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


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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

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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, X
2
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


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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.


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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 (5
th
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
B
1
/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 B
23
, 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);
a
1
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));
a
2
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).
b
1
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);
c
1
the body with the inferior part of the T, rounded, thickened, paunched (Ocna
Sibiului-Triguri Paul 1995, 51, Pl. VIII/6, XXX/4a-b);
c
2
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);
c
3
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

d
1
Labrets with short body, less profiled (Stankovi 1985, T. I/13; Matsanova 1996, T.
9/8);
d
2
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 n
o
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 N
o
259 (IIIb); Lazarovici 1979, 36, Type b
7
; 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 CULTURE
3

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 IIIB
1
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.



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 n
o
2 (G
2
) 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 (L
1
) 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 L
1
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, n
o
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, n
o
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,
n
o
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 G
4
/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 (G
2
/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 G
2
(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 (B
2
), 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 B
2
(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 C
1
(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. SI
b
/1987, c 24, a=1.20 m, n IVc.
4. Vina culture, A
3
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, A
2
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, B
2
Phase (Luca 1990, 8). After publishing the first paper, we
considered that this sublevel and piece is Vina C
1
(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, B
2
/C Phase. Meanwhile we started to condider this sublevel and this
piece contemporary with Vina C
1
culture (Luca 1990-1993; Luca 1998, 54).
VI. 1. Pot with phallus shaped drained pipe. Fragmented (Fig. 17/6) (Vina C
1
: 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, A
3
/B
1
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, B
2
Phase. After publishing the first paper, we considered that this
sublevel and piece is Vina C
1
(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. SI
b
/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.
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.
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, B
2
Phase. After publishing the first paper, we considered that this
sublevel and piece is Vina C
1
(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, C
1
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; n
o
488, sl.135, a=6,6, 75; n
o
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, C
1
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. SI
b
/1987, c 31, a=2.10 m, n IVb.
4. Vina culture, A
2
Phase.

XV. 1. Lid. Fragmented (Fig. 19/3) (perfect analogy: Vasi 1936a, n
o
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. SI
b
/1987, c 29, a=1.05 m, n III.
4. Vina culture, A
3
/B
1
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. SI
b
/1987, c 25 a=1.50 m, n IVc.
4. Vina culture, A
3
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. SI
b
/1987, c 29, a=1.05 m, n III.
4. Vina culture, A
3
/B
1
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. SI
b
/1987, c 31, a=1.05 m, n III.
4. Vina culture, A
3
/B
1
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.

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, C
1
Phase.

XXI. 1. Lid. Not fragmented (Fig. 20/1a-e) (analogies: for the inferior part: Vasi
1936b, n
o
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. SI
b
/1987, c 29, a = 1.05 m, n III.
4. Vina culture, A
3
/B
1
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, A
1
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, B
2
Phase. At the moment of the first publication we considered this
sublevel and piece as belonging to Vina C
1
(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, A
3
/B
1
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. SI
b
/1987, c 32, a=1.20 m, n II (from a pit that goes more deep that this level).
4. Vina culture, B
2
Phase. After the moment of the first publication we considered this
1
(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. SI
b
/1987, c 32, a=0.75 m, n I (stratum dent, pit?)
4. Vina culture, C
1
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 lost in ancient period.
The paste is being tempered with fine grained sand, low quality smoothness. The colour of the
piece is yellowish-brown; the burning is un-oxidating, weak. H=5.3 cm.
3. SI
b
/1987, c 30, a=0.60 m, n II.
4. Vina culture, B
2
1
(Luca 1990-1993; Luca 1998, 61).


42

XXIX. 1. Anthropomorphic statuette. Fragmented (Fig. 11/4a-c) (analogies at: Brukner
1965, 174, T. XIII/3).
2. The head of the statuette was broken at the shoulder area and the eyes are being
represented by incisions, realistic executed, the nose is broken in ancient period and the neck is
pulled back. One of the ears was broken; the mask of this representation is a variant of the
pentagonal type. From down the neck, the same as from the nape of the neck, angular incisions
start. The incisions do not preserve crusting remains and this piece was not painted. The paste
was tempered with fine grained sand, the burning has a good quality and the colour of these
pieces has red burning spots. H=7 cm.
3. SI
b
/1987, c 33, a=0.45 m, n I.
4. Vina culture, C
1
Phase.

XXX. 1. Anthropomorphic statuette. Fragmented (Fig. 12/6a-c) (analogies at: Vasi
1936b, Sl. 314, 56, a=5.2 m; Srejovi 1964-1965, T. 21/4; Tasi 1973, T. II/6 (curbolinar); X X
X 1986, Zbradila-Korbovo, 111, Fig. 54; Gimbutas 1987, 105, Fig. 2 (perfect) Potporanj).
2. It was preserved only the superior part of the head, ornamented with meandered
incisions, incrusted with white, connected in the median part of the nape by some short cuts, the
four centrals forming a W letter. The paste is tempered with large grain sand, well smoothed,
burned and black coloured.
3. SI
b
/1987, c 33, a=0.90 m, n II.
4. Vina culture, B
2
1
(Luca 1990-1993; Luca 1998, 60).

XXXI. 1. Anthropomorphic statuette. Fragmented (Fig. 12/1a-b) (analogies at: Vasi
1936b, Sl. 334, T. LXXI, 62, a=5 m).
2. The inferior part of the body, preserved, is being suggested by the spread of the legs
by a larger groove. We cannot point out the sex but even if we incline to name it as a female. The
temper used is made of sand and gravel, the burning is good, giving a brown colour to the piece.
3. SI
b
/1987, c 33, a=1.80 m, n IVc.
4. Vina culture, A
3
Phase.

XXXII. 1. Anthropomorphic statuette. Fragmented (Fig. 12/2a-d) (analogies at: Vasi
1936b, Sl. 160, 172, 350, 578, 580; T. XXXII, XXXV, LXXV, CXXIV, CXXIV; a=6.9 m, 6.5
m, 4.2 m, 5.9 (7.7) m, 4.3 (6.1) m; X X X 1986, Zbradila-Korbovo, 110, Fig. 51).


43

2. The inferior part of the statuette, that was saved, is being ornamented with incised
meanders, with marks of white paste incrustation. The sex is masculine; the space between the
legs is being accentuated by a large groove. The paste is tempered with sand, the surface of the
pottery is being slightly smoothed. The burning is very good; the colour of the fragment is black.
H=8 cm.
3. SI
b
/1987, c 29, a=0.60 m, n II.
4. Vina culture, B
2
1
(Luca 1990-1993; Luca 1998, 61).

XXXIII. 1. Anthropomorphic statuette. Fragmented (Fig. 12/3a-c) (analogies at: Vasi
1928, (as type!), Sl. 140, Pl. XXX, 118, a=3.4 m, Sl. 142, Pl. XXXI, 121, a=6.7 m; Vasi 1936b,
Sl. 313, T. LXVII, a=5 m, Sl. 375, T. LXXX, 70, a=4.5 m; Tasi 1973, T. II/8, IV/17, 18).
2. The head of the statuette is missing from ancient period. In the inferior part is being
suggested by incisions a cloth. The ornamentation is not being crusted with white paste. The
mixture of the pottery is sandy, well kneaded and burned. H=7.6 cm.
3. SI
b
/1987, c 29, a=0.60 m, n II.
4. Vina culture, B
2
1
(Luca 1990-1993; Luca 1998, 61).

XXXIV. 1. Anthropomorphic statuette. Fragmented (Fig. 13/2a-b) (analogies at:
Coma, Ru 1969, Fig. 1/13; Tasi 1973, T. XXXVI/136).
2. Only the middle part of the piece was preserved, with the arms modeled to the side
and a part of the mask. The clay is tempered with sand, gravel and a little chaff. The burning is
good, the colour of the object is brik-like brown.
3. SI/1985, c 22, a=0.75 m, n III.
4. Vina culture, A
3
/B
1
Phase.

XXXV. 1. Anthropomorphic statuette. Fragmented (Fig. 13/3) (analogies at: Vasi
1936b, Sl. 262, 44, a=5.8 m; Berciu 1961, 414, Fig. 194/4; Tasi 1973, T. XXXVI/138, XLI/149;
Ecsedy 1975, Fig. 4/3; Lazarovici 1977, 108).
2. We only possess the nape of the statuette, perforated verticaly several times. The
colour of the piece is brow-black, fine mixture, well kneaded. The burning is also very good.
3. SI/1985, c 8, a=0.60 m, n III-IV (the piece was in secondary position, being removed
in the moment the pit of the semi-dwelling was dug L
4
, n I).


44

4. Vina culture, A
3
Phase.

XXXVI. 1. Anthropomorphic statuette. Fragmented (Fig. 13/4a-c) (analogies at: Tasi
1973, T. III/11, IV/15).
2. Without head, the above mentioned statuette is made with clay tempered with sand
and chaff and the burning was less intense. The piece has a brick like-brown colour. The statuette
is standing on a ring-shaped pedestal and presents two fine parallel incisions, oblique in the right
side. H=4.3 cm.
3. SI/1985, c 21, a=0.30 m, n I (?).

XXXVII. 1. Anthropomorphic statuette. Fragmented (Fig. 14/1a-e) (analogies at:
Coma 1969a, Fig. 22/1 (Ornia Phase); Tasi 1973, T. XVII/59 (for the mask)).
2. Only the head of the statuette was preserved and it was suggested very realistically,
having a pentagonal mask. The eyes are being presented through incisions, the right ones from
the base being elongated towards the ends of the mask. The nose is sharp, the inferior part being
in triangular section shape. On the middle of nape there is a transversal incision. Under the chin
starts a number of five vertical incisions. The head was fixed with the other parts of the piece
as it seems with two wooden rods or other material, as the two perforations suggest, square in
section, made on the neck of the statuette by pressing the rod into the soft clay. The head was
painted, after burning, in registers, with red and yellow, the incisions being crusted with paste.
The red painting is present in the registers delimitated under the chin, on the nape, after the
incision and with white are being painted the eyes (inside the incision). The clay of the terracotta
is very well kneaded, tempered with fine sand, very well burned, presenting a fine slip, peeled
off in some regions. The colour of the piece is reddish-yellow. H=4.3 cm.
3. SI/1985, c 22, a=0.30 m, n I.

XXXVIII. 1. Anthropomorphic statuette. Fragmented (Fig. 14/4a-b) (analogies at:
Vasi 1936b, 63, 71, 90, Sl. 342, 382, 458, a=4.8 m, 4.4 m, 3 m; Srejovi 1964-1965, T. 22/2;
Tasi 1973, T. XXXVII/137; Dimitrijevi 1968, T. XIV/8 (for the way it was created)).
2. Discovered during a survey, the piece has the nape perforated several times,
vertically, the mask is being stylized and also the arms one of them is being fragmented, twice
perforated. The paste is floury at touching, very good burned, brick-like colored. H = 5 cm.
3. Passimus, 1987.


45

4. Vina culture, C-D Phase.

XXXIX. 1. Anthropomorphic statuette. Fragmented (Fig. 15/2a-c) (analogies: for the
back: Vasi 1936b, 134, Sl. 580, T. CXXIV, a=4.3 m; Coma 1969a, Fig. 22/5; Tasi 1973, T.
XXXII/121; Dumitrescu 1980, Pl. LXIV/38a; Chapman 1981, Fig. 35/2).
2. The arms, head and inferior part of the body were broken in ancient period. The arms
were perforated (two such perforations, as we assume), the anterior part, with difficult
experiences during time, has modelled two breasts and in the posterior part there are very fine,
meandered ornaments. The clay is floury, very well burned, brick-like, having applied above a
black slip, partially peeled off. H=8.6 cm.
3. Passimus, 1985.

XL. 1. Anthropomorphic statuette. Fragmented (Fig. 17/1a-c) (analogies at: the earliest
perforations in the arms appear in B
1
Phase: Lazarovici 1979, 94).
2. The head and the part from the right and inferior part of the piece are missing. The
right arm is being perforated twice, horizontal and the breasts are being modelled conically. The
temper used is made of sand, gravel and chaff. The burning is good with a slight tent of brick
colour. The slip of the terracotta is very thick. H=5.8 cm.
3. SI/1985, c 21, a=0.90 m, n III.
4. Vina culture, A
3
/B
1
Phase.

XLI. 1. Anthropomorphic statuette. Fragmented (Fig. 17/4a-b) (this type of statuette is
part of the oldest type, called column).
2. Even though only a part from the middle of the piece was preserved, this one is very
important, being from the stratigraphic point of view, one of the most important Vina pieces
form Liubcova. The temper of the terracotta is made of sand, gravel and chaff, the burning is
very good and the colour is brick-like, with brown peeled off slip. The piece is well smoothed
and polished. H=7.7 cm.
3. SI/1985, hut 6, n IVa.
4. Vina culture, A
1
Phase.


46

B.a.2. Zoomorphic statuettes represent a very rare category for Liubcova (on the other
hand, they are rare in general in the entire area of Vina culture: Lazarovici 1979, C type,
101). We are in the possession of one exemplar found during the survey of identification of the
dwelling where the already known Statuette from Liubcova was found (Luca 1989(1990), 50,
Fig. 2/4a-b; Luca 1991a, Fig. 2/4a-b).

B.a.3. Statuettes (amulets) stylized compress pieces generally perforated, representing
abstract evolutions of the plastic modelled images that result from the categories above
mentioned (anthropomorphic or zoomorphic statuettes). We consider that these represent a step
of evolution in what concerns the way reality was perceived by the Neolithic man.
Also in this category could be distinguished several groups of pieces as the statuettes
from the stylization of some pieces with anthropomorphic attributes, the ones that came from
statuettes with zoomorphic attributes and the very stylized representation, abstracted at
maximum.

XLII. 1. Anthropomorphic stylized statuette. Fragmented (Fig. 13/1a-c) (being an
atypical piece, due to fragmentation, it has no obvious analogies).
2. Broken in the median part, this piece has the anterior part incised in successive V
letter shape and the body is vertically perforated. The temper is sand. The colour is brown and
the burning is very good. H=4.5 cm.
3. SI/1985, c 15, a=0.30 m, n I.

XLIII. 1. Stylized statuette. Fragmented (Fig. 13/6a-c) (analogies at: Ecsedy 1975, Fig.
7; Lazarovici 1979, Pl. XXII, D/9; Chapman 1981, Fig. 152/7).
2. It seems that the statuette had three arms. The piece is being perforated transversal-
vertical. The clay is very sandy with silt. The burning is good, the colour is brick-like and the
slip is partially peeled off. It might be an amulet. H=4.1 cm.
3. SI/1985, c 7, a=0.30 m, n I.

XLIV. 1. Zoomorphic stylized statuette. Fragmented (Fig. 14/2a-d) (analogies at: for
the way it is schmatized Vasi 1936b, 137, Sl. 596, a=4.2 m; this statuettes apear at cultural and
chronological horizon Vina B
2
/C: Lazarovici 1976, Abb. 9/10, 13).


47

2. Vertically-transversal perforated, the piece has four animal heads from which three
were preserved (maybe deer) very stylized like arms termination. As temper, the statuette has
gravel, the burning is very good, oxidating. The slip applied on the piece was peeled off in some
parts. The colour of the terracotta is brick-like. H = 3.8 cm.
3. SI/1985, c 7, a=0.40 m, n I, L
4
house.
4. Vina culture, C
1
Phase.

XLV. 1. Zoomorphic stylized statuette. Fragmented (Fig. 15/1 a-d) (analogies at: Vasi
1936b, 137, Sl. 596, a=4.2; Coma 1969a, Fig. 24/2).
2. The statuette is being perforated in both sides, but not entirely. This piece has
greyish-brown colour, well smoothed and polished. The temper used is fine sand and silt. We
suppose that in ancient period the statuette had two head, today being preserved only one,
zoomorphic, very stylized. H=6.8 cm.
3. SI/1985, c 2, a=0.30 m, n I.

XLVI. 1. Stylized statuette (Bike type). Un-fragmented (Fig. 13/7a-b) (analogies at:
Lazarovici 1979, Fig. 8).
2. The terracotta is being perforated vertically-transversal. It has two arms and on their
opposite sides, two rounded impressions. The arms and the head of the piece have, in their
inferior side, one ditch. The statuette is black, floury and very well burned. H=4.9 cm.
3. SI
b
/1987, c 33, a=0.30 m, n I.

XLVII. 1. Stylized statuette (amulet). Un-fragmented (Fig. 14/3a-b) (analogies at:
Ecsedy 1975, Fig. 6; Radu 1979, 74, Pl. II/8).
2. The statuette is well burned, brick-like coloured, floury. This piece is being
perforated transversal-verticaly. The terracotta presents at the ends of the perforation some frayes
that we believe that were made by some strings that were passed by object. The amulet is
considering all possibilities anthropomorphic. H=7.2 cm.
3. SI
b
/1987, c 30, a=0.45 cm, n I.
4. Vina culture, C
1
Phase.


48

XLVIII. 1. Perforated clay object. Musical instrument (ocarina). Un-fragmented (Fig.
13/5a-b) (following the kind information for the late researcher Florin Medele, in the collections
of Museum of Banat from Timioara there is a similar piece made of clay (flute) from Romneti
Cave. We thank him, wherever he is.
2. It is ellipsoidal in shape, having a number of five openings communicating with each
other. We believe that we face a discovery of great importance, namely, in front of a wind
instrument (ocarina) that can be used in issuing different musical sounds. Given the rarity of such
great discoveries throughout old history period we limit ourselves only to signal it and to stress
once again that man managed to produce the harmonic sounds, blowing air through the tip of the
arrow, holding three fingers in alternation on the three perforations throughout the side and
leaving open the fourth and lowest perforation. The object is very well polished and smoothed,
the temper used is very fine sand mixed with slit and very good burning. H=3 cm.
3. SI/1985, c 22, a=0.30 m, n I.

B. b. Small altars for cult are a plastic category less represented at Liubcova then in
other Vina settlements. There are present the following pieces:

XLIX. 1. Altar foot. Fragmented (Fig. 16/5a-e) (analogies at: Dimitrijevi 1968, Pl.
XXI/C 13 (Vina A); Tasi 1973, T. XLIII/161, LII/207; Blnescu 1979, Pl. VI/3 (as style); for
painting: Stankovi 1986, 37, T. VI/1-2).
2. The foot of the altar has an anthropomorphic termination and breasts as feminine
attributes. The foot of the altar is decorated with incised angular simple meander and inlaid with
white paste. The temper used is composed of sand and chaff, the burning is very good and the
colour of the fragment black.
3. SI/1985, c 22, a=0.75 m, n III (apparently trained in secondary position form n IV,
the work made in the Neolithic period to build L
3
house.
4. Vina culture, A
3
Phase
.

L. 1. Small altar. Fragmented (Fig. 16/13) (analogies at: Dimitrijevi 1968, Pl. XXI/C
13 (Vina A); Tasi 1973, T. XLIII/161, LII/207; Blnescu 1979, Pl. VI/3 (as style); for
painting: Stankovi 1986, 37, T. VI/1-2).
2. From the small altar it was preserved a foot and part of the table. The piece is incised
angular, some registers being red painted, after burning, and incisions are incrusted with white
paste. The top of the foot is decorated with a zoomorphic protome, stylized. The fragment is


49

from triangular small altar. The temper used is sand, gravel and chopped chaff. The burning of
this piece is not a good quality one. The fragment color is brown.
3. SI
b
/1987, c 28, a=1.95 m, n IVb.
4. Vina culture, A
2
Phase.

LI. 1. Foot from a small altar. Fragmented (Fig. 16/6a-b) (analogies at: Roska 1941, T.
XCVIII/4 (other type of ornament); Ecsedy 1975, Fig. 2, 4/4).
2. It is decorated with deep incisions, tempered with sand, gravel and very little chaff.
The burning of the terracotta is very good and the color is brick-like. H=6.2 cm
3. SI/1985, c 5, a=0.30 m, n I.

LII. 1. Foot from a small altar. Fragmented (Fig. 16/7) (analogies at: Roska 1941, T.
XCVIII/4 (other type of ornament); Ecsedy 1975, Fig. 2, 4/4).
2. The temper used for producing this terracotta is sand mixed with gravel. The colour
of the piece is black and nice feeling when touching it. The incisions that ornament this small
altar are deep. The burning of the fragment is very good. H=3.2 cm.
3. SI/1985, c 13, a=0.30 m, n I.

LIII. 1. Foot from a small altar. Fragmented (Fig. 16/8) (analogies at: Otto 1985, T.
28/8-9; Stankovi 1986, 42, T. IX/9, a=4.5).
2. Slightly arched, the foot which we will describe in the following lines is round in
section, through combustion which has made the coulor effect called blacktopped (this time red /
reddish-brown). The slip was peeled off in some regions. The polish is very good and the
burning resonant.
3. SI
b
/1987, c 25, a=1.20 m, n III.
4. Vina culture, A
3
/B
1
Phase.

LIV. 1. Small altar. Fragmented (Fig.16/9) (analogies at: Vasi 1936a, 125, Sl. 255, Pl.
CXVIII, a=7 m; Roska 1941, T. XCVII/1, XCVIII/11, 19; Banner 1960, Pl. LIX/1-4, 6-9; Otto
1980, T. 28/15 (Tsangli); Stankovi 1986, T. IX/6, a=7 m, 42).


50

2. From this small triangular shaped altar a part from the table was preserved and also a
foot. The temper used for this terracotta is fine sand, the burning is very good and also the polish.
The colour of the fragment is yellowish. We also notice the presence of silt in the clay, but in
small proportion.
3. SI/1985, c 22, a=0.40 m, n II.
4. Vina culture, B
2
1
(Luca 1990-1993; Luca 1998, 71).

LV. 1. Small altar. Fragmented (Fig. 17/2) (analogies at: Roska 1941, T. XCVIII/5-6, 9;
Coma 1969a, Fig. 25 (Ornia Phase); X X X 1978, 47).
2. The small altar is triangular and it was dated as the oldest object of this type from
Liubcova. It was preserved about 2/3 from the piece. The temper of the terracotta is sand, gravel
and small fin chopped chaff. The incisions are organized in simple meanderes and are not being
crusted. The colour is brown and the burning is not a good quality one.
3. SI/1985, c 20, a=1.50 m, n IVa (the second filling level of B
6
/1985).
4. Vina culture, A
1
Phase.

B. c. We have also included in a separate category the protomes because, not in few
occasions we found ourselves in a dilemma when we have to frame them, as a type, in one or
other plastic category.

LVI. 1. Anthropomorphic protome. Fragmented (Fig. 11/5a-c) (analogies at: Vasi
1936b, 44, 46 Sl. 263, 268, a=5.8 m; Coma, Ru 1969, 9; Tasi 1973, T. XXXVIII/141, 143-
144).
2. The inferior side of this piece suggests its membership to a lid-pot, in the superior
side, by presenting some pot curves. The piece could be twisted at the median curve part,
maximum, of the pot. The representation presents angular incisions, two by two, in back and
front. The space between the incision is filled with red colour, the painting being positioned after
burning. The temper used is sand, the burning is goof and the colour is grey. The head of this
piece was broken in ancient period. The breaking from the inferior side is emphasized by an
incision. H=6.3 cm.
3. SI
b
/1987, c 25, a=1.50 m, n III.
4. Vina culture, A
3
/B
1
Phase.


51

LVII. 1. Zoomorphic protome. Fragmented (Fig. 16/1) (analogies at: Roska 1941, T.
CIV/14, CXL/2; Stalio 1972, T. XXXI/207, XXXV/216; Ecsedy 1975, Fig. 3/2, 11-12; X X X
1982, Fig. 132 (Maria); Rudna Glava 1985, Fig. 8, 27; Stankovi 1986, 44, 47, T. X/13, XII/1).
2. The protome has brick-like colour, with silt as temper, very well burned. It belongs,
as it seems, from a small altar. The eyes are suggested by by fine incisions, under the chin stating
a meandered fine incision. The horns were broken in ancient period.
3. Passimus, 1987.
4. Vina culture, C-D Phase.

C. Another large category if clay fine arts from the Neolithic station from Liubcova-
Ornia is represented by adornments. From the brackets can be distinguished.

LVIII. 1. Clay bracelet. Fragmented (Fig. 16/11) (analogies at: Chapman 1981, Fig.
143/20 (Drenovac); Lazarovici et al. 1985, pl. II/9-13).
2. The bracelet has black colour, very well polished (metallic) and triangular shaped in
section. This piece is distinguished by its esthetic qualities. The bracelet is very well burned.
3. SI
b
/1987, c 30, a=1.50 m, n IVc.
4. Vina culture, A
3
Phase.

LIX. 1. Clay bracelet. Fragmented (Fig. 16/14) (analogies at: Chapman 1981, Fig.
143/20 (Drenovac); Lazarovici et al. 1985, Pl. II/9-13).
2. The piece is identical, as the one above described, but it is not part of the same
adornment.
3. SI
b
/1987, c 30, a=1.95 m, n IVb.
4. Vina culture, A
2
Phase.

We have included in this category also amulets which are clay discs but also other
objects, without having a well defined use.

LX. 1. Amulet. Un-fragmented (Fig. 16/12) (analogies at: Lazarovici et al. 1985, 12,
14, 16; Lazarovici 1987, Fig. 5/2 (Brnica)).


52

2. The piece has black colour, well flattened, perforated (the perforation is made in two
sides) and obtained from a pot wall. The surface is smoothed and the aspect of the clay is fine.
3. SI/1985, c 22, a=0.75 m, n III.
4. Vina culture, A
3
/B
1
Phase.

LXI. 1. Clay disc. Un-fragmented (Fig. 16/10) (it might be raw materials for the
pendants above mentioned).
2. Made of a pot wall, which had silt as temper, being floury at touching and presenting
a very fine burning, having a yellowish colour. The sides are well polished.
3. SI/1985, c 4, a=0.30 m, n I (?).

LXII. 1. Clay disc. Un-fragmented (Fig. 16/3) (it might be raw materials for the
pendants above mentioned).
2. Brick-like coloured, with sand in the paste wich was well polished and burned, this
clay disc has sides well polished.
3. SI/1985, c 21, a=1.30 m, n IVb.
4. Vina culture, A
2
Phase.

LXIII. 1. Clay object. Un-fragmented (Fig. 11/2) (analogies at: Roska 1941, T. CI/2,
CXXIX/23).
2. It has brown colour, with silt and very well burned. It is uncertain its utility. We
oscillate between the possibility of being used as a toy, or maybe in an unknown ritual.
3. SI/1985, c 15, a=0.30 m, n I.

LXIV. 1. Clay object. Fragmented (Fig. 16/4) (some typological similitude in case the
piece is en violon one: Vasi 1936b, 97, Sl. 486, T. CIII, a=3 m; Roska 1941, T. CXXIX/20;
Goldman 1960/1963, T. 7/25-26 (un-ornamented: 19-20, 23, 27-28), 6/10-12, 14-18; Berciu
1961, Fig. 240/2, 4, 245/1-2; Vlassa 1976, 104, 106, Fig. 3/3; X X X 1978, 24 (down);
Lazarovici 1979, Pl. XXI H/8).


53

2. Discoid shaped, ornamented with impressions, this pieces was tempered with sand is
well smoothed and well burned. The colour is brick-like-brown. In our opinion this is a en
violon piece.
3. SI
b
/1987, c 32, a=0.90 m, n I (belongs to a level that starts under this level).

D. The pieces belonging to this category sculpted in stone are being generally
connected with the early Phase of Vina culture (analogies at: Lazarovici 1979, 90-91, Type III/4
Gornea, Vina A).

LXV. 1. Animal head. Un-fragmented (Fig. 10/4a-c).
2. While observing this piece we believe that we are talking about an onager head or a
horse. The first supposition seems to be most accurate. The sculpture, well polished, we consider
is made of a local rock white and soft (limestone).
3. SI
b
/1987, c 33, a=1.50 m, n IVc.
4. Vina culture, A
3
Phase

(analogies at: Vasi 1936a, 92 Sl. 173, 177, Pl. LII, a=7 m;
Tasi 1973, T. XL/152; X X X 1978, 23 (middle); Vlassa 1978, 43, Fig. 7/e-g, 9; Blnescu
1979, Pl. II/5; Radu 1979, 75, Pl. III/16; Dumitrescu 1980, Pl. LXXIX/95; Chapman 1981, Fig.
143/1 (Dubova); Lazarovici 1979, Fig. 7/4; Lazarovici et al. 1985, 25, Pl. IV/13).

Only as information we recall here a special piece, belonging to dwelling L
4
/1985 (n III,
Vina culture, A
3
/B
1
Phase) trapezoidal, about 4 inches wide, made of a hard rock. This piece
that caught our attention also in the settlement from Mintia-Gerhat (unpublished excavations
made by Florin Draovean and also author of these lines) where, on the bottom of hut, we
discovered an identical piece. Since we do not know yet the interpretation of this type of
discoveries, we decided not to illustrate it, but only to report it.

E. The last category of fine arts from this station is clay ornaments. This category
includes some pieces found in the debris of the house L
3
/1985 (n III Vina culture A
3
/B
1
). They
consist of columns apparently after us with one end having a width of about 7-8 cm, reaching
a progressive widening at the other end (which is not the real one because we havent
recovered the entire piece) that enters in one of the slopes SI/1985 section of about 20 cm.
From the observations made on site it resulted that there were at least two such columns, because
we have also found the narrow end of another piece of this type. Based on the same observations
we can say that this "columns" were applied on the walls of the dwelling, on its exterior, being
formerly burned and stuck with a thick layer of yellow clay. The pieces shape in section is


54

trapezoidal, having a narrow end, that we should called it inferior, well manufactured and
rounded. Because we are tempted to give this dwelling a special functionality in the campaign of
1987 we have spared it, waiting for the possibility to research it integrally on another occasion.
Future researches may demonstrate the fact that these pieces are not "columns", but a simple
framing for the door

Some observations considering the place of Liubcova discoveries in the context of Vina
culture area
We consider necessary, finally, a few stratigraphical clarifications order on the findings
from this site:
The numbering of levels was made from the top down in the order of discovery, the
lows level being numbered with I symbol and the earliest with V (please note that the sublevels
were also numbered).
We can say that inside the settlement are detectable almost all Phases of development of
Vina culture through materials and differentiated stratigraphic levels. During the researches we
have noticed great stratigraphic fluctuations in the sense of the thickening of layer of culture to
almost 2.50 m in the northern end of the research sector. The culture layer was exhausted in this
part, expecting to a possible further thickening of it.
The researches allowed us, this conclusion being also the result of studying the pottery,
to make some fine correlations between the first Phase (A
1
) of the Vina culture and the
beginning of IIIB Starevo- Cri Phase, meaning that, at least here early IIIB Starevo- Cri layer
is sectioned by the earliest Vina layer. We draw attention to an inconsistency (Luca 1985, 468,
appears as hut 5). We make now the deserved correction, being hut 6/1985, the entire mistake
belonging to the author! We apologize for this.
New stratigraphic details are being presented for the late Phases. Gheorghe Lazarovici
affirms that in southern Banat the Vina-Plonik influences are powerful and can be notice
earlier, especially in fine arts (Lazarovici 1979, 120). We are entitled to say that this influence
can be also found in pottery, based on the observations made especially in connection with level
I and II, where there are typical early Vina C elements. We believe that the horizon B
2
/C
defined by Gh. Lazarovici has, based on the observations made here, in some cases, not only
chronological value (Lazarovici 1979, 106), but also a cultural one (n IIb/1985), not being
always the result of some retardation, but in some bigger settlements, maybe, of a slow evolution
based on local conditions (B
2
/C). We sustain here that, starting with B
2
Phase, we can see an
evolution, based on a local situation, being known the fact that this horizon can be still noticed
some southern impulses that can generate it (Lazarovici 1979, 118).
We confess that, from a stratigraphic point of view, Ornia Vest Phase defined by Eugen
Coma is also present in the place called Ornia so we face an evolution starting with B
2
Phase,
based on a local situation, knowing that in the superior side of n II, can be framed in this Phase
(Eugen Coma also noticed this fact Coma 1969a, 15. The critics to his interpretations
Lazarovici 1975a, 15 and following: Lazarovici 1979, 71-72, 79, 80). In a more recent paper


55

(Coma 1987, 33-34), the researcher from Bucharest accepts a more earlier dating (Vina-Turda
I), for Ornia Phase, not being clear if he accepts the dating for the first Vina level in A
Phase). Based on the surveys we have done we sustain that the station of Ornia Vest Phase is
larger than the one from Ornia Phase, covering it totally. The future researches we are confident
that will clarify totaly this problem. Also based on the surveys we sustain the existence of
developed Vina-Plonik elements.
We were tented to frame some materials belonging to II level (especialy IIb) as
belonging to B
2
/C horizon (Lazarovici 1979, 106), but considering the fact that at Vina was
noticed a hiatus Lazarovici 1975a, 17) between B
2
and C Phase, and at Liubcova exists exactly
the materials form this horizon, noticing their evolution, we use the term B
2
/C, so that there are
no risks of terminological confusions.
We observe the appearance of painting in our syle since A
2
Phase of Vina culture and
the more intense use if it starting with B
2
Phase and post B
2
. The painting technique is generally
the same, mentioning that in the early Phases it was used only red colour, while in the latest,
besides the red one, it was used also yellow.
We notice the special proliferation of lids, the fact that in the oldest Phase of Vina
culture, being one category of fine arts very well represented. Without having the value of a
conclusion we notice the fact that on the late Phases their ears are larger, the colour is brighter,
the ornaments are more complicated and the size of the pot is larger. In earlier Phases it can be
noticed the preference for perforation the top (Lazarovici 1979, 106).
After studding the archeological materials form this site it can be notice, without doubt,
the special unity of Vina culture, at least in the Danubian area. In consequence, we cant agree
with the attempt to create Phases with own names inside the same cultures, that is risk to
generate confusions in understanding the evolution of Neolithic communities in Southern Banat
area during Developped Neolithic. The names Ornia and Ornia Vest are not adequate not even
for the site of Liubcova because, as we have already pointed out, the station of Ornia Vest Phase
covers the one from Ornia, so the possible attempts to separate on geographical criteria the
discoveries are not welcomed. In the end we opt, as it result also from the above lines, for the
relative and general accepted in Banat chronology, strongly connected with the discoveries from
the great Neolithic sites form Vina.

Attempt of historical interpretation of the materials discovered at Liubcova
We notice, and this problem was mentioned before, that the majority of the pieces are in
closed archaeological features. The archeological context admits the affirmation that, at
Liubcova-Ornia, we havent researched constructions with special character (sanctuaries). We
base our affirmation on the observations made during the excavations of the sanctuaries from
Cscioarele (Dumitrescu 1974, 178; here, the lack of small fine arts was connected with the lack
of fertility and fecundity cult due to the existence of column cult), Para (Lazarovici et al.
1985; direct and active witness to several campaigns here, we havent notice the presence of
small fine arts inside the sanctuary; on the other hand the observation is also shared by Gh.
Lazarovici), as the observations written during the synthetic study of more recent poques (Srbu


56

1987, 113, 119). The main argument, from this point of view, of demonstrating the existence of
this type of building is, and the field experience proofs it, the presence or absence of small fine
arts. In the sanctuaries above mentioned this category was absent. The only dwelling from
Liubcova, having this utility, that the future researches will reveal, is dwelling L
3
/1985.
Including A category (pots with special destination), especially b subcategory (incised
pots) is dictated also by a discovery from this station Statuette from Liubcova (Luca,
Dragomir 1987; Luca, Dragomir 1989).
Among the analogies of this statuette (for the pot kept in the hand, having one meaning
or another), there is one discovered in the context of Zeliezove culture that represents a statuette
with a pot in the arms (Vladr 1979, 33, Abb. 11, 12, Katalog 147). It is possible to be a
libation scene? We believe that the pots from these two subcategories, as are the askos or rhyton
are used during this kind of ritual (libation). Subcategory e has some special problems. We shall
not insist on their anthropomorphic or zoomorphic signification, because we are convinced that
the first affirmation is the one closer to the truth. But, we are astonished by their great number,
especially in the main settlements examples could be at Vina, Para, Zorlenu Mare, Liubcova
etc. Also we notice the fact that they are very unitary as ornamentation, even though there arent
found two similar lids. Any interpretation is accurate for the symbols of this category we believe
that, for the moment, consensus cant be reached.
Interesting problems are on the group of fine arts (B). It seems that, at least some
communities, especially the Vina ones, have different magical-religious conceptions than other
Neolithic communities. The special richness of small fine arts (especially the anthropomorphic
and stylized ones), especially from the levels post-Vina A, especially B
1-2
and post-B
2
made us
think that in each and every dwelling exited such statuettes, as representations, specific for the
family. We tend to give them the interpretation of magic kits (Srbu 1987, 111, 117). Initiated
in its use was, in some situations, the head of the family. The role is to protect, to help the
family, the community. Maybe is valid the observation on which they follow some totemic
principles in attitude, mask and ornamentation (Lazarovici 1977, 108).
For this category there is also the problem of masking. Typologically we do not believe
that there can be added something to the ordering made in 1973 (Tasi 1973, Fig. I). The
meaning and circumstances when the masks are putted should be searched in ethnographic
analogies (Luca, Dragomir 1987; Luca, Dragomir 1989). Anyway, the Statuette from Liubcova
proves this. Less chance to solve is the ritual context of putting a mask.
For some statuettes there was an attempt to give them a practical sense. For example, at
n
o
XXV, with analogies at Gornea, it was mentioned that the perforations form the nap were
made for stocking feathers inside (Lazarovici 1977, 108). For other stylized statuettes (amulets) a
meteorological applications was suggested (?) (Coma 1987). We consider, in a recent article,
that some random discoveries from Liubcova, from a dwelling washed by Danube river, can be
interpreted as a magic kit, being formed by the Statuette from Liubcova, an
anthropomorphic and stylized statuette, transversal-vertical perforated, a zoomorphic statuette
with mix human-animal attributes and a zoomorphic statuette, this time stylized and perforated
transversal-vertical. Perhaps a possible completion of this composition is sometimes made with a
zoomorphic, anthropomorphic pot or a lid (cat. A/c, d, e, here). Remaining at the supposition


57

chapter we have to emphasize that we do not believe that the vessels are well defined
functionally. Their shape is one of lid but they rarely have this functionality. More precise
observations from the archeological field correlated with their adequate interpretation would
bring light to the burial ritual and death cult in Vina culture (the absence of systematic burial, in
necropolis, is a problem that still has no answer. Perhaps it should be made an appeal to the
ethnographic sources. An exit could be the idea that the deaths were incinerated and kept in pots
(the ashes). It remains that careful field observation to conclude on this supposition. At Para for
example, were found also incinerated human bones and also scattered human bones inside the
settlement.
Unfortunately, a great part of the fine arts were destroyed during ancient period, having
rarely the possibility to study un-fragmented pieces. We explain this fact through:
a) Interventions, in the settlements with several habitation levels of the
population which overlaps stratigraphicaly, the anterior ones through constructions
(foundations, pits, terracing) that could endanger them; it can be seen that many times,
the following populations settled by force, implying, perhaps primarily, the destruction of
this category (first there is "a spiritual conquest" see The Sancturay from Para
(Lazarovici et al. 1985, here the walls were demolished on purpose and then, a leveling
was done and compact carefully covered with a layer of clay)).
b) We suspect the existence of ritual celebrations during which resorted a
deliberate breaking of the statuettes, most often by splitting the head of the body. The
observation is an archeological one, the meaning of the gesture remaining hidden. We
note that amulets are only rarely, incidental broken. Perhaps that for these types of
objects we have to look for other uses.
The small altars category is connected with the functional aspect of oil lamps
(Lazarovici 1977, 107), even though for illuminating could be the same way used the so called
fish trays (Lazarovici 1979).
The onager stone head discovered during the excavations form 1987 completes the area
of spreading of this type of pieces on the territory occupied by Vina culture communities. Inside
an ample paper Nicolae Vlassa discussed this aspect (Vlassa 1975). We believe in the use of this
animal in prehistory. It remains to proof the way it was exploited. There can be discussed, in our
opinion, the aspect of using this animal for burden.
Even if one or other of our assumptions is not confirmed, they still remain so many
working hypotheses. Anyway, we create an image closer to reality by analyzing deeper the
different aspects connected with the cult of fertility and fecundity that animates the spiritual life
of Neolithic.


58




59




60




61



62




63




64




65

DATA REGARDING THE UNPUBLISHED STATUETTE FROM
LIUBCOVA-ORNIA (CARA SEVERIN COUNTY)
6

Already known in the literature (Kutzin 1944, nr. 92; Tudor et al. 1965, 395-406;
Coma 1966, 355-363; Coma 1969; Coma 1969a, 11-45; Coma 1971, p. 85-92; Coma, Ru
1969; Lazarovici 1979, repertoriu nr. 49; Luca 1985; Luca 1987; Luca 1988-1991; Luca 1990-
1993; Luca 1991b; Luca 1991c; Luca 1998), the Neolithic settlement from Liubcova-Ornia still
offers pleasant surprises to the author of this study. Besides salvage systematic excavations
started in 1985 (SI/1985; SIb/1987; SIc/1990, excavations undertaken by Sabin Adrian Luca) a
new systematic program of surface researches is carried out. Given that a large part of the site is
flooded and every time the Danube floods the area, there remain at surface archaeological
complexes with rich inventory. Also, the agricultural works affect the upper levels of the
settlement. During one of such surface researches made in 1987, the director of the school in
Gornea, Ion Dragomir together with the soldier Catalin Grigorescu, discovered the statue that is
the subject of these lines (Fig. 23-24; Photo 5). Given the importance of this item, we will do a
very thorough description:
The composition
The statuette is made of very fine clay, well kneaded, in which there can be
distinguished small amounts of mica and small pebbles of the same size. The color is reddish-
brown, the statuette being covered with a fine slip, black, partially missing, especially on the
sides. Because it was periodically washed by the Danube, we can not tell if slip was brushed or
not. The burning is good, having the consistency of a terracotta piece with striking metallic
resonance.
The shape
The representation is steatopygias, with the soles widened for better stability upright on
the pedestal. The right arm of the statuette is pointing to the hip and the left is raised to the
shoulder, indicating a position ritual (there is a "regularity" of the hand positions depending on
the part of the ritual process surprised by the Neolithic artist; in the case we analyzed the position
derived from the standing statuettes characteristic to the late Vina world: Vasi 1936b, Sl.
541, a=4.3 m, Sl. 296, a=4.38 m Lady of Vina it seems the most representative example).
The details of clothing, religious objects and hands can be clearly distinguished. Unfortunately,
the head of the statuette is missing, being broken from old times. Interesting is also a further
hole, off-centered to the left side of the body. It seems that at some point the head of the statuette
was broken, trying to add it by fixing a rod that would ensure stability again. I do not believe that
the statuette had a mobile head for the neck fracture is ancient. Moreover, this type of statuette
head is quite disproportionate in relation to the body. Maybe that is why there are few whole
pieces (from Liubcova settlement there is no whole statuette; there were found either the upper
or the lower part of the body, some keeping some subsequent perforations). Even if we suspect
how head looks like in this kind of representation, we can not allow its reconstruction, given the

6
Luca, Dragomir 1987 (RO); Luca, Dragomir 1989 (D).


66

uniqueness of the piece. Note that the arms are perforated, a characteristic for a large period of
the Vinca culture (see Banat: Lazarovici 1979, 91, 94-101, category B, Fig. 8).
The height of the statue is 11.9 cm maximum width (elbow area) is 9.1 cm and the
width of the feet is 4.4 cm.
The clothing
From the beginning we can state that the clothing of the statuette is composed of two
parts. The upper body is covered with a shirt with long sleeves, which stops at the hips. We base
this statement on the plastic reproduction of the navel that therefore we assume, was uncovered
by the blouse. Also, the incisions that lay the duct of the seams stop before the incision that
defines the beginning of the second pieces of clothing. The shirt is made from strips, two on the
left, two on the right, sewn together. In the area of the neck where it forms a wedge-neck, both
front and back, the material is caught with an object (pendant) pierced in three places, as
suggested by its plastic reproduction (Fig. 24/1). It is difficult to define the nature of this piece of
clothing excavations giving us more information on punched parts that are dificult to interpret.
We think it is a pendant-catcher, a sort of fibula, because of is organic unity with the shirt and
because the piece is double, ensuring good grip of the material in wedges of the shirt. The two
parts can be made of clay, stone or bone.
In the area of the elbows, the statuette is decorated with great thoroughness with two
bracelets that gather the sleeve (one at the left elbow, the other to the right one). Bracelets of
clay, stone or shell fossil are known including in the settlement from Liubcova. From the elbow
to the right hands are suggested to us by means of grooves, some horizontal folds. How they
were made is very difficult to assume, maybe by using a string. We must mention that, the way
the strips of material which is stitched blouse are arranged, it suggest the usage of a loom
narrow, because the strips are attached by stitching together (thanks to the researcher Florin
Medele (Timisoara) for its aid in the interpretation this piece of clothing even after his death).
The lower part of the body below the hips and down, is covered with a skirt (pants?) made of two
large pieces of cloth draped independently by the same method as the bottom of the sleeves of
her blouse. Suggesting drapery is made by grooves. We notice that this piece of clothing ends
somewhere below the knees. The foot is broken, we can not therefore conclude on the shoes. We
can not know whether the representation had shoes. The only observation we can make is that
the base has a midline incision suggesting two foot paws. The bottom piece of clothing is backed
by a rope (belt?) marked around the statuette by a deep incision. The incisions rendering the
seams or other pieces of clothing are inlaid with white, in a manner characteristic of Vinca
culture and Middle Neolithic. Also, a careful observation of the piece allowed us to grasp that at
least the outer strips shirt and mask were painted with red in the crussted technique. Traces of
paint have been reported under the right and the left arm, in the area of the pot, but not on it or on
the mask. The painting peeled because the Danube water washed it up. Being performed after
burning, it does not have much strength as if it was made before burning. The cases of painting
in red or yellow in crussted technique are often found in the upper levels of the Vina settlement
from Liubcova.
Essential atributes


67

The statuette represents a female. We base this assumption on the evident steatopygia of
the statuette, the well-marked belly and the plastic rendition of the breasts. The genitals are not
rendered, because of the clothes that hide it. Maybe all in favor of females pleads that the
statuette is dressed entirely, having also ornaments that embellish it (the two pendants-catchers,
two bracelets and folded skirts (pants?) and the bottom parts of the sleeves).
As previously saide, the left hand of the statuette is positioned to shoulder and holds a
mask (Fig. 24/2 in detail). Realistically rendered the eyes being slightly slanting and mouth
marked through a deep incision this suggests that the mask is slightly larger than the human
face. In its lower part there is an extension of which is gripped when is covering the face. The
essential thing is that the mask is covered with the left hand, which is rendered with great
thoroughness, suggesting a resting position ante- or post ritual process, a lookout position.
In its right hand there is a bowl (Fig. 24/3 detail) supported by the hip, in all
likelihood, a receptacle for libations. The vessel form is strange (we believe that it is a mistake of
the artist shaping this form of bowl because the entire set of the statuette meanings is artistic).
We believe that the vessel is of askos type. In fact, the entire aspect of the vessel by its outer arch
of the lip to the sharp bottom, as well as the big handle that connects the lip and the central area
of the vessel, leads us to this form of pot.
During the ritual process, the statuette could have been used in two fundamental
positions:
a) on the pedestal.
In this case is resting on its much widened foot.
b) hanging.
Can be hung from the neck or in an archaeological complex with a string that is passed
through the perforations from the arms area.
It seems that the statuette was standing on the pedestal, perhaps in a cultic complex, also
during the time when it was not used in the rituals.
Analogies
Given the fact that there are no perfect analogies that could render the essential
attributes of the statuette presented above, we will make reference to the analogies that could
have been established between parts of the statue and other items that were discovered din the
Vina area or other contemporary or latter archaeological cultures. Resemblances and analogies
are determined for:
- the statuette shape (Vasi 1928, Sl. XXXIII/145, deepness (further) a=4,6 m; Vasi
1936a, 301, Pl. LXXX, a=6,2 m; Vasi 1936b, 541, Sl. 296, a=4,1 m; 119, a=3,4 m, Pl. XXX;
Srejovi 1964-1965, T. 22/1; Tasi 1973, Fig. II/b, T. XV (right, down), LIII; X X X 1978, 23;
Dumitrescu 1980, Pl. LVII; X X X 1986, Fig. 1, 2 (down, on the throne));
- the shirt (folding sleeves: Vasi 1936b, Sl. 299-300, a=5,4 m; Sl. 429, a=4 m; Tasi
1973, T. XXXVIII/14; Gimbutas 1987, 105, Fig. 1 navel is also rendered);


68

- the perforation of the arms (Srejovi 1964-1965, Fig. 21/2; Tasi 1973, T. XV/4;
Gimbutas 1987, Fig. 1);
- the pendant-catcher (Vasi 1936b, Sl. 467, a=2,5 m; Srejovi 1964-1965, T. 20/3; T.
21/1, 4);
- the bracelets (Tasi 1973, T XXXVIII/14); bracelets are often founs in the Neolithic
settlements and are made of Spondylus (X X X 1982, 217 a-b; Coma 1973, 61-77), clay (a
beautiful item was found at Pojejena-Nucet); other two were discovered at Liubcova-Ornia;
unpublished), stone (Luca, Dragomir 1985, 76, bracelet from Gornea-Locurile Lungi) and copper
(Coma 1987, 40);
- the folding of the shirt in the forearm region (Vasi 1936b, Sl. 299-300, a=5,4 m; Sl.
429, a=4 m; Tasi 1973, T. XXXVIII/14);
- the way of folding the skirt (pants ?) (Vasi 1936b, Sl. 201, a=6,3 m; Sl. 130, a=7,8 m
(here is a toga !), Sl. 516; Tasi 1973, T. XXXVII/140; X X X 1964, 68, Fig. 12/4; Berciu
1961, Fig. 249/2; Marinescu-Blcu 1974, Fig. 82/3, 6; Dumitrescu 1974, Fig. 221-111, 227
(painted); Dumitrescu 1979, Fig. 164-165; X X X 1982, 139, Fig. 156; Gimbutas 1987, 116, Fig.
13);
- pot (this type of vessels are often found in the area of the Gumelnia and Slcua
cultures: Berciu 1961, Fig. 12/7; 13/3; 15; 109/3; Dumitrescu 1979, 84, Fig. 64; Dumitrescu et
al. 1983, Fig. 11/6; X X X 1982, 128, Fig. 145 a-d; Fig. 174);
- mask (a clay mask comes from the Starevo-Cri settlement from Zuan: Lak 1977,
44, Fig. 3/1; a masked head made of clay, of big dimensions comes from Zorlenu Mare and it is
to be found at the Museum of Banat from Reia; Tasi 1973, Fig. I/a; Dumitrescu 1968, 56);
- painting (most of idols and protoms discovered at Liubcova-Ornia during the last
campaigns, in the upper levels is painted in red or yellow in crussted technique)
- incrustation (starting with the earlyest Vina levels from Liubcova-Ornia (Vina A
1
)
the incised ceramics are incrusted with white);
- position of hands and their plastic rendition (Srejovi 1964-1965, T. 20/3 Pritina; T.
21/1 Predionica; T. 21/2 Vinca).
We notice that there are at this chronological horison some altars on which are
displayed statuettes in sitting position, having in front of them libation pots (the corelation pot
statuette altar fertility and fecundity cult cannot be questioned: Lazarovici 1987, 37, Fig. 9;
statuettes made of wood, this time, are found in Camerun; Frobenius 1982, vol. 2, Fig. 130).
Attempt to interpret the artifact
The statuette, as a whole, suggests an evolution in the concept of worship and fertility
and fecundity in Neolithic, through the emergence of suitable instruments regarding the ritual.
The essential attributes detached from the large group of idols of this type. The facts the ritual is
diversified, is demonstrated by the position of the young girl, waiting, making us wait for other


69

necessary steps of the ritual. Same thing is demonstrated by the power of versatile using of this
piece in the ritual (it can stand on a pedestal or can be worn on special occasions). The singular
appearance (at our state of knowledge of the literature and of this topic in general) of the
essential attributes of the artifact give us a realistic picture of the individual instrument during
the worship holidays, on special occasions connected to the fertility and fecundity cult . On these
occasions an element of real importance was, in our opinion, masking characters. In Neolithic
masks are undoubtedly typical in various stages hence the relatively narrow range of
typological face masks represented the Neolithic statuettes (Tasi 1973, Fig. I).
The civilizations of the East presents at contemporary chronological horizons a
pantheon, gods with fixed attributes and human embodiment. Here, the meaning is given by
gods attributes (specific clothing, attitude and other attributes, etc.), unlike the Neolithic world
from our region, where it seems that gesture, rhythm has had great ritual significance (Drimba
1984, vol. 1, 45) in connection with the mask (concerning the mask, ethnographic studies have
reached diverse opinions in its significance). In an anthropology study we find a very interesting
view about the use of masks (Gyrgy 1983, 176): "... We could not rule this region without the
power of masks because we never had an armed force available". Moreover, the fundamental
functions of the mask are given by Claude Lvi-Strauss which says that the mask has the
function to send a message ... "valuable, it is transmitted from generation to generation" (Gulian
1983, 107). Even if there are cultural impulses to areas of Southeastern Europe through the
Balkan-Anatolian branch (classic examples are the Trtria tablets Vlassa 1963, 485-494;
Vlassa 1976, 28-44), the signs on the bottom of some vessels (Roska 1941 T. CXXXI-CXXXVI
Turda), as the so often demonstrated links (Berciu 1961, 510-526; Lazarovici 1971c, 38;
Lazarovici 1979, 72-75, 131-132, 137-139; Lszl 1970, 71; Vlassa 1976, 161-198; Marinescu-
Blcu 1977, 41-42; Dumitrescu et al. 1983, 88, 100), the religious ideas from the world of the
Neolithic contemporary with the discussed statuette presents shamanic influences, mask having
the primary role in the cult. This mask makes its appearance in the Neolithic Southeastern
Europe with the appearence of Vina culture (Idols with triangular mask first appear in the late
Starevo- Cris culture at the beginning of Vina A: Lazarovici 1980, 20, Fig. 4/7-10; Coma
1987, 33; during the chronological horizon of the Vina C "shock" they occur in Tisa I cultural
region, figures on the throne with triangular mask : X X X 1987 (Korek 1987, 53, Fig . 14;
Raczky 1987 82, Fig. 44; Hegeds, Makkay 1987, 87, Fig. 4). In Neolithic human mentality
apparently was intended to transform man into a god. Another specific stage in the Neolithic
ritual is libation (shedding). Usually encountered in the Orient not infrequently, fundamentally in
the vision of fertility and fecundity cult (libation (shedding) is found in different contexts in
ancient oriental civilizations: Tokarev 1976, 288-289; in Assyria: Daniel 1981, 167, 189), being
also performed in the Carpatho-Danubian region. The clearest evidence is the statuette in
question. This explains the emergence of askos type of vessels, rhyton as well as the vessel statue
from Liubcova. It is an undeniable fact that the statuette represents a character who is preparing
for a libation. We base this assumption on the special type of vessel (askos?) and on the fact that
the vessel in the right hand (which is usually "labor"). Libation is performed in conjunction with
the cult of fertility and fecundity, as suggested primarily by the fact that the statuette represents a
female (Marinescu-Blcu 1977a, 42; Tokarev 1976, 288; Daniel 1983, 160-161; Zamanovsky
1981, 204; Eliade 1981, vol. 1, 41).


70

On the content of the pot, one can only discuss hypotheses. The closest one to the truth
in my oppintion is that the vessel contained water. Water has a well determied role in the fertility
cult (Fraser 1980, vol. 1, 135-164), pots being the most important help in the process that we can
summon as the spell of bringing rain. Moreover, in the work cited above the author reaches
interesting conclusions by studying the habits related to fertility and fecundity of the peoples of
Europe (Fraser 1980, vol. 3, 244-245); for the very old horigins of the fertility and fecundity cult
in Europe, the author makes the following arguments regarding the rituals related to wheat: ...
There is no specific category of persons designated to perform ritual (no priests), anyone can
meet the need; no specifically choosen places for the ritual; they recognize spirits, not gods; rites
are magical rather than propitiatory. On page 264 it is observed that virgins are those fulfilling
the rituals related to harvest. According to some researchers the religious ideas of the Neolithic
man are connected to the mystical solidarity between man and vegetation, fertility of the earth
being united with female fecundity. Abundance of crops depends on women being considered
the main responsible for the mystery of creation, the religious mystery that govern the origin of
life, food and death (Eliade 1981, vol. 1, 41).
Some of the stages of this religious mistery are guessed, due to the archaeological
discoveries, old or new, indicating the existence of a very diversified cult, with the adequate
instruments. We name the sanctuaries, some of the most important ones being the ones at Para
(Lazarovici et al. 1985, 7-46) and Cscioarele (Dumitrescu 1965, 215-237; Dumitrescu 1968,
381-394; Dumitrescu 1970, 5-24, Pl. III; Dumitrescu 1986, 73-81 (stratigraphy); 69-72
(sanctuary); for discussions: Eliade 1981, vol. 1, 51). Secondly we need to take into
consideration the statues on the throne (X X X 1986, Fig. 2 (below, in the middle); X X X 1987,
53, Fig. 14; 82, Fig. 44; 87, Fig. 4; Dumitrescu et al. 1983, Fig. 12/8; Gimbutas 1987, Fig. 2/2;
21/3; Vasi 1936b, Sl. 509, 518, 521, 524, 529, 530, 533, 541, 543, 545, 548, 554, 555; between
2,3 and 6 m), the double ones (Dumitrescu 1974, Fig. 193, 249; Lazarovici 1979, 89; X X X
1986, Fig. 1; Dumitrescu et al. 1983, Fig. 12/7; 18/8; Lazarovici et al. 1985, for the double altar;
Vasi 1936b, 119, Sl. 549 a-c, a=6,1 m; 120, Sl. 552, a=2,8 m), the ones that appear in different
ritual positions (Dumitrescu 1968, Fig. 58; 88/3; Gimbutas 1987, Fig. 5/3; Vasi 1936b, 120, Sl.
550, a=4.1 m) and, last but not least, the Statuette from Liubcova. Their existence,
corroborated with the adequate interpretation allow us to interpret that in the Neolithic epoch (at
least starting with Middle Neolithic!), there are represented, through the statues, some evolution
stages of the deity life, to whom humans have given characteristic features of their own existence
(Marinescu-Blcu 1977, 16). The appearence of the Statuette from Liubcova suggest the
existence of a Pantheon connected to the fertility and fecundity cult. We cannot make, in this
stage of reserches, a clear separation between deities, but we notice the diversiffication of
atributes which is a clear result of the categorial diversification of deities. Maybe the statue from
Liubcova indicated a character of mistery connected to the cultic practice. The existence of the
mask shows the persistence of older forms of ritual. It seems that the spell was broken at the
moment when the mask was removed from the face. Even if some authors consider that it is not
appropriate to talk about a neolithic religion (Childe 1967, 72), we can at least talk about existent
religious ideas.
In conclusion, I consider that, through its analogies, the statuette is chronologically
connected to the Vina C-D horizon (at Vina, the best analogies are the discoveries from the
area with the dept of 4 m). At Liubcova, where our researches continued, there were discovered


71

in the levels I-II clear elements of the Vina C culture (in 1987, the Vina C layer that was
researched had a thickness of 80 cm). For now, the latter elements (Vina D), were noticed
during some surface researches (artifacts discovered during surface researches at Liubcova-
Ornia, can be chronologically framed in Vina D horizon; Vasi 1936b, 71, a=4.4 m; 73, Sl.
390 (?), a=0.43; 82, Sl. 429, a=4 m; 92, Sl. 462, a=2.9 m).



72



73

SPECIFICATIONS CONCIDERING THE CHRONOGLOGICAL AND CULTURAL
FRAMING OF THE STATUETTE FROM LIUBCOVA I
7

The Neolithic site from Ornia point, located at the border of Liubcova locality
(Berzasca village, Cara-Severin county), is surprized us with the random discovery of the
statuette from Liubcova (Luca, Dragomir 1987; Luca, Dragomir 1989). We recall here the fact
that this statuette represents a feminine goddess, dressed, in our opinion, with two pieces dress
(a shirt that covers the upper body and skirts (?) in the bottom). We insist once again on the
adornments two bracelets that gather shirt at the elbow, one on the right of each and two
pendants-catcher (clip, fibula) that fixes the wedge of the shirt in front and in the back.
Exceptionally important are though the essential attributes, as we consider the libation pot has
a special shape askos from her right hand and the mask kept in the left hand, brought back to
the shoulder. We shall not insist in the following lines on this piece because we have already
done it in so many occasions, but we shall refer ourselves to some random discoveries, from fine
arts category, made after the publishing of this masterpiece of Neolithic art. Also, we shall try to
emphasise the importance of this discoveries in order to define the late Vina phenomenon in
southern Banat.
Necessary, once the discovery of The Statuette of Liubcova I was done, was were the
field verification in order to make clear the discovery conditions of this statuette and for an
eventual more precise framing of its place inside the stratigraphy already known from the older
researches (Coma 1969a, 14-15) but also the more recent (Luca 1985), from Ornia point. The
survey made there during the spring of 1988, along with Ion Dragomir, made us affirm, once
again, that the statuette was inside the debris, strongly fired, of a surface dwelling with thick
walls and downtrodden inside (at least the stratigraphic part that could be noticed due Danubes
erosions). Inside the feature we have discovered strongly deformed pots during the fire that
destroyed the dwelling. From here are also some pieces that are to be described in the following
lines, but first we have to mention that the discovery was made during a survey by Ion Dragomir,
the director of Elementary School from Gornea. As he affirmed they were located also inside the
debris of the dwelling where the statuette was found. We want to thank him once again for his
help.
1. Anthropomorphic statuette, stylized and perforated vertically-transversal (Fig.
25/2). The clay used for making the piece is well kneaded, the temper used is sand. The general
aspect of the piece is a usual one. The statuette has a black-brown colour and presents a good
burning. The left arm as the front side was broken in ancient period. Typologically, it represents
a sub variant of IIa type (Lazarovici 1979, 96, Fig. 8; Pl. XXI A/5).

7
Luca 1989(1990) (RO); Luca 1991a (D).


74

2. Zoomorphic statuette, stylized. Fragmented (Fig. 25/3). From ancient period, one of
the arms, which end with a zoomorphic head, was broken. The piece is perforated vertically-
transversal. The paste is fine, well kneaded. The colour of the piece presents different shades;
while the front side is black, the back one is brown. We notice, at least, the very well burning.
The inferior part represents a small groove obtained apparently by friction (we think that it was
warned hanged, tide with a rope. Typologically, the statuette represents a sub variant of IIIb
1
type (Lazarovici 1979, 97, Fig. 8).
3. Zoomorphic statuette. Fragmented (Fig. 25/4). The front legs and head were broken
from ancient period. The ribs (?) are made through some incisions on the body. The back side
presents a round perforation, small sized, whos meaning we do not understand; we mention that
there is an accentuated groove in this area. The front part has, on what it was preserved, a breast
(?). Could it be a mixt human-animal representation? The paste from which it was made the
piece was kneaded and burned, using as sand as temper. The colour of the statuette is brown
(Lazarovici 1979, Type C, 101. In this case we are talking about an ox (bull). Other examples
were discovered at Chioda Veche: Radu 1979, 75, Fig. III/13-16).
In the end, we specify the dimensions of the pieces: the first has 7 cm height and 6.5 cm
length and the second one has 6.7 x 3.2 cm and the third one 8.8 x 5 cm.
From the beginning we have to mention that we consider that the dwelling where these
discoveries were made is not a sanctuary. We consider that there pertinent the observations
made by professor Vl. Dumitrescu concerning the sanctuary from Cscioarele (Dumitrescu 1974,
178), considering them, as other authors have done, valid in connection with this type of
construction or sacred character, even though this study reflects the characters present in Geto-
Dacian world (Srbu 1987, 113, 119), we believe that this observations are being corroborated
with the one quoted from Cscioarele and the ones from Para (Lazarovici et al. 1985, 7-73) are
valid for the entre old history. They are referred to the total lack of small fine arts inside these
sacred constructions). Maybe we are in front of a discovery that represents a magic kit (Srbu
1987, 111, 117).
We want to draw the attention through these lines not so much on the interpretation of
this type of association of Neolithic statuettes from the discussed archaeological feature, anyway
this is a very hard to prove fact, but on the chronological and cultural framing. In a recent article
(Luca 1990) we have pointed out, based on the stratigraphic observations made during the
excavations from 1985 and 1987, levels I and II. We notice that level II contains elements that
can be dated in B
2
Phase of Vina culture, but the superior side has, in plastic art, elements
framed in B
2
/C Phase. Unfortunately, the differentiation cold be made in more difficult
conditions between the two sublevels (IIb the superior one and IIa the one), because the
researched area is more characterized by works for finding clay for pottery (pits that have been
transformed in domestic only one case; house L
7
/1985). It seems that, at least for this level (II)


75

we are in a periphery area of the settlement, this being spread more in the zone that is now
flooded by Danube River. Level I, on the other hand, is represented by several features that start
from the soil ransacked by agricultural works (we are talking about: L
1
/1987; houses L
4
, L
8
and
L
10
/1985). These features that until this moment have been studied in detail and the pottery from
houses L
4
and L
10
/1985 can be framed, without being afraid of mistake, in a very early stage C
1

of Vina culture. Due to the relations exposed until now and the observation made on field
concerning the dwelling from the area where the above described pieces were found, also the
Statuette from Liubcova I (the dwelling belongs to IIb level, with a small probability to level I,
because it appeared in a slope, washed by the Danube, at approximately 0.45 m depth, the
dwelling being a surface one!), we incline to date this feature in a Vina C chronologic horizon,
very early (connected with horizon B
2
/C of Vina culture, Lazarovici 1979, 106, that: B
2
/C
more in chronological horizon sense then in order to define the cultural aspect, emphasising
through this, many times, retardation phenomena of some smaller communities; in our station,
even at Vina C chronological level, especially the common pottery but also the semifine one
can be found in this horizon; could it be reciprocal cultural exchanges?). As it is affirmed in the
paper above quoted: Vina-Plonik influences are more powerful in the fine arts, in south...
(regarding B
2
/C horizon of Vina culture: Lazarovici 1979, 110; Coma 1969a, 37-41, Fig. 22-23
(for fine arts)), a point of view which we subscribe to, being the composition of the
ornamentation of the Statuette of Liubcova I. Even though the retardation phenomenon (B
2
/C)
is not so emphasized in the rest of Banat area, his existence is proved, at least in he given vision,
by the study of the archaeological materials resulted after our diggings, especially in the pottery
aspect. We believe that some materials can be framed in B
2
/C Phase (especially the usual one,
the one with a general aspect) is normal in the stations were it wasnt found a hiatus between the
horizons B
2
and C
1
(as it was the case for Vina site: Lazarovici 1975a, 17). Even though in the
station from Liubcova this evolution (from B
2
to C) doesnt provide totally materials of B
2
/C
type to which we are used from the settlements in Banat centre (as are the stations form Zorlenu
Mare, Ruginosu, Hojmodia, Slbgel where the retardation phenomenon made them to be
framed in a chronological level, but not a cultural one, Vina C), the materials from level I
(Vina C) proves an influence in that direction.
These lines were written for a much better understanding of the cultural and
chronological context where one of the masterpieces of Romanian Neolithic Statuette of
Liubcova I appeared.


76



77

DATA CONCERNING THE STATUETTE FROM LIUBCOVA II
8

Danube Gorge is a wonderful land for habitation, the riches of an outstanding natural
area combines with a landscape of unique grandeur, specific only to places chosen by God.
Archaeological findings show that the Danube Gorge did not favor the isolation of human
communities here, quite the contrary, archaeological sites reveals a vibrant economic life in all
historical periods. We do not insist on the archaeological finds in the area, even if it would be the
case to do it one more time. We refer as so many other times before (Luca 1985; Luca 1987;
Luca 1988-1991; Luca 1990; Luca 1989(1990); Luca 1990-1993; Luca 1991a; Luca 1991b; Luca
1991c; Luca 1998; Luca, El Susi 1989; Luca, Dragomir 1987; Luca, Dragomir 1989) to the
discoveries made in the archaeological site of Liubcova-Ornia.
The settlement from Liubcova-Ornia is known in the archaeological literature since
1944 (Kutzin 1944, n
o
92; Tudor et al. 1965, 395-406; Coma 1966; Coma 1969a; Coma
1969b; Coma 1971; Coma 1979; Lazarovici 1979, repertorium n
o
49; Luca 1985a; Luca 1998).
The first scientific excavations and of course systematical ones were undertaken by
Eugen Comsa in the 60
s
of XX century.
Systematic excavations were resumed and continued since 1985 by the author of these
lines (sections SI/1985; SIb/1987; SIc/1990). Together with the research by excavation was
conducted a systematic program of surface research, considering the fact that much of the site is
flooded periodically by the Danube and after flooding there remain to the surface archaeological
complexes with a very rich archaeological material. Also, agricultural works affect the superior
Vina C-D levels.
During one of these surface researches conducted in 1987, the school director of
Gornea, Ion Dragomir together with Ctlin Grigorescu, soldier, found an anthropomorphic
piece called since then the "Statuette from Liubcova I" (Luca, Dragomir 1987; Luca, Dragomir
1989). This was a proof without a doubt of the critical importance of the Late Vina
community, in this region.
Another surface research was conducted in the spring of 1988, together with Ion
Dragomir. This field research allowed us to say that the statue was found in the debris,
powerfully fired, of a surface dwelling with thick walls, downtrodden inside (it is at least the
case of the portion of observable stratigraphic free by the action of erosion of the Danube). In the
archeological feature we found strongly deformed vessels during the fire that destroyed the
dwelling. From here come some molded plastic pieces published by us later occasion (Luca
1989(1990); Luca 1991a). Considering Ion Dragomirs statements the statues were all found in
the debris of the house where it was discovered the Statuette from Liubcova I.

8
Luca 2001c (D).


78

Of course these field researches continued. There have been attempts of underwater
archeology in the 90s Their results did not enjoyed spectacular results (studies were conducted
by a team of archaeologists from the Banat Museum and some Italian archaeologists; of course,
would have been preferable that the specialist who, for some years, has organized archaeological
researches to be notified and invited to the research; that team of researchers preferred the
anonymity of the research, which remains at present days as anonymous and obscure as they
were that time).
Locals continued with perseverance the field research of this site. The priest Vasa
Lupulovici, a native of Liubcova, has found out in 2001 about the discovery of a clay statuette
(Fig. 26; Photo 3-4) across the field with artifacts from Ornia and purchase it. Under unwritten
rules that work better than written ones, the statuette in question was published in 2002 in Sibiu,
so that, after publication, the statuette remained in the private collection of the priest. I appreciate
the gesture and I assure Vasa Lupulovici that he has chosen the best option in terms of moral and
scientific terms.
The composition of the statuette
The statuette is made of a well kneaded clay, but porous in which can be distinguished
small gravel pieces (broken pieces of limestone? pieces of calcareous concretions?). Its color is
reddish-brown. Due to the fact that it was periodically washed by the Danube, we cannot tell
whether the slip polished or not. It can be said, after a careful analysis of the structure of the
outer surface of the statuette that the initial slip could have been be brown. Burning is very good,
good consistency of tiles of good facture. The lack almost complete of the slip made the artifact
surface rough.
The shape of the statuette
The statuette is steatopygious, with the soles widened for better stability upright on the
pedestal. The soles are molded separately, suggesting in our opinion the fact that the
representation din not wore shoes. Our claim can be contested, because feet were broken since
ancient times.
The arms are broken since ancient times in the area of the elbow. In our view, the
forearms or at least one of them were directed to the hips to keep the bowl shaped on the
belly of the statuette (the rhythmic of the hand positions depends on the portion of the ritual
process surprised by the Neolithic; in our case, the position is derived from the statues standing,
hands to the hips, characteristic to late Vina world: Vasi 1936c , Sl . 541, a=4.3 m, Sl . 296,
a=4.38 m Lady of Vina seems the most representative example; we must not the flagrant
similarity of this statuette's attitude with the "Statuette from Liubcova I " as a possible head
series).
Plastic making is very good, clearly distinguishing details of clothing and the object of
worship (libation vessel). We note that the clothing of the piece is presented with clear details
reproduced only on the back half of the statuette. It is hard to imagine how the clothing was
arranged in the front side. Modeling suggests that the front of the representation was fairly free
of clothing. Both feet are well distinguished, as is also the case of the knees, pubic triangle,
breasts and the pot. The groove directed to the hip makes the distinction between the legs and the


79

appearance of fine bits of incisions on the sides of the piece, extended to the front of it, suggests
that the clothing continues, however, even in the pubic area and to the plastic representation
shoulders.
Unfortunately, the head of the statuette is missing, broken since ancient times. I do not
believe that the statuette had a mobile head because the neck was broken since ancient times and
there is no sign of perforation to fix the head. Moreover, this type of statuette has a quite
disproportionate head with triangular or pentagonal mask and a bun (?) modeled disproportionate
in relation to the body of the piece. Maybe this is also the reason for discovering very few whole
pieces. Of course, systematic separation of the head may be the result of a ritual gesture. Even if
we suspect how head looks like for this kind of representation, we do not allow any
reconstruction of it, given the uniqueness of the piece.
We should mention that the statuette's arms appear to have been drilled transversely, as
its proven by a trace of hole that can be distinguished by studying the right elbow of the statuette,
which is characteristic for quite a while in the Vina culture, especially in the later stages of
culture (for Banat see: Lazarovici 1979, 91, 94-101, Category B, Fig. 8; Luca 1990: the statues
of the later levels of the Liubcova settlements).
The height of the statuette is 11.3 cm, maximum width (in the elbow area) is 8.2 cm and
the width of the feet is 3.8 cm.
The clothing
The clothing of the statuette is made of a large piece of cloth (toga?) arranged to the
middle with a belt. All these details we are suggested by incisions that show the folding manner
and the way of catching the cloth. It is hard to define the otherwise nondescript nature of this
piece of clothing. We believe that the incisions show how the strips of material which compose
the cloth were sewed, suggesting the usage of a loom, considering that the strips are attached by
stitching together (as in the case of "Statuette of Liubcova I and II").
Clothing of the statuette is composed also by a belt marked around the piece by three
deep incisions. Incisions rendering the seams or other pieces of clothing are inlaid with white
(have been preserved only traces of encrustation), in a manner characteristic of the Vina culture.
Essential attributes of the Statuette of Liubcova II
The statue represents a female. We base this assumption on the evident steatopygia of
the statuette and the plastic rendition of the breasts. The genitals are not rendered, but suggested
firmly as being feminine.
In the area of the right womb, the "Statuette of Liubcova II" has a pot, supported by it,
in all probability a container for libations. The vessel form is not as curious as it seemed when I
described the pot on the "Statuette from Liubcova I". It is of askos type, as in the case of the first
statuettes. As is suggested by the only preserved part of the piece, the lady that we discuss about
was carrying the pot in her right hand, placed in front of the body. The left hand was taken to the
shoulder, like in the case of the "Statuette from Liubcova I". Is it possible that the "Statuette from
Liubcova II" represents another moment of the ritual of masking-unmasking and libation?


80

It seems like during the ritual, the statuette was standing on the pedestal, perhaps in a
religious cultic complex as "magic kit".
Analogies for the statuette
Given the fact that there are no perfect analogies that could render the essential
attributes of the statuette presented above, we will make reference to the analogies that could
have been established between parts of the statuette and other items that were discovered din the
Vina area or other contemporary or latter archaeological cultures. Resemblances and analogies
are determined for:
- the shape of the statuette (Vasi 1928, Sl. XXXIII/145, a=4,6 m; Vasi 1936a, 301, Pl.
LXXX, a=6,2 m; Vasi 1936b, 541, Sl. 296, a=4,1 m; 119, a=3,4 m, pl. XXX; Srejovi 1964-
1965, T. 22/1; Tasi 1973, Fig. II/b, T. XV (right, down), T. LIII; Dumitrescu 1980, Pl. LVII; X
X X 1986, Fig. 1, 2 (middle down on the throne));
- the pot (this type of vessels are often found in the area of the Gumelnia and Slcua
cultures: Berciu 1961, Fig. 12/7; 13/3, 15; 109/3; Dumitrescu 1979, 84, Fig. 64; Dumitrescu et
al. 1983, Fig. 11/6; X X X 1982, 128, Fig. 145 a-d; 174)
- incrustation (starting with the earliest Vina levels from Liubcova-Ornia (Vina A
1
)
the incised ceramics are incrusted with white); no chemical analyses on the over-incrustation
were made).
Great part of the statuettes from Rast, for example, shows the great importance of
rendering the clothing and the attitude closet o the ones of the statuettes from Liubcova
(Dumitrescu 1980; Dumitrescu 1987-1988).
Attempt to interpret the Statuette from Liubcova II
The statuette, as a whole, suggests an evolution in the concept of worship and fertility
and fecundity cult in Neolithic, through the emergence of suitable instruments regarding the
ritual. The essential attributes detached it from the large group of idols of this type, as is the case
of the so called Statuette from Liubcova I and II. That the ritual is diversified, is demonstrated
by the position of the young girl, waiting, making us wait for other necessary steps of the ritual.
Same thing is demonstrated by the power of versatile using of this piece in the ritual (it can stand
on a pedestal or can be worn on special occasions).
The appearance of the essential attribute of the statuette, the libation vessel, gives us a
realistic image of the individual cultic inventory during worship, in some occasions of special
character, connected to the fertility and fecundity cult. A specific stage in the ritual cult of
Neolithic is libation. So it can be explained the appearance of askos type of vessels on the statues
from Liubcova. The character that is represented on the Statuette from Liubcova II presents
another stage of the ritual process, after spill, in my opinion. The relation with the cult of fertility
and fecundity is suggested by the fact that the statuette is a female (Marinescu-Blcu 1977, 42;
statuettes from the Orient which define libation scenes are interpreted in different manners: Istar
goddess Tokarev 1976, 288; goddess that brings water Daniel 1983, 160-161; goddess with a
urn with sacrifices Zamanovsky 1981, 204; Eliade 1981, 41).


81

So as we once affirmed, on the content of the vessel there can only be hypotheses, the
closest one to the reality being in my opinion that the vessel contained water. Water has a very
important role in the fertility cult (Fraser 1980, vol. 1, 135-164), pots being the most important
necessary support in the spell of bringing rain. Moreover, in the work cited above the author
reaches interesting conclusions by studying the habits related to fertility and fecundity peoples of
Europe (Fraser, 1980, vol. 3, 244-245); for the very old origins of the fertility and fecundity cult
in Europe, the author makes the following arguments regarding the rituals related to wheat: ...
There is no specific category of persons designated to perform ritual (no priests), anyone can
meet the need; no specifically chosen places for the ritual; they recognize spirits, not gods; rites
are magical rather than propitiatory. Maybe the Statuette from Liubcova II, as well as the
Statuette from Liubcova I indicates a character of mysteries of practicing the religion. We
believe that this piece carried a mask, but our claim finds no confirmation in reality. In this case
it is very clear that we face a magic kit (Srbu 1987, 111, 117).
In conclusion, we believe that through its analogies, the statuette is linked to the
chronological and cultural horizon of Vina C-D (in the archaeological site from Vina, findings
which are the best analogies are found around 4 m depth), belonging to the early Eneolithic and
partially to the Middle one. At Liubcova they were discovered in levels I- II, with clear Vina C
elements (in dwelling 4 from 1985 there are the most typical elements; in 1987, Vina C
deposition layer had a quite high thickness (80 cm)). For now, the later elements (Vina D) were
captured only during field researches (there are a few pieces in process from the field researches,
framed in the horizon of Vina D, with analogies at: Vasi 1936b, 71, a=4,4 m; 73, Sl. 390 (?),
a=0,43 m; 82, Sl. 429, a=4 m; 92, Sl. 462, a=2,9 m).


82

Fig. 26. Liubcova-Ornia. The Statuette from Liubcova II.


83

1 2

3 4
Photo 3. The Statuette from Liubcova II. 1=from the front; 2=lateral-left; 3=from the back;
4=lateral right.


84

Photo 4. The Statuette from Liubcova II. Details of the pot.

Photo 5. The Statuette from Liubcova I.


85

THE RITUAL FEATURE FROM ORTIE-DEALUL PEMILOR, X
2
POINT

(HUNEDOARA COUNTY)
9

The surveys conducted in the spring of 1992 led to the identification of a complex of
dwelling of no less than 500/500 m, in the eastern area of the city of Ortie, on a terrace rising
above the flood plain called by the locals Dealul Pemilor (Luca, Cosma 1993, 85-86).
In the summer of 1992 systematic research in the archaeological X
2
point, began which
is located next to the gas stations on the national road Ortie-Vinu de Jos.
A large trench over 72 m in length was investigated with the purpose of knowing the
stratigraphy of the site in the campaigns of 1992 and 1993; in addition, investigating the
archaeological features that were discovered, other squares and trenches were opened (sections
that make up the surface that was excavated are S
1-2
/1992 of 20/1.5 m; S
3
/1993 of 12/1.5 m and
S
4
/1993 of 20/1.5 m; other trenches that were performed are: S
a-b
/1993 of 20/2 m each and
squares C
1
/1993 of 8/4 m. We must mention that witnesses and boxes well preserved in these
sections have a wideness of 0 50 m. More about this research can be found at: Luca 1997, 22-35;
Luca, Pinter 2001, 41-54).
The findings from this point belong to two different periods: first we have a cemetery
that can be classified chronologically at the beginning of sec. XI AD, of which nine graves were
investigated (Pinter, Luca 1995; Pinter, Luca 1998).
The Neolithic settlement also located here has two levels and belongs to Turda culture.
Level II (new) has surface dwellings with clay floor (platform). Four such complexes were
excavated partially or totally. From the old level (I) was fully unveiled a pit (B
1
/1992-1993)
and a V-shaped ditch, researched on a length of about 7 m. This appears to be the foundation
ditch of the defending fence that protected the settlement (the pit and the ditch were discovered
in section S
2
/1992 and square C
1
/1993).
During the research of L
3
/1993 surface dwelling (located partly over B
1
/1992-1993) we
have discovered a complex of cult related to the last Neolithic habitation from Ortie-Dealul
Pemilor, X
2
point, consisting of two statuettes and cult vessel protome, all anthropomorphic.
1. Statuette (Fig. 27) of fine clay, well chosen; good combustion; color ranges from
reddish and gray color showing the effect usually called "burning spots", due to fire that
devastated the dwelling and resulted in the secondary combustion of the statue. The height 11.9
cm, maximum width 6.1 cm.
The character represented is a male. We support this assertion on the absence of
feminine attributes (breasts, steatopygia) and on the only pieces of clothing that are marked on
the statuette: a girdle (played by three deep incisions around the hips), a guard sex (figured by six
deep incisions) linked to the waist with a cord (played through an incision) (such a device, which
can sometimes be skirts are often seen on the plastic representations of the Vina culture world:

9
Luca 1994 (RO); Luca 1995 (D); Luca 1997, 64-67 (RO); Luca, Pinter 2001, 76-79 (D).


86

Tasi 1973, T. V/17-18; VII/22; VIII/24; XV/49; XVII/60; XXIII/77; XXXII/122; XXXVII/140;
Luca 1990, 20, Position XXXIII, Fig. 3/3 a-c (in note 43 analogies in Vina culture after Vasi
1928, 43; Vasi 1936b). We must note that the guard sex specific to male characters is rarely
depicted: Comsa 1987, 117-118) and three necklaces of different lengths (deep incisions,
intersected at intervals by short cuts). They are only visible on the chest, to the back beneath the
hair (Silvia Marinescu-Blcu and regretted professor Florin Medele, during some private
discussion, expressed the belief that the last row of incisions which represent the backside hair,
would actually be the big necklace; I express my gratitude for their suggestion). The anatomical
details are very realistic. At the right foot, which still has the foot well preserved were modeled
five fingers; buttocks are well figured; hands are stuck in the incised belt; there are also given
details of the face: eyes, mouth, nose, which is of large dimensions and is made by squeezing the
soft paste between the fingers; hair is played by short cuts in zigzag (the fashion of rendering
hair this way is found from Starevo-Cri culture: Donja Branjevina Karmanski 1989a, T. I/1-
3; Karmanski 1989b, T. III/1-3,5; V/1; Karmanski 1989c; Karmanski 1989, Fig. 4-5; 1988, T.
I/8; Koroec, Koroec 1973, T. XI/11; Giri 1974, T. III/1; Kutzin 1944, Pl. XLIII/8; XLIV/8,
10). An attempt of synthesis on the subject: Coma 1986, 51-60; it appears that this way of
representation is typical to Transylvanian Neolithic, as showed in the findings of Trtria-
Groapa ritual (Ritual Pit): Vlassa 1976, 40 , Fig. 6/1-2; these materials are recently discussed
again: Lazarovici et al. 1991b, Catalog 91-92, 96. Between the old Turda findings there are
also such materials: Roska 1928, Fig. 21/4-5, 24/3; Roska 1941, T. CXXXIX/19-21, CXL/1.
Moreover, this way of representing the hair reaches all the way to Transdanubia, under the
vincian influence: Krolyi 1982, cover). One last detail would be the presence of a round hole
(diameter and depth of 0.5 cm), located on the back side of the statuttee, in the area of the left
kidney. Its meaning is not known to us.
The character is rendered on the move with the feet and the shoulder oriented right and
forward (Silvia Marinescu-Blcu advanced the idea that this piece might lean on a stool. We
thank her for the idea. We believe that the current imbalance of the statue is given by the lack of
the left foot).
2. Statuette (Fig. 28/2) fragmentary (head) modeled in well-chosen clay, tempered with
sand, well burnt, yellow to reddish or gray color in small portions because of secondary
combustion. Height 3.9 cm, width 2.9 cm.
The face of the statuette is the modeled as in the case of statuette no. 1, the nose is
obtained by squeezing the soft clay between the fingers, and the hair is marked through incisions
(thinner than in the case of the previously presented statuette). It also has necklaces (necklaces of
this type are found at Turda: Roska 1941, T. CXL/12. Moreover, the plate T. CXL/14 seems to
be the best analogy for the guard sex).
We believe that this statuette could represent a female statuette, the pair of the first one,
as the preserved part the head has smaller and more finely rendered facial features. This idea
is for the moment a supposition.
We finally note that the face of the statuettes is not covered by a mask, as it is the case
in many discoveries belonging to the Neolithic Age (for masks typology of the Vina culture see:
Tasi 1973, Fig. II; Coma 1991, 125-131; Lazarovici 1979, Fig. 7/1-14; 8/Type (a-c), II (a, d),


87

VI (a); on the masking process in Neolithic see: Luca, Dragomir 1987, 40 (n
o
23); Luca,
Dragomir 1989).
3. Pot protome (Fig. 28/1), anthropomorphic, of fine paste, tempered with sand and silt,
making it powdery to touch, aspect given by the fall of the slip of the artifact. Burning is very
good (obviously secondary), red color. Height 7.5 cm; width of 4.5 cm. The protome has her hair
clip-on. Styling is represented by three "small elevations", two to the temples and one to the
crown. On the sides of the neck a few incisions are probably hair tails, as a continuation of the
hairstyle. Around the "elevation" from the crown, the hair is represented radial, with deep
incisions, wide (excision?). The poor condition of the artifact makes us not sure that the
description fully respects the initial state of the object (the closest analogy to the rendering mode
of the head seems to be located at: Roska 1928, Fig. 21/2).
The cultic feature from Ortie-Dealul Pemilor, X
2
point is framed in the context of
the internal chronology of the settlement to the second Phase (last one) of the Neolithic
habitation. The ceramic materials indicate a late Phase of the Turda culture (the level where the
statuettes were found is newer than the two Turda layers discovered during the diggings in the
Turda settlement, that took place between 1992-1993), contemporary to the C Phase of the
Vina culture (habitation from Ortie is framed to the middle period of this Phase, when there
are to be found elements that will be characteristic to the latter culture that is found in this region
Petreti culture).
The complex was located in a central position in dwelling L
3
/1993, all the artifact being
grouped. Maybe the rest of artifact 2 is still to be found in the profile between S
2
/1992 and
C
1
/1993. This supposition was about to be verified in the archaeological campaign of 1994 (the
surface that was not dogged of the dwelling is maximum 20% of its total surface). In the same
dwelling were discovered the weights of a loom, fragments of axes, perforated and unperforated.
The ceramic material is particularly varied. Part of the dwelling debris was observed in a pit of
the anterior layer pit B
1
/1992-1993.
It is my opinion that this cultic archaeological feature represents as stated before a
magic kit (Luca 1989(1990), 53). This group of cultic artifacts was not evacuated by the
inhabitants of the dwelling due to the violent destruction of the settlement (all the archaeological
materials that come from the surface dwellings of the superior level were secondary burned; this
observation makes me think that the settlement belonging to this level disappeared violently). In
case the statuettes represent a pair, as it is my assumption, this discovery is analogue to the one at
Cernavod (a pair of the opposite sexes: Berciu 1966, 8-13, Fig. 1-3) or in conformity to the
spiritual motivation as Para (monumental statue that indicates the same antinomies male-
female: Lazarovici et al. 1985, 22-23, Fig. 8)
In which concerns the artifacts, we notice that the best analogies are to be found in the
settlement from Turda, Trtria or other Vina culture settlements (Lazarovici 1979, Fig. 7-8).
The schematic of the faces indicate a late horizon of the Vina culture (chronological horizon
Vina C-D, in general). I consider that these statuettes do not possess a mask, having good
connections by the rendering and the attitude with Precucuteni (Marinescu-Blcu 1974, Fig.
83/2 (Precucuteni I)) and Gumelnia cultures (especially the rendering of the face). Moreover,
the Precucuteni I-II imports discovered lately in certain stratigraphic contexts at Mintia


88

(Draovean, Luca 1990, 14, 16, Fig. 3/4) and Turda (at Turda-Lunc, in pit B
2
/1993 first
level-old and surface S
1
/1992 second level-intermediate, were discovered two ceramic
fragments that can be attributed to Precucuteni I Phase). Ceramic materials prove a simultanity
between the contemporary levels of Vina culture and Precucuteni archaeological materials cited
above (this observation is also stated by the discoveries from Pianu de Jos-Podei: Paul 1969, 42,
47-48, 50, Pl. III). The level that was archaeologically excavated at Dealul Pemilor
(contemporary to the cultic feature), represent, so far, the latest manifestation of Turda type
known in the south-west of Transylvania (the lack of imports, at Ortie, makes the parallel to
the settlement from Pianu de Jos hard to prove; it is, anyway, framable in C Phase of the Vina
culture).

Fig. 27. Ortie-Dealul Pemilor, X
2
point.

Fig. 28. Ortie-Dealul Pemilor, X
2
point.


89

TURDA CULTURE FINE ARTS FROM THE NEW ARCHEOLGIAL EXCAVATIONS
FROM TURDA-LUNC (HUNEDOARA COUNTY)
10

The well-known settlement from Turda, point Lunc, situated on the territory of
todays Hunedoara County, gave during time an impressive quantity of archeological materials,
in many occasions belonging to the category called by us fine arts (and some anthropomorphic
and zoomorphic statuettes, protomes, bracelets, amulets, stylized pieces etc.). A part of this
pieces were published in papers that are quoted in many occasions, another part was recently
published. The last category, resulted after the systematic researches made during 1992-1995
will be described in the following paragraphs.
1. Turda culture fine arts (Roska 1928, Fig. 1/17, 19; 4-5; 21-26; 27/7; 29/13; Roska
1941, T. XCVII-XCIX;C/2; CI-CIV; CXII/16-19; CXIV/6-7; CXVI/1-7; CXX/11-21;
CXXIX/20-24; CXXXVII-CXLIV; Vlassa 1966; Coma 1995, Fig. 28-30; 71; 95/2-3; 104/1-2;
110; Lazr 1974-1975) is very numerous, but without having fully stratification, most of them
being part of Zsfia von Torma collection. It contains different types of anthropomorphic
statuettes, from which are to be mentioned the ones with mobile head (these having sketched the
arms and/or legs) and cylindrical statuettes (ornamented with incisions, having the face sketched
and covered with a triangular mask). The incisions restore for some statuettes the hairstyle and /
or some clothing details. Seldom, the breast are being modelled, sometimes the buttocks.
Formally, Turda culture fine arts are similar to the Vina ones (for examples, see the following
papers: Vasi 1936b; Tasi 1973; Blnescu 1979; Blnescu 1982; Blnescu, Lazarovici 1979;
Coma 1969; Coma 1995; Coma, Ru 1969; Luca 1990; Luca 1998).
To the fine arts category also belong the zoomorphic statuettes, the stylized legs,
anthropomorphic in relief representations on the pots walls, anthropomorphic and zoomorphic
representations on the lids and on smokers, small altars with three or four legs, the incised,
impressed or zoomorphic protome ornaments, tables/amulets, incised or not.
1.1. Anthropomorphic fine arts
From the discoveries belonging to this category made at Turda-Lunc between 1992-
1995 belonging to Turda culture levels can be distinguished the pieces from Fig. 29-35 (Luca
2001, Fig. 4/1-3; 5/1, 8,12; 7/6-8, 10-11, 14-15; 8/3; 10/3). This fact shows the great variety of
fine arts, specific to Turda culture.
Anthropomorphic statuettes (Luca 2001, 80-82). First of all, it should be noticed, the
existence of this fine arts category (Luca 2001, Fig. 4/3; 7/6-8, 10-11, 14). The clay statuetted are
fragmented, a fact that can be noticed in all Vina or Turda sites. The exception to this rule
refers to the statuettes having special artistic attributes.
The piece from Fig. 32/6a-c (Luca 2001, Fig. 7/6a-c

) represents a feminine character,
with the breasts modelled and the arms raised, displayed parallel with the stand on which it was
posted. The legs are suggested by sketching a groove at the inferior half of the piece. The paste

10
Luca 2001, 80-92 (book chapter) (RO).


90

from which it was made the statuette is semifine, brownish coloured. The head is missing from
ancient period, being broken probably at the moment when the dwelling were it was
discovered in level II was destroyed superior, dwelling L
4
/1995.
Another piece discovered on this occasion is the one from Fig. 32/7a-b (Luca 2001, Fig.
7/7a-b). It was preserved only half of the superior side, the head and a part from the bust. The
face is covered with a triangular mask of which main atributes are plasticaly represented: the
eyes, the nose and the mouth. The statuettes look is orientated obliquely upwards. Another
plastic element suggested is by the Neolithic artist are the breasts from which one was lost
during time and the left arm, broken from the base. The statuette was secondary burned and it
has brown-reddish colour. The paste facture is semifine. The statuette fragment was discovered
in level II superior, dwelling L
4
/1995.
The fragmented piece from Fig. 32/8a-b (Luca 2001, Fig. 7/8a-b

) represents the nape of
a statuette from the same typological facture ad the one above described. The difference consists
on the fact that the paste facture is fine, the colour of the piece is chocolate-like and the hair of
the representation is represented by incisions. This was discovered in level II superior,
dwelling L
4
/1995.
The stand which represents the remains of a statuette, graphically presented at Fig.
32/14a-c (Luca 2001, Fig. 7/14a-c

), is ornamented with incisions in such manner that reminds of
the symbolism of the plastic art from Rast or the late Vina culture levels from Banat. The paste
is semifine and the colour of the piece is transferred to brick-like due to the secondary burning.
The inferior part of the stand is widened to provide greater stability to the statuette. The piece
was discovered in level II inferior hut B
3
/1994.
Another stand / inferior part of statuette is the one from Fig. 32/10a-b (Luca 2001, Fig.
7/10a-b). Un-ornamented, this has a brown colour, being produced of semifine paste. The rest of
the stand represents, actually, a foot, separated from the other one in the line of the groove that
suggests the distinction between the two legs. This fragment shows also the fact that the inferior
members were separately modelled and pasted in order to make the inferior part / the statues
stand. The piece was discovered in level II inferior hut B
3
/1994.
The anthropomorphic pots. The foot of one of these pots has a grey colour and it was
discovered in hut B
4
/1995, which belongs to level II inferior. This one certainly belonged to
pot with anthropomorphic characteristics or, maybe, to a statuette (Luca 2001, Fig. 27/3).
The foot from Fig. 29/3 (Luca 2001, Fig. 4/3) has a black colour and a very fine facture.
The Neolithic artist represented with precision the toes, these being part in our opinion of a
pot with anthropomorphic characteristics, not being a separate representation of an inferior
member. The fragment was discovered in level II superior, dwelling L
1
/1992.
1.2. Zoomorphic fine arts
The main categories of zoomorphic fine arts discovered so far are the zoomorphic
statuettes (Fig. 32/15a-c; Luca 2001, Fig. 7/15a-c) and zoomorphic pots (Luca 2001, Fig. 5/8,
12).


91

Zoomorphic statuettes
The statuette from Fig. 31/15a-c is broken in half. It was discovered in the same
dwelling with most of the anthropