towards fecundity and fertility cult (Draovean 2001, 34 quotes Lazarovici, Kalmar 1995, 155; the last two authors doesnt affirm this at the indicated location).

Another opinion is that the idols in T shape represent stylized heads of anthropomorphic statuettes (Paul 1995, 51; quoted Pl. VIII/3-4 of Draovean, actually is VIII/5-6 i XXX/3a-b 4a-b at Paul; Draovean 2001, 34).

Iuliu Paul considered even that it could be representations of birds (Paul 1995, 51). Some authors affirm that these stylized representations are anthropomorphic or stylized

bucranium idols, as cult object, by exception (Jovanovi 1967). Iuliu Paul considered (Paul 1995, 51) that these pieces can be related to the so called

statuettes with mobile head, chronologically more recent, from other archeological cultures implicit not explicit anthropomorphic.

Other authors believe that these pieces do not have an exact utility (Ciubotaru 1988, 75). Another interesting opinion, but hard to demonstrate today, is that the amulets in T

letter shape, called labrets are being used as ornaments or they have other utility that we cant name it now? These were fixed on the lower jaw, after the ethnographic analogies from North America, Kamchatka and Pacific area (Karmanski 1988a, 11, 12; T. II/b-j; Prilog 1).

In the end, many authors consider the bucraniums as representations of heads of bulls and Bovidae. For this idea could plead some archeological discoveries, like the bull head discovered at Donja Branjevina (Karmanski 1986, 13, T. II/5 a-b), those from Knjepiste (Stankovi 1985, T. II/19) or Cluj-Gura Baciului (Vlassa 1976, 215, Fig. 14/6; 17/8, 10; 230; Lazarovici, Kalmar 1995, Fig. 23/1-5).

In all this sites there are a lot of small fine arts, extremely varied, representing Bovidae, extremely close as modelling type with the amulets analyzed in this article (Vlassa 1976, 230; Stankovi 1985, T. II/20-22; Lazarovici, Kalmar 1995, Fig. 23).

In our opinion these series of discoveries represent stylized heads of Bovidae, connected with the fecundity and fertility cult, hanged at the neck. As tempting as it would sound the labret theory, this one is difficult to prove.

We have to notice that the amulet was warned only by some of the people living inside a dwelling. In the places where stratigraphic observations could be made it was observed that the pieces appeared single or, in any case, not so many in a living feature.


11

The cultural framing of these pieces can be done, in general, in Starevo-Cri culture, IIA Phase. In some cases, they can be framed in Phase IC of the same culture (Lazarovici 1983, 13; Ciubotaru 1988, 75; Draovean 2001). Either we name it IIA Phase, Precri or Protostarevo, the cultural and chronologic horizon when these bucranium type stylized statuettes appear; it represents a new penetration, through migration, in the south-eastern European geographic space. The presence of these amulets in the mentioned chronologic moment made us suppose that one of the totemic ancestors of the new population is the bull, as a representative for primordial fertility. Wearing these pieces gives power to the persons who exposes it, brings the good inside the community and the house.

In only one case the chronological framing of this kind of pieces in the Middle Neolithic (Lazarovici 1984, 79 at Para, Vina C cultural medium). Considering the shape these more recently dated pieces might have the significance of labrets, as the series of the pieces belonging to Early Neolithic from Knjepiste (Stankovi 1985, T. I/10-18).

From the typological point of view, the stylized bucranium type of statuettes represents a quite large variety, as it follows:

a lithe body, elongated, sharpened in the inferior part, sometimes having the shape of a nail, unornamented (Donja Branjevina Karmanski 1986, 13, T. III/3, 6-8; Karmanski 1988, 11-12; T. I/3-5, 7, 9; Karmanski 1988a, T. II/3-4, 6; Karmanski 1989, Pl. 9/2, 10; Karmanski 2000, T. XXII/2, 4-7; Divostin Stankovi 1985, T. I/5-6; Matsanova 1996, T. 9/9-10);

a1 lithe body, elongated, sharpened in the inferior part, ornamented with angular incisions (Donja Branjevina Karmanski 1986, 13, T. III/4; Karmanski 1988, 11-12, T. I/8, 10; Karmanski 1989, Pl. 9/3-4; 2000, T. XXII/1) (incisions in form of a pine tree); T. XXII/3 (incisions in form of up-side-down pine tree) T. XXII/23; (parallel incisions, perpendicular on the piece body));

a2 lithe body, sharpened in the inferior part, with the arm of T short (Donja Branjevina Stankovi 1985, T. I/3, 8-9; Karmanski 1986, 13, T. III/2; Karmanski 1987, T. I/2; Karmanski 1988, 11-12; T. I/1-2; Karmanski 1989, Pl. 9/11-12; Karmanski 2000, T. XXII/8-9, 11-16, 18-20; Matsanova 1996, T. 9/1-4);

b lithe body, elongated, with the inferior part having a rectangular shape (Donja Branjevina Stankovi 1985, T. I/1-2; Karmanski 1986, 13, T. III/1; Karmanski 1988a, 11-12; T. I/6; Karmanski 1989, Pl. 9/5-6, 14; Karmanski 2000, T. XXII/17, 22).

b1 lithe body, elongated, with the inferior side, with the inferior part having a rectangular shape, with an incised groove at the union between the body and the arms (Divostin Karmanski 1988, T. II/5);

c the body with the inferior part of the T, rounded and thickened specific for the north Danube area (Ocna Sibiului-Triguri Paul 1995, 51, Pl. VIII/5 i XXX/3a-b; Dubova-Cuina Turcului Punescu 1979, 37, Fig. 14/11; rarely in Serbia at Divostin Stankovi 1985, T. I/7; Karmanski 1988, T. II/1-2 or Bulgaria Matsanova 1996, T. 9/5, 7);

c1 the body with the inferior part of the T, rounded, thickened, paunched (Ocna Sibiului-Triguri Paul 1995, 51, Pl. VIII/6, XXX/4a-b);

c2 the body having the inferior part of the T rounded, thickened, ornamented with deep angular incisions Miercurea Sibiului (Fig. 1/2, Photo 2, in this article);

c3 the body having the inferior part a bithronconical shape. The only sample of this type was discovered at Rakitovo (Matsanova 1996, T. 9/6);

d Labrets with rounded body (Stankovi 1985, T. I/10-12; Karmanski 2000, T. XXII/24);


12

d1 Labrets with short body, less profiled (Stankovi 1985, T. I/13; Matsanova 1996, T. 9/8);

d2 Labrets with strong profile and elongated lobes (Stankovi 1985, T. I/14-18).

The publishing of the piece from Miercurea Sibiului gave the opportunity to discuss the early moment of the penetration by the Neolithic communities from the Danube area, through a new wave.

The publication of the artifacts belonging to level I from Miercurea Sibiului-Petri shall contribute to the more precise acknowledge of the ethno-cultural realities of Neolithic from south and south-western Transylvania.

Fig. 1. Miercurea Sibiului-Petri. 1 = bucranium type idol, Starevo-Cri culture.

Photo 1. Stilized zoomorphic fine arts. Miercurea Sibiului-Petri.


13

ABOUT A NEW ARCHEOLOGICAL DISCOVERY FROM GORNEA-LOCURILE LUNGI (CARA-SEVERIN COUNTY)2

The Neolithic settlement, systematically studied now from two decades ago (Lazarovici

1977, 21; 1979, Repertoire no 41, 198, Point b; rescue researches were made in 1981: Lazarovici 1984, 63), the archaeological site from Gornea, in the point called Locurile Lungi, still provides surprises for the historians and archeologist. Taking into account what Gheorghe Lazarovici afirmed, here there are two habitation levels belonging to Starevo-Cri Early Neolithic culture.

In 1984 Ion Dragomir (at that moment director of Gornea elementary school) made a survey on the occasion of the works made during the scaling from Crmidrie point. This point is topographically included in the area called Locurile Lungi. Here, were revealed, after the scaling made for extracting the clay necessary for brick production, archaeological features belonging to Starevo-Cri culture.

The archaeological features are composed by a hut, an inhumation grave that comprised a grown man skeleton, lots of artefacts (tools, weapons, pottery fragments) and bones spread all over the anthropic marks. Unfortunately, the stratigraphic relation between the grave and the hut remains unknown due to the rummage resulted during the above mentioned works. The grave was most of it destroyed. The materials from the hut more likely from its bottom were already rummaged at the moment director Ion Dragomir arrived.

Three years before that moment I have saved (Sabin Adrian Luca as a student at that moment and Ion Dragomir) and other archaeological features threatened to be destroyed, in the same point.

The archaeological material Quite interesting and very important for dating the feature are the two pot stands

(Dimitrijevi 1974, 100, Pl. I/19; Karmanski 1975, 12, Pl. 2/1 stratum III; Karmanski 1979, T. XXXI/1-5, Level II-III, T. XXXII/1-6 Level IIIII; Srejovi 1969, Sl. 89, level III b; X X X 1974, 89, Katalog No 259 (IIIb); Lazarovici 1979, 36, Type b7; Lazarovici 1984, 61, Fig. 3/3, 63, Fig. 4/5; Lazarovici 1983, 11-12, Fig. 1/13; 2/8).

The entire stand (Fig. 2/1 a-c) is brick-red coloured, having as temper a lot of chaff and a little sand, black coloured in breach, its structure being a characteristic for Starevo-Cri culture, early Phase. The stand is being perforated, quadrilateral shaped, two of the symmetrical opposite sides having two round perforations, the other two have, each one, an ovoid perforation. On some areas it can be notice the slip applied on the exterior part of the object. This peeled off in time. The coulour of the slip is brownish-red.

The second stand (Fig. 2/3) has much smaller dimensions, keeping the starting point of an ovoid perforation. The category is a fine one, keeping in very good conditions a brown, well-polished slip. We should mention once again that the pot from where this fragment comes had smaller dimensions than the first one.

The pottery fragments discovered here in the same time with the two ones above described: four rims (Luca, Dragomir 1985, Fig. 2/1, 8-10), a handle (Luca, Dragomir 1985, Fig. 2/4), two fragments ornamented with barbotine (Luca, Dragomir 1985, Fig. 2/5-7) and two

2 Luca, Dragomir 1985 (RO).


14

incised fragments (Luca, Dragomir 1985, Fig. 2/2-3). Some of the pottery fragments have a background red painted engobe (?), peeled off in most of the areas (Luca, Dragomir 1985, slip?, fig. 2/9).

For some fragments the existence of silt as temper (Luca, Dragomir 1985, Fig. 2/2-4), sand and even gravel was noticed. Considering the structure, these fragments may belong to the level of platform-dwellings, superior as positioning, of the settlement here (Lazarovici 1977, 44; Lazarovici 1979, 198; Lazarovici 1984, 65).

Not in the last, there are two objects that need to be mentioned here. An idol fragment (Fig. 2/2) and pieces from a bracelet made of Spondylus (Fig. 2/4) shell

(Coma 1973, 61-77). This article doesnt comprise the objects belonging to Starevo-Cri culture.

Chronological and cultural framing of the discoveries A. Pottery The ceramic materials discovered here are mixed one. It belongs to both habitation

Phases documented in this place (Lazarovici 1984, 63 for the huts level that are in our interest in this moment)

B. The statuette from fig. 2/2 was broken precisely in the area that could have provided most of the information. Considering the aspect of the part that was preserved, it can be framed in the category of column type idols (Lazarovici 1969, 18, Fig. 10/1-2; Lazarovici 1979, 32, Pl. X/A2 better represented in II Phase, but they are also found in the III Phase; Lazarovici 1984, 77-78).

C. Spondylus shell, although is a rare discovery, cant provide categorical arguments for a cultural and chronological framing or other. Its apparition proves, on the other hand, clear connections with the Mediterranean word.

D. Quadrilateral shaped pot stands Out of the ordinary is the fact that in the same archaeological feature were discovered

two pots like this, although the archaeological realities show that usually this type of discovery is a very rare one, the typological series can be correlated with the first Phases of Starevo-Cri culture (examples known until this moment were found in: Cuina Turcului, Lepenski Vir, Padina, Donja Branjevina, Haiduka Vodenica framed into IC-IIA Starevo-Cri Phases). The type of quadrilateral shaped pot stand from Locurile Lungi is among the most evolved considering the shape, being, until this moment, one of the finals of the series. The best analogy for this is the pot with quadrilateral shaped pot stand from Lepenski Vir (IIIb level) (Srejovi 1969, Sl. 89). Actually, the structure of this pot seems to be identical with one of the fragmented pot stand from Gornea, more precisely the fragmented one.

In what concerns the utility of this type of posts, the opinions are being divided. Some specialist consider that they are cultic pots (Dimitrijevi 1974, 100) but others consider that they were used as offering pots (Lazarovici 1984, 61). Both opinions admit the possible connection between the above mentioned type of pot and the rummaged grave discovered in the same area (about the graves belonging to this culture: Kutzin 1944, 93-94; Vlassa 1966a, 18; Dumitrescu et al. 1983, 155-156; Lazarovici 1984, 80).

They could have been used during the funeral ritual or it had a well-defined role in the dead cult. The valence of preoccupations connected with the veneration of the deceased form one family had been lost anyway, most of the times until present. What could have been a support in this case, the stratigraphy from Gornea was lost.


15

Fig. 2. Gornea-Locurile Lungi.


16


17

CONTRIBUTIONS TO THE DISCUSSIONS CONCERNING

THE OVENS FORM STAREVO-CRI CULTURE3 The publication of a paper consecrated to the Neolithic ovens (Petrasch 1986, 33-83)

gave us the opportunity to point out and interpret some unpublished or new discoveries having now in mind only our researches the miniature models they represent, considering the fact that a chapter of the above mentioned paper presents only the interpretation of these archaeological categories (Petrasch 1986, 60-72).

The campaign from 1985 was focused on among other the study of the Neolithic site from Liubcova-Ornia. After the researches made on level V it was brought to light a piece that, in that particular moment, represented for us as a ceramic form an unknown situation (Fig. 3-4) (Starevo-Cri IIIB1 Luca 1987, 13-23).

The researches made in 1986 gave us the opportunity to study systematically the Neolithic site from Pojejena-Nucet (for older references see: Lazarovici 1979) which also belongs to Starevo-Cri culture. Here, two pieces were recovered (Fig. 5/1, 4) which, in the same time, helped us getting an image about the object type the oven model.

All the discoveries that we shall refer to in the following are placed into the Danube Gorge (Djerdap). We shall analyse also other new discoveries from this area (Stalio 1986, Fig. 13; Lazarovici 1983, Fig. 2/16).

Discoveries catalogue 1. Liubcova-Ornia (Cara-Severin County). Section S I/1985, square 19, depth 2.15 m,

level V, Fig. 3-4. The oven model is made from well knead clay, tempered with chaff and little sand. The exterior is brick-like coloured, with smoothed surface and the interior is brownish brick-like coloured, very well polished. It seems that the piece was placed (or glued) on a stand. The burning was made in a manner that characteristic for the culture, which explains the black coulour of the core, that is more likely, baked. The height of the model oven is 0.10 meters.

2. Pojejena-Nucet (Cara-Severin County). Section S II/1986, square 3, depth 0.50 m, level II, Fig. 5.

The ceramic fragment is grey coloured and very well burned. In the temper it can be found chaff and sand, the sand being in a higher percentage that the anterior described piece. The oven model is being ornamented with pinches organized in wheat ear motifs, slightly oblique towards the pieces basis. The fragments rim is ornamented with finger made impressions, as it seems. The pieces base was broken in ancient period, his height being of 9.5 cm.

3. Pojejena-Nucet (Cara-Severin County). Section S II/1986, square 3, depth 0.90 m, level II, Fig. 6.

This piece had a stand, as the one described above. Well knead clay, the temper was a mixture of chaff, sand and gravel, the last two ones being present in a higher percentage. The fragment is rough and it has a brick-like colour. The pieces height is 8.7 cm.

3 Luca 1993a (RO).


18

4. Ajmara (Mala Vrbica Serbia). In the specialized literature it was mentioned another type of oven, this time one that is not fragmented, from Ajmara (Mala Vrbica) (Stalio 1986, Fig. 13). This piece was ornamented in the same manner as the one from Fig. 5.

5. Cuina Turcului (Mehedini County). A model of clay oven was published by Gheorghe Lazarovici (Lazarovici 1983, Fig. 2/16).

6. Schela Cladovei (Mehedini County). Gheorghe Lazarovici published a very nice model of oven that was ornamented with alveolus motifs on the rim (Lazarovici 1979, Pl. VI A/26).

The pieces interpretation As Jorg Petrasch noticed in subchapter 3 of his paper, in Neolithic period existed a

developed cult of the oven (Petrasch 1986, 57-58 regarding the functional ovens). Regarding the way we presume that this cult evolved we dont consider that it is here the place for this discussion. For the moment, we shall limit ourselves to some observations regarding the models of ovens belonging to Starevo-Cri culture that were found in the Danube Gorge area. As one easily can notice, the typology of these models was a restricted one in this period. They represent simple ovens, with semi-circular calotte, having the base a little different one from another and with a very large opening (mouth). Sometimes, these are ornaments specific for Starevo-Cri culture, as pinches organized in different motives, or alveolar motifs on the rim (at the edge). The type of oven is without any possibility for aeration, having also a great loss of heat through the wide mouth. The ovens mouth should definitely be covered with a lid made of wood in order to avoid the excessive loss of heat and in order to provide, as well as it can, a constant temperature for cooking the bread. For this type of oven, the shape and the way the mouth was sealed and remained constant until present. After all the possibilities these ovens were used for baking the bread or heating or cooking some type of food. In this case, we can consider the possibility of existence of a cult of the oven connected with the agrarian traditions of the Neolithic communities. Due to the slight burning, in most of the cases, for the ceramic belonging to this culture, we do not exclude the possibility that the same type of ovens to be used also for burning the pottery, especially the small sized types or the special ones.

In the end we have to suppose that the reality in what concerns the proportions and shapes of the ovens models was respected through miniaturisation with the mention that in Developed Neolithic period the oven cult fire cult had a much higher diversity (Petrasch 1986, 67-72, it can be noticed the evolution of the oven in the plates from this article), remarked not only by the new typological shapes (connected also with the diversification of the construction of real ovens) but also the apparition of diverse occupations, during the Developed and Early Neolithic. Once the Vina C communities arrived it can be notice the appearance of reverberations ovens even though this could have happened even earlier, once the polychrome pottery from Starevo-Cri culture was produced.

The discovery of the oven models in various sited belonging to Starevo-Cri culture from Danube Gorge (Djerdap) created the impression of perpetuation at least in this area of a developed cult of fire hearth oven, which evolved by assimilating older elements.


19

Fig. 3. Liubcova-Ornia.

Fig. 4. Liubcova-Ornia.


20

Fig. 5. Pojejena-Nucet.


21

Fig. 6. Pojejena-Nucet.


22


23

NEW PREHISTORIC ANTHROPOMORPHIC PLASTIC ART DISCOVERIES FROM CAREI AREA (SATU MARE COUNTY)4

In general, prehistoric fine arts, particularly the anthropomorphic one, were the

contributors to several discussions, opinions and ideas, in many occasions even contradictory ones, related to the way people lived in that period but also, of course, related to religion. Archaeologist and art historians or the specialist in religions, draw to the irreversible conclusion that the different representations of the human body and face made in clay, bone, stone or precious metals are the most significant ones in many situations the only ones remains of a long and continuous historical process, where the steps of art and human religion can be revealed (Dumitrescu 1974, 5-22, 170-277, 343-362).

In order to point out for sure that this anthropomorphic pieces were used as idols or they are simple pieces of fine art, we can affirm that plastic rendition of human attributes and features of the human face can be connected with the magical-religious beliefs belonging to the fertility and fecundity cult and also with the ritual practices generated by it (Florescu et al. 1980, 33-34).

In order to point out for sure that this anthropomorphic pieces were used as idols or they are simple pieces of fine art, we can affirm that plastic rendition of human attributes and features of the human face can be connected with the magical-religious beliefs belonging to the fertility and fecundity cult and also with the ritual practices generated by it (Florescu et al. 1980, 33-34).

The following article presents, in a chronological manner, structured on poques, cultures and Phases of culture, the main archaeological discoveries of anthropomorphic statuettes made of clay, from Carei area. We must affirm that this theme wasnt approached in any studies or articles concerning the above mentioned area and most of the pieces were found in systematic archaeological researches, remaining unpublished (excepting the statuette from Picolt, three fragmentary statuettes from Tnad and one from Bobald IV (Lazarovici 1983, 17-60, Fig. 15/6; Nmeti 1986-1987, 31, Fig. 1/4; Iercoan 1986-1987, 141, 155, Fig. 9/5; Iercoan 1994-1995, 9-23, Fig. 5/1, 7/8, 9/5). We have to mention that in the area discussed here there werent any discoveries of anthropomorphic pots, incised ornaments or painted ornaments on pottery, or alto reliefs having as motif the human face, excepting some protome-holders on the pots found in the Late Neolithic settlement from Carei-Cozard. These materials can be found in the Museum from Carei deposits.

The main discoveries of prehistoric aanthropomorphic plastic from Carei area (Fig. 7) shall be presented in the following catalogue:

1. Tnad, point Sere. In 1989 and 1995-1996 in this point some systematic archaeological excavations were made which were focused on establishing the stratigraphy of this station. The archaeological site belongs to Early Neolithic, Starevo-Cri culture, IIIB Phase (Iercoan 1994-1995, 9-23 the artefacts were published without the data regarding the materials dimensions or category). The archaeological materials discovered on this occasion reflect the existence of a very strong community, which possess and also produces a great quantity of 4 Luca, Iercoan 1998 (RO).


24

pottery, polished and chopped stone tools. Cult objects were also discovered and six anthropomorphic statuettes, made of clay, some of them fragmented, were discovered:

a) A fragmented anthropomorphic statuette made of brown-greyish clay. The paste from which the piece was made has a good quality. The object was discovered

in pit no 2 (G2) at the edge of Cehal River which runs throw the settlement form south to north. The piece is represented by a feminine fragmented bust with one of the sides being plate and one rounded. The dimensions of the statuette are: L=7 cm, 1=3 cm; Fig. 7/1; Carei Museum; inventory 7850.

b) Fragment of statuette having a brown colour, black core, ordinary paste and slight burned. The piece was discovered in section SI/1989, made on the eastern side of the settlement. The general shape of the fragment is cylindrical, and the statuette was made in a less careful way. L=6 cm, l=2.1 cm; Fig. 7/2; Carei Museum; inventory 7872.

c) Fragment of a statuette made of grey coloured clay, well burned. The shape of the piece is semi cylindrical, oval in transversal profile. The fragment was discovered in east area of the settlement during the excavation of the section SI/1989. L=5 cm, l=1.9 cm; Fig. 7/3; Carei Museum; inventory 7916.

d) Feminine anthropomorphic statuette found in section SIV/1995, in the Neolithic cultural layer. The piece represents a base and the inferior part of the feminine bust, presenting a pronounced steatopygia. The surface of the piece was made in a careless manner, the pasted used in not a homogeneous one. The temper used is silt mixed with sand. The burning was an oxidating one that gave the red colour of the statuette. The high preserved for this piece is 5.8 cm; Fig. 7/4; Carei Museum, not inventoried.

e) Statuette foot made of grey clay, well burned, discovered in section SIII/1995 in a surface dwelling (L1) situated in the central part of the settlement. The statuette had approximately 20-25 cm height. The fragment discovered has 3.6 cm; Fig. 7/5; Carei Museum, not inventoried.

f) Feminine statuette also discovered in L1 dwelling. In the moment of its discovery the statuette was broken in two pieces. The figurine was made of a good quality paste, well burned. According to the stratigraphic context and typological parallels this figurine is being contemporary with Venus of Zuan (Lazarovici 1980, 17, Fig. 4/2; Lazarovici 1988, 23-25, Fig. 1/1; Lazarovici, Lak 1981, 26, Fig. 10/1). The piece has an elongated shape, lithe body, cylindrical in the superior part of the body and the inferior part expresses a pronounced steatopygia. The statuettes arms were laterally placed, the breasts and eyes were only a scratch and the sex was not represented through artistic means. The face, orientated towards the upper part had a triangular shape. The oblique eyes and round mouth are barely marked by incisions. Length: 16.5 cm; Fig. 8/1; Carei Museum; inventory 8331.

g) Anthropomorphic statuette elongated pyramid frustum shaped. The piece is red coloured with black burning spots, homogenous and fine mixture, well burned. The form of representation is a simple one, flat, without being reproduced any of the essential attributes of the human body, excepting the face, extremely schematized.

The nose is being represented in alto relief and the mouth is round shaped, by incisions. This piece was found during the systematic archaeological researches made in 1996, in G3 pit (domestic pit), which can be found in the north extremity of the settlement. I=7.4 cm, diameter=2.3 cm, head diameter=1.7 cm; Fig. 8/2; Carei Museum; not inventoried.

All these statuettes date from Early Neolithic, belonging, from the cultural point of view to Starevo-Cri culture. From the typological point of view, these pieces do not represent a sole


25

exemplar in the north-western part of Romania, being well known the statuettes dated in the same period form Homorodul de Sus (Bader 1968, 381-388). In Ograda Borzului point over twenty pieces of Neolithic statuettes were discovered and also in Zuan (Lazarovici 1980, 17, Fig. 4/2; Lazarovici 1988, 23-25, Fig. 1/1; Lazarovici, Lak 1981, 26, Fig. 10/1 another example, fragmented).

Another discovery, which represents a feminine anthropomorphic statuette, with steatopygia, was discovered during a survey made at Urziceni. We have to express our gratitude towards Jannos Nmeti for this information. The piece is kept at National History Museum of Transylvania from Cluj after arriving in order to be displayed in an exhibition.

The column statuettes having a typical Venus steatopygia were found in the great settlements belonging to Starevo-Cri culture along with, in many occasions with flat statuettes, defining the late cultural horizon pf the above mentioned culture. The examples form Mhtlk (Klicz, Makkay 1976, 13-25, T. 7-8; Lazarovici 1980, 21, Fig. 4/4, 7), Perieni (Petrescu-Dmbovia 1957, 75, Fig. 8/1-3), Ostrovu Banatului (Roman, Boronean 1974, 122, Pl. III/2, 4-6, 8), Grdinile (Nica 1981, 36, Fig. 5/1, 3), Gura Baciului (Vlassa 1972, Fig. 14/5), or from Banat (Lazarovici 1977, Pl. LXV/1-7, 9-15; Lazarovici 1979, 32-33, 143-153 idols with steatopygia or prismatic idols, Pl. X/A 3-6; 12-20; 24; Blnescu 1982) indicated for this discoveries a contemporary moment with the apparition, in South-Eastern Europe, of early Vina communities (Lazarovici 1980, 23-29; Lazarovici 1983, 21-25; Lazarovici, Lak 1981).

Towards the same supposition leads us the archaeological materials from la Szajl-Felsfld (Raczky 1980, 27-33, Fig. 1-4, 7). We consider that, in consequence, this doesnt necessarily constitute a support for proving the great age of Krs culture. Even though the steatopygia statuettes appear once with the oldest cultural manifestations of Protosesklo Gura Baciului Crcea type (as an example, at Donja Branjevina: Karmanski 1989, T. II ), the way they were made, but also the ceramic context proofs an evolution of this type of figurines that, besides the steatopygia, have emphasised the toes, have lost most of the times the hair (suggested by incisions), start to have triangular shaped face (under Vina culture influence) and the features are neglected in many situations. The abundance of steatopygia statuettes, the flat ones and column statuettes in North-Western Romanian area, made us think that a very important and well organized group for that era was spread in this territory. Starevo-Cri culture found in this area a propitious land for economic and cultural development, as the discovered and researched settlements from here prove it.

In order for us to have a comprehensive image regarding Starevo-Cri cultural phenomena in North-Western parts of Romania, we should mention the discoveries that belong to this period, but without exhaust the repertoire:

1. Berea, Ciumeti commune, Satu Mare County (Punescu 1964, 327; Kacs 1972, 11-12; Lazarovici 1984, 89; Kalmar 1987, 64; Kalmar 1990, 17).

2. Biharea, Grdina CAP point, Bihor County (Ignat 1978, 14. Dumitracu 1994, 94-97 Cemeu group is not represented, after the author, neither Cri, nor Tisa, or Vina, but Bucov I sic !; the chase after defining cultural groups, smaller groups, facieses none of them being similar one to another, in order to personalize them, one with the other creates panic through researchers! Because it is easier to define the recent discoveries through the older ones, already well known and defined. The ones who define one small group or other wont be able to recognize their one material, published in this manner, if not else)

3. Buciumi, Rtu Mare point, Slaj County (Lak 1981, 43; Kalmar 1990, p. 18; Lazarovici 1985, 70).


26

4. Cmpani, Dmbul Colibii point (cave II), Bihor County (Vlassa 1961, 17; Ignat 1978, 14).

5. Cefa, La pdure point, Bihor County (Crian 1993, 9, Fig. 1/1). 6. Chendrea, Blan commune, Slaj County (Lak 1981, 26; Lazarovici 1984, 104;

Lazarovici 1985, 69). 7. Ciumeti, Satu Mare (Coma 1963, 479-484; Punescu 1963, 467-475; Punescu 1964,

327). 8. Dragu, Pusta mic point, Slaj County (Lak 1981, 52-53; Vlassa 1966a, 15;

Lazarovici 1985, 69; Kalmar 1990, 18). 9. Fughiu, Oorhei commune, Bihor County (Ignat 1978, 14-15; Ignat 1979, 721-733). 10. Homorodul de Sus, Ograda Borzului point, Homorodul de Mijloc commune, Satu

Mare County (Bader 1968, 382-388; Kacs 1972, 12; Lazarovici 1984, 66; Lazarovici 1985, 70, Fig. 9).

11. Medieul Aurit, Dumbrava commune, Satu Mare County (Kalmar 1990, 18; Dumitracu, Luca 1991, 289-295).

12. Mica, Chislaz commune, Bihor County (Ignat 1978, 15). 13. Moigrad, Mirid commune, Slaj County (Coma 1963, 480; Vlassa 1966a, 16; Lak

1981, 42; Lazarovici 1985, 69; Kalmar 1990, 18). 14. Oradea, Parcul Petfi point, Bihor County (Kutzin 1944, 33, Pl. XVI/5; Ignat 1978,

15). 15. Rpa, Dealul morii point, Tinca commune, Bihor County (Dumitracu 1972, 50-51;

Ignat 1977, 16; Ignat 1978, 15; Ignat 1979, 731; Lazarovici 1980, 19). 16. Santul Mic, Bor commune, Bihor County (Ignat 1978, 15). 17. Snandrei, Bihor County (Kutzin 1944, 33, Pl. XVI/6; Ignat 1978, 15). 18. Slacea, Bihor County (Roska 1942, 252, no 9; Coma 1963, 478; Ignat 1978, 15). 19. Strciu, Holdele Lungi point, Slaj County (Lak 1981, 73, nr. 87, Fig. XXI/10;

Lazarovici, Nmeti 1983, 25; Lazarovici 1985, 69; Kalmar 1990, 18). 20. Suplacu de Barcu, Lapi point, Bihor County (Ignat 1977, 15; Ignat 1978, 9-25;

Ignat 1979, 14; Lazarovici 1980, 13, 20). 21. Tnad, Satu Mare County (Iercoan 1994-1995, 9-23). 22. Urziceni, Satu Mare County (information from Iannos Nmeti. The piese (a

steatopygia statuette) it is being kept at National History Museum of Transylvania from Cluj-Napoca).

23. Vadu Criului, Bihor County (Vlassa 1961, 17; Ignat 1978, 15). 24. Valea lui Mihai, Bihor County (Roska 1942, 81, no 14; Coma 1963, 478; Ignat 1978,

15). 25. Vad, Satu Mare County (Lazarovici, Nmeti 1983; Lazarovici 1984, nr. 120;

Kalmar 1990, 18). 26. Zalu, Slaj County (Lazarovici 1984, no 117. After all the probabilities there is an

error made by the author, as Zoia Kalmar-Maxim also suggests. In the topographic areal of Zalu municipality wasnt discovered, after our knowledge, archaeological materials belonging to this period).

27. Zuan, Dmbul Cimitirului point, Slaj County (Lak 1977, 41-47; Lak 1978, 11-15; Lak 1981, 79; Lazarovici, Lak 1981, 13-43; Lazarovici 1980, 17; Lazarovici 1984, 66-75, no 123; Lazarovici 1988, 23-25; Kalmar 1990, 18).


27

The simple listing of this points shows the importance of Starevo-Cri culture for the Early Neolithic from north-western Romania, the density of the settlements suggesting the continuity of habitation from Tardenoisian period and the existence in this area of a powerful zone of Neolithisation, by assimilating population and older technologies.

Another series of statuettes can be attributed to Developed Neolithic and Aeneolitihic period:

II. Picolt. The archaeological researches made at Picolt, in Lutrie point, 1973

campaign, leaded to the discovery in G4/1973 pit of a fragmentary statuette, decorated with incisions and with painting, made of a black coloured paste, bituminous (Lazarovici, Nmeti 1983, 27, Fig. 15/6).

The pieces shape is a flat one, the part that was kept represent the bust. The paste from which it was made is a good quality one, having a brownish-yellowish colour and well burned. The face of the statuette is triangular shaped, the nose in in alto relief, as the chin, and the eyes are marked by two incisions limited by a thin strip of black paint. The piece is ornamented on the body with a network of black paint strips, curb. I = 6.4 cm; l in the shoulders area=5 cm; Fig. 7/6; Carei Museum, inventory 3131.

Form the same place it is also a fragment of a statuette stand (G2/1971 pit Lazarovici, Nmeti 1983, 27, Fig. 15/6).

These two statuettes can be chronologically framed in the Middle Neolithic and from the cultural point of view in Picolt group with painted pottery.

In the end, we have to mention that these pieces represent very rare apparitions in this chronological and cultural area. We do not intend to discuss here the chronological and cultural position of Picolt group because we are preparing another consistent paper regarding the apparition and spread of Salca-Herply group in this zone.

III. Carei a) Bobald IV. The prehistoric stratigraphy from here was intersected with a ditch. The

researches made in 1982 leaded to the discovery of many artefacts (pottery, conical weights made of burned clay etc.) dated in Early Aeneolithic, Salca-Herply (?) culture. Here, a foot of an anthropomorphic figurine was found, having 3 cm length, unillustrated (Iercoan 1986-1987, 141, Fig. 9/5).

b) Cozard. The Neolithic station from this point is being overlapped to an Aeneolithic station belonging to Tiszapolgr culture and a Gepid necropolis. The archaeological materials discovered here are framed in Salca-Herply culture. The feminine fragmentary statuette that is about to be described was discovered in section SI/1991, square 9, at a depth of 70 cm, Fig. 9/1-2. The piece has a yellowish-greyish colour, is made of a homogenous, good quality paste, well burned. The face is oval, the nose in alto relief, the nostrils are marked by two impressions. The eyes and mouth are marked by two round incisions. The breasts are marked by two prominences. The arms are next to the body and the forearms were broken in ancient periods. Probably the arms were putted together on the womb. The representation in wearing head a hood on his head and oh his back a basket with the handles represented by two small prominences, laterally displayed, perforated. The legs are missing from ancient period. I=6.8 cm; l in the shoulder area =3.6 cm; Fig. 9/1; Carei Museum. Inventory 8015.

The type of statuette described until this moment is a rare one, the closed analogies are in the eponym settlement of Salca-Herply culture form Hungary (Kalicz, Raczky 1987, Fig. 43).


28

Also at Cozard was discovered another fragment from an anthropomorphic statuette, found in 1991 inside pit G2 (ritual pit with an impressive quantity of pots, two altars and two graves with children displayed on the edge of the pit). L=4.5 cm; thickness=1.4 cm; Carei Museum. Inventory 8079 (Iercoan 1997).

The statuettes from Fig. 9/5 and 9/6-7 represent discoveries from Basarabi culture first, and Hallstatt civilization period the following two.

Fig. 7. Statuettes belonging to Starevo-Cri culture (1-5). Statuette belonging to Salca-Herply (6).


29

Fig. 8. Statuettes belonging to Starevo-Cri culture.


30

Fig. 9. Statuettes belonging to Salca-Herply culture (1-2), Bronze Age (3-4) and Basarabi culture (5) and Hallstatt period (6-7).


31

CONTRIBUTIONS TO NEOLITHIC ART HISTORY.

THE NEOLITHIC FINE ART OBJECTS FROM LIUBCOVA-ORNIA SETTLEMENT (CARA-SEVERIN COUNTY)5

The archaeological material resulted after the systematic researches of Neolithic sites it is usually very rich. The diversity of cultural manifestation forms from this poque makes the specialist treat carefully every object. Of major importance is, in our opinion, the group of archaeological materials called fine arts. We believe that, in this stadium of researches, in is not being satisfactory the interpretation which establishes that this group reflects only aspect concerning the cult. Maybe, much closer to the reality of that period is the idea of reflection, through fine arts, of the rapport between man and nature, between the way reality of spiritual and material is being perceived. The mental state of the Neolithic man can be supposed considering some gestures, by the diversity of the manifestations of this type, emphasising along the inclination towards beautiful things, towards artistic representations. We can affirm that, everything mentioned above is being correlated also with utility and the existence of the spiritual based trinomial: spiritual artistic useful (useful considering the benefit obtained, on spot, due to the creation of the object). The Neolithic community is distinguished by the pragmatic attitude towards the world.

Preoccupations for the special studies of fine arts can be found even since the publishing of the great Neolithic site from Vina (Vasi 1928, 1936a, 1936b and 1936c; especially 1936b). New contributions for fine arts were brought until 1944 by Ida Kutzin (Kutzin 1944) and Martn Roska (Roska 1928; Roska 1941). After this year specialized papers on Neolithic were issued. Paper of a special value and scientific utility were elaborated by Professor Vladimir Dumitrescu (Dumitrescu 1968; Dumitrescu 1974; Dumitrescu 1979) with remarks on the fine arts category in the context of different Neolithic cultures (Berciu 1961; Marinescu-Blcu 1974; Lazarovici 1977; Lazarovici 1979; Dumitrescu 1980; Dumitrescu et al. 1983; Coma 1987). Aspect for this category in South-East Europe: Banner 1960; Goldman 1960/1963; Srejovi 1964-1965; Jovanovi 1965; Brukner 1965; Niu 1968; Coma, Ru 1969; Lszl 1970; Tasi 1973; Vlassa 1976; Lazarovici 1976; Marinescu-Blcu 1977; Marinescu-Blcu 1977a; Blnescu 1979; Blnescu 1982; Blnescu, Lazarovici 1979; Chapman 1981; Lazarovici et al. 1985; Stankovi 1986; Gimbutas 1987 etc.).

Regarding the station to which we refer here there were published statuettes and other objects related to fine arts by Eugen Coma (Coma 1969a, 37-41, fig. 22-25), Gheorghe Lazarovici included this observations in Banat context (Lazarovici 1979, 269, repertorium position 49). The new campaigns from this area were already the subject of some studies and scientific communications.

In order to simplify the elaboration process and understanding in its depth the problems issued by the discussed category we have divided the fine arts in the following groups:

A. Pots with special destination:

5 Luca 1990 (RO); Luca 1998, 51-76 (chapter inside the paper) (RO).


32

a) Pots with protomes b) Incised pots c) Anthropomorphic pots d) Zoomorphic pots e) Lids B. Fine arts: a) Statuettes 1. Anthropomorphic 2. Zoomorphic 3. Perforated-stylized b) Altars c) Protomes C. Ornaments made of clay D. Stone sculpture E. Clay ornaments places on dwellings A. Pots with special destination group Pots with special destination group (A) can be distinguished by the superior aesthetic

attributes of the pottery (subgroups b and e), either other special attributes (subgroups a, c-e). All this pots can be used in special occasions, so they have all the characteristics necessary for the ritual, but also artistic ones.

A. a. Pots with protomes are being represented at Liubcova by several exemplars: I. 1. Name of the object / conservation status. Pots with stylized protomes,

unfragmented (Fig. 17/3) (analogies at: Roska 1941, T. CXL/14; Tasi 1973, T. XXXII/118-119; Lazarovici 1976, 18 (B2), Abb. 8/15).

2. Description. The pot has a brown to yellow coulour, very well smoothed and polished. The paste is well kneaded, having fine sand as temper. The burning is good, the wall of the pot has the core grey coloured. In some zones, the slip is peeled off. The high of the recipe (following called h) is 10 cm.


33

3. Stratigraphic data. Section (following called S) I/1985, square (following called c) 10; depth (following called a) 0.60, level (following called n) IIa.

4. Cultural framing. Vina culture, Phase B2 (Luca 1990, 7). For this framing we have been influenced by the attitude until that moment towards the historiography referring to Vina and Turda culture. In a more recent paper we have reconsidered this framing for Vina C1 (Luca 1990-1993; Luca 1998, 53).

II. Pots with protomes. Fragmented (Fig. 16/2) (analogies at: Roska 1941, T. CXL/14; Tasi 1973, T. XXXII/118-119; Lazarovici 1976, 18, Abb. 8/15).

2. The representation is a zoomorphic one. The colour of the pot is black, the paste is well kneaded, tempered with sand. The burning is good, the incisions is incrusted with white and some register painted with red, after burning that give a fine aspect to the pot. The fragment is polished. The protome has H=4.4 cm.

3. SIb/1987, c 24, a=1.20 m, n IVc. 4. Vina culture, A3 Phase. A. b. Incised pots III. 1. Incised pot. Fragmented (Fig. 21/1a-b) (analogies at: Vasi 1936c, 27, Pl. 39,

T.XIII, a=8 m). 2. From this pot was preserved the superior part, ornamented with incised meanders

incrusted with white, the strips are being covert with dots, also incrusted. The paste was carefully chosen, sandy, mixed with very fine chopped chaff. The colour of the recipe is black, with a polished bottom, which creates a nice contrast between the incised surfaces. A row of impressions made with nail separates the neck of this pot from the incised surface located on the shoulder. At the maximum of the circumference there are four prominences handles, which have also the role of dividing in registers the incised surface. The recipient has H=0.25 m.

3. SI/1985, c 16, a=0.90 m, n IV. 4. Vina culture, A2 Phase. IV. 1. Incised pot. Fragmentary (Fig. 22/1a-b) (analogies at: Vasi 1936c, Sl. 75a, e;

T.XXXII, a=6.3-6.4 m, 55). 2. Here, we have an almost entire profile of the pot, a little rounded at the belly,

elongated shaped. The pot body, having a grey colour, is being ornamented on the entire surface with deep incisions, incrusted with white. The pottery is well burned, presenting smoothed surfaces both in the exterior and interior. Unfortunately, due to the lack of lip and bottom of the pot, the graphical reconstruction is ideal and subjective.


34

3. SI/1985, c 13, a=0.60 m, n IIa. 4. Vina culture, B2 Phase (Luca 1990, 8). After publishing the first paper, we

considered that this sublevel and piece is Vina C1 (Luca 1990-1993; Luca 1998, 53). A. c. Antrophomorphic pots V. 1. Anthropomorphic, fragmented pot (Fig. 17/5a-b) (analogies at: Vasi 1936b, Sl.

191, 31, a=6.4 m; Sl. 245 and 245 bis, 42, T. LIII; Roska 1941, T. XCIX/1-7, T. CXLII/21-24; Berciu, Berciu 1949, 16, Fig. 12/5; Banner 1960, Pl. LVIII; Coma, Ru 1969, 12, Fig. 5/7; Tasi 1973, T. XXX/117; Lazarovici 1974a, Fig. 8/1 (Para); Lazarovici 1979, 93, Pl. XXI, G/25-26, 17; Lazarovici 1987, Fig. 10/2; Korek 1977, Abb. 3/11 (maybe it looks the same); Haotti 1985, 33, Fig. 2/8; H. Dumitrescu 1985-1986, 14, Fig. 8/8, 10-18).

2. The paste has as temper large grained sand and well fine chopped chaff. Also, some gravel can be notice in the mixture, obtained maybe by fragmenting some calcareous concretions. The pots base was covered with smoothed slip, in some areas peeled off. The ankles and the knees of the piece are being distinct shaped. The front piece of the foot was broken in ancient period. On our opinion, this foot with large dimensions was part of an anthropomorphic pot. H=16.9 cm.

3. SI/1985, c 22, a=0.45m, n IIb. 4. Vina culture, B2/C Phase. Meanwhile we started to condider this sublevel and this

piece contemporary with Vina C1 culture (Luca 1990-1993; Luca 1998, 54). VI. 1. Pot with phallus shaped drained pipe. Fragmented (Fig. 17/6) (Vina C1: Luca

1990-1993, Fig. 1/19; Luca 1998, 54. This type of pot can be used in the context of libation or other occasions having a magic character. We also have an example of this type, un-illustrated, belonging to level I).

2. The fragment is brownish-grey, well smoothed surface and sand in mixture with sand and chaff. The pot presents a mixture of the paste specific to Starevo IV. The burning is very good. The phallus and the scrotum al well represented. H=11.6 cm.

3. SI/1985, c 21, a=0.90 m, n III. 4. Vina culture, A3/B1 Phase. A. d. Zoomorphic pots are represented by two fragments: VII. 1. Zoomorphic pot. Fragmented (Fig. 19/1) (we are not searching for analogies for

this pot because we do not know the entire shape). 2. The pot has a brick-like colour, secondary burned, well smoothed, having large sized

gravel in paste. The pottery is also tempered with fine chopped chaff. The back side is very well preserved, also one of the legs.


35

3. SI/1985, c 16, a=0.60 m, n IIa. 4. Vina culture, B2 Phase. After publishing the first paper, we considered that this

sublevel and piece is Vina C1 (Luca 1998, 54). VIII. 1. Zoomorphic pot stand. Fragmented (Fig. 12/4 a-b) (analogies at: Vasi 1936b,

Sl. 192, a=6.4 m, T. XXXIX; Banner 1960, Pl. XXXI/14, 16; Lazarovici 1979, Pl. X, A/10). 2. The paste of this fragment is tempered with gravel; the burning is a relative good one

and the colour is brown-brik like. The ankle is well profiled; the knee is being modelled in the back side (like the elephants!) in the walking direction suggested by the foot.

3. SIb/1987, a=0.30 m, n I. 4. Vina culture, C Phase. A. e. The lids represent a very common category for Liubcova-Ornia station. The

oldest apparitions of lids, are, as it was affirmed before, at horizon Vina A (Lazarovici 1977; Lazarovici 1979).

IX. 1. Lid. Fragmented (Fig. 18/1) (analogies at: Stankovi 1986, 79, T. LII/5). 2. From this lid it was kept the inferior part, which made possible the graphical

reconstruction of the object. The paste was tempered with sand and very fine mica. The burning was good and the colour black, red in the core. The incisions are made in shape of meander extremities, fragmented. H=5.3 cm.

3. SI/1985, c 23, a=0.30 m, n I. 4. Vina culture, C Phase. X. 1. Lid. Fragmented (Fig. 18/2) (analogies at: Lazarovici 1979, Pl. XXIII B/3). 2. The inferior part of the lid allowed us to graphically reconstitute it. The slip is peeled

off; the temper used is represented by sand and mica. The fragment is black in exterior part and grey in the interior. The burning is very good.

3. SI/1985, c 17, a=0.30 m, n I. 4. Vina culture, C Phase. XI. 1. Lid. Fragmented (Fig. 18/3a-b) (analogies at: Lazarovici et al. 1985; it can be

notice a sign that expresses, in our opinion, the same symbol on the short sides of pedestal of the monumental statue; Stankovi 1986, T. XXV/1b, a=8.3 m, 60).

2. The forehead and nape of the lid is being kept and ornamented with incrusted incisions. The ceramic fragment is black, very well polished, with traces left after the flattening,


36

resonant burning. One of the horns was broken in ancient period, and the other one is very high and sharpen. The nape, elongated, has incised a sign that can be found also on the monumental statue from Para sanctuary which we consider a symbolisation of the creative fertilisation (Lazarovici et al. 2001).

3. SI/1985, c 12, a=0.60 m, n IIa. 4. Vina culure, B2 Phase. After publishing the first paper, we considered that this

sublevel and piece is Vina C1 (Luca 1998, 53). XII. 1. Fragmented lid (Fig. 18/4 a-c) (analogies at: Vasi 1936a, 78, Sl. 149, Pl.

XLVII, a=5.5 m; Stankovi 1986, 74, T. XLVII, a=6.2 m). 2. The right side of the lid. The horn from the part that is preserved was broken in the

superior side and it was incised with in curb-linear bunch, incrusted with white. The temper used is sand and mica, the surface is well smoothed and the burning is good. The slip peeled off in some zones, the colour of the shard is black.

3. SI/1985, c 23, a=0.35 m, n I. 4. Vina culture, C1 Phase. XIII. 1. Lid. Fragmented (Fig. 18/5a-c) (analogies at: for the shape: Vasi 1936a, Sl. 32,

pl. XLV, 74, a=7 m; Sl. 141, pl. XLVI, 76, a=6.3 m; for the incised triangles: Vasi 1936a, pl. XXXV, 45, Sl. 73, a=7.445 m; 65, a=6.73 m; no 488, sl.135, a=6,6, 75; no 487, Sl. 134, 74, a=6,6 m; Stankovi 1986, 18, Sl. 12/type D).

2. After studding the right side of the lid, that was preserved, we can notice that the ear is high, the front part is being ornamented with alternate short incisions, which start form the triangles filled with oblique incisions that emphasize the inferior part of the eye. It should be noticed the incised ribbon that starts near the ear, form the top. The part from the back of the lid is ornamented with incised ribbons, three of them, slightly oblique. The colour of the lid is grey. In some parts, it was preserved the reddish slip and the paste was tempered with very fine sand and the burning is good. The incisions above described are being incrusted with white paste.

3. SI/1985, c 19, a=0.75m, n I (from a pit belonging to this level that penetrates the others)

4. Vina culture, C1 Phase. XVI. 1. Lid. Fragmented (Fig. 19/2a-b) (due to the fragmented state of the lid we

havent searched for analogies, even though the preserved shape and the stratigraphic data would suggest an early dating).


37

2. The top and nape of the lid is being ornamented with rows of four-five short incisions organize in ribbons that emphasizes the top and ear (from back) and the front part (discovered only in fragmentary condition). The temper used for this piece is a good one with less sand and fine chopped chaff. The burning is very good. The pot has an excellent polish, metallic and the colour is black. The incisions are being incrusted with white paint. The ears, having a special shape at Liubcova, are very short.

3. SIb/1987, c 31, a=2.10 m, n IVb. 4. Vina culture, A2 Phase. XV. 1. Lid. Fragmented (Fig. 19/3) (perfect analogy: Vasi 1936a, no 1253, Sl. 72, Pl.

XXXIII, a=5.1 m; Stankovi 1986, 76, T. XLIX/4). 2. The piece has a very short high, black colure and well tabulation inside and the

exterior with a metallic polish, ornamented with meander incisions, simple, delimiting the painted fields with red colour after burning. The incision is incrusted with white paint. The chromatic effect is a very nice one. The temper used is sand mixed with mica, the burning is resonant. The top of the lid presents, on the median part, two perforations.

3. SIb/1987, c 29, a=1.05 m, n III. 4. Vina culture, A3/B1 Phase. XVI. 1. Lid. Fragmented (Fig. 19/4) (analogies at: Jovanovi 1965, T. VII/7; Tasi

1973, T. XLV/167). 2. The fragment of a lid was tempered with fine sand, mixed cu mica and fine chopped

chaff. The burning is good. The incisions that ornament the lid are organized in bunch of three, around the ear. Other incisions start from the eyes. All the ornaments are incrusted with white paste; the ear of the lid is a short one.

3. SIb/1987, c 25 a=1.50 m, n IVc. 4. Vina culture, A3 Phase. XVII. 1. Lid. Fragmented (Fig. 19/5a-b) (analogies at: Jovanovi 1965, T. VII/4). 2. The part that was preserved from the lid is being located in the inferior part, on the

left side, considering the general architecture of the piece. Ornamented with incised and pointed ribbon, incrusted with white the fragment also presents the inferior part of the left ear. The incision that ornaments the pot is quite a deep one. The temper is represented by sand and mica and the surface was smoothed and the burning is very good. All this give a very nice aspect to the piece, the colour of the fragment is brown-black.


38

3. SIb/1987, c 29, a=1.05 m, n III. 4. Vina culture, A3/B1 Phase. XVIII. 1. Lid. Fragmented (Fig. 19/6 a-c) (analogies at: Radu et al. 1974, Pl. XVIII/4). 2. The top of the lid was preserved entire and is being ornamented with for pointed

field, delimited by incisions. The posterior part is, also, ornamented with short incisions, in curb bunch, that intersect the median line of the piece and the anterior with incised and pointed ribbons. The temper used for the pottery is sand with very small pieces of mica the colour is black, the polish and burning very good.

3. SIb/1987, c 31, a=1.05 m, n III. 4. Vina culture, A3/B1 Phase. XIX. 1. Lid. Fragmented (Fig. 19/7) (analogies at: Tasi 1973, 45, T. XIII, XLV/172;

Stankovi 1986, T. XXXIX/XL, XLI, XLII/1, 3, 5; LI and XLIX/1, 6 with the following stratigraphic data, following the plates references: a=6.7 m, 6.7 m, 6.6 m, 6.6 m, 6.6 m, 6.2 m, 6.1 m, 6.6 m, 4.8 m, 4.7 m and the following pages where they are being mentioned: 70, 71, 72, 74, 75 and 76).

2. The lid is being ornamented with triangular incisions, filled with other oblique, incrusted with white, displayed under three parallel incisions, horizontal, that mark the eyes. The fragment represents the left side of this type of piece. It can be distinguished the incisions that define the starting point of the eye. The ear of the lid was broken in ancient period. The temper used is sand with small pieces of mica, the colour of the paste is black and the burning is a good one.

3. SI/1985, c 18, a=0.30 m, n I. 4. Vina culture, C Phase. XX. 1. Lid. Fragmented (Fig. 19/8) (this lid can be parallelized with Zorlen III horizon,

in our opinion; the materials that we have examined are being kept in Banatului Montan Museum from Reia deposits).

2. The part form the back side of this lid, the one that was preserved, is being ornamented with incised and pointed ribbons and they are not being incrusted. The lid presents two perforations in the posterior side. The temper used is fine sand mixed with silt, the colour of the fragment is brick-like, the burning is very good, and the slip that has a brown colour is being partially peeled off.


39

3. SI/1985, c 17-18, a=0.45, n I (the fragment belongs to a semi-depth dwelling, with a hearth that has several reconstruction levels).

4. Vina culture, C1 Phase. XXI. 1. Lid. Not fragmented (Fig. 20/1a-e) (analogies: for the inferior part: Vasi

1936b, no 490, Sl. 142, 76, a=6.2 m; Coma 1969a, Fig. 15 (considering the shape); Lazarovici 1972, Pl. III/4 (for the nape); Stankovi 1986, 18, Sl. 12/type C.

2. The complex ornamentation of this lid is being represented by incisions organized in bunches, angular, meander-like simple or horizontal, alternative on the face, vertical-alternative on the back of the piece. Also, the fragment presents angular incisions intersected on the back. The incisions described until now are being incrusted with white paste. The tops of the ears were broken in ancient period (we believe that they were short). The nose and the eyes with protective role are being artistically represented. Through the equilibrium of the composition the entire pieces suggests a special artistic sense. The temper used is sand. The opened lid presents a special smoothness and polish. One last observation is that the posterior part of this piece presents four perforations, the superior ones are large sized, while the inferior one are smaller. Among these four perforations it can be notice the starting point of another one that was unfinished.

3. SIb/1987, c 29, a = 1.05 m, n III. 4. Vina culture, A3/B1 Phase. B. The plastic anthropomorphic and zoomorphic representations are the most

represented archaeological material, considering the proportion, in the context of discoveries of this type. The special variety of this group made us to affirm that, not in few situations; some objects belong to this group and have some real chronological valences, even though there are common pieces for different Phases of Vina culture. The originality and special realism of some pieces made us affirm that they are real art pieces.

a. The group with the highest representation is the one of the statuettes that we have shared in three large subgroups:

1. The anthropomorphic statuettes have the highest representation. There can be

detached the following pieces: XXII. 1. Anthropomorphic statuette. Fragmented (Fig. 10/1a-d) (analogies: especially

for the way the hair was modelled and for the expression: Vasi 1936a Sl. 155, 23, a=6.9 m analogies for the way the hair was presented Vasi 1936b, a=4,6 m, Sl. 179, 184, 185, 209, 213, 280, 359, 630; as expresion Roska 1941, T. CXXXVIII/5, 11; CXXXIX/9, 19-20; for the cultural horizon see: Srejovi 1964-1965, T. 17/1-4, 19/3-4, 20/1-4; Lazarovici 1976, Abb. 3/1, 4/1-2;


40

Lazarovici 1979, Fig. 7, tip I, 88, Pl. A/1-7; Tasi 1973, T. XXXIX/146; Vlassa 1976, 40, 31, Fig. 9/1-3, 6-8; Blnescu 1979, Pl. II/1a-b, 2, 4, 6; Chapman 1981, Fig. 35/2).

2. From the statuette the head was preserved and it is red coloured. It is well smoothed and polished, presenting a good paste with sand and chaff well mixed. The burning of the paste is a good one. The head presents a triangular mask; the eyes are represented by two quite oblique incisions and the nose by a round prominence. Through incisions is also represented the hair. The hair starts on the head and joins the neck as representing a possible hairstyle.

3. SI/1985, c 18, a=1.50 m, n V. 4. Starevo-Cri culture, IIIB Phase. XXIII. 1. Anthropomorphic statuette. Fragmented (Fig. 10/2a-c) (analogies at: Vasi

1936b, Sl. 214, a=6.2 m, T. XLIV; Srejovi 1964/1965, 38; Coma, Ru 1969, Fig. 2/15; Marinescu-Blcu 1977a, 38, n 10; Nica 1980, Fig. 2/1).

2. The statuette represents a character with oversized belly and the sex represented by a vertical incision (feminine, "maternity"). The head of this piece was broken in ancient period. The temper is represented by sand mixed with chaff. The colour is brown; less smoothed burning less good and consistent burning.

3. SI/1985, hut 6, n IVa. 4. Vina culture, A1 Phase (Luca 1988-1991; Luca 1991c). XXIV. 1. Anthropomorphic statuette. Fragmented (Fig. 10/3a-b) analogies at: Coma,

Ru 1969, Fig. 4/1, maybe 4/3 (superior level, p. 10); Coma 1969a, Fig. 22/1 (for the face stylization), Fig. 25/3-4; Lazarovici 1979, Fig. 7/Type III, 13).

2. We are in the possession of the head, with a realistic mask. The colour of the statuette is grey, the temper used in sand, well kneaded, smoothed and burned. H=3.1 cm.

3. SI/1985, c 19, a=1.20 m, n II (from a pit that goes more deep that this level). 4. Vina culture, B2 Phase. At the moment of the first publication we considered this

sublevel and piece as belonging to Vina C1 (Luca 1990-1993; Luca 1998, 60). XXV. 1. Anthropomorphic statuette. Fragmented (Fig. 10/5a-c) analogies at: Vasi

1936b, Sl. 1, 5, a=10.03 m; Sl. 575, 130, a=4.8 m; Berciu, Berciu 1949, Fig. 12/7, 16 (Lumea Nou); Coma, Ru 1969, 4, Fig. 2/12; Dumitrescu 1980, Pl. LXXIII/92 (for the way masculine sex is represented).


41

2. Masculine, this statuette has a brown colour, with a paste tempered with sand and chaff, weak burned. The stand presents a small alveolation of the sole.

3. SI/1985, c 12, a=0.90 m, n III. 4. Vina culture, A3/B1 Phase. XXVI. 1. Anthropomorphic statuette. Fragmented (Fig. 10/6a-b) (analogies at: Roska

1941, T. CXXXIX/5; X X X 1982, Fig. 220a-b (Goljano Delevo)). 2. Feminine statuette, almost seated, having the head and the lateral side broken in

ancient period. The paste is being tempered with fine grained sand, the burning is very good. The statuette is polished. H=7.7 cm.

3. SIb/1987, c 32, a=1.20 m, n II (from a pit that goes more deep that this level). 4. Vina culture, B2 Phase. After the moment of the first publication we considered this

sublevel and piece as belonging to Vina C1 (Luca 1990-1993; Luca 1998, 61). XXVII. 1. Anthropomorphic statuette. Fragmented (Fig. 11/1a-b) (stylization type of

the piece (especially the eye representation) it is not represented in Vina culture we are refering ourselves at the oversized dimensions in the context of the piece proportion).

2. Only the face was preserved. It is painted in red (the part form the head was preserved) and yellow (lateral sides) after burning. The paste is tempered with large grained sand and it is well smoothed. The colour of the statuette is brown. The terracotta is characterised by a good burning. H=7 cm.

3. SIb/1987, c 32, a=0.75 m, n I (stratum dent, pit?) 4. Vina culture, C1 Phase. XXVIII. 1. Anthropomorphic statuette. Fragmented (Fig. 11/3a-b) (analogies at: Vasi

1936b, Sl. 276, 47, a=5.6 m; Tasi 1973, T. II/8, III/9; XVI/54, 58; XVII/55). 2. The mask of the piece is stylized; the left side of the face was l

Documents

Art and Religious Beliefs in the Neolithic and Aeneolithic From Romania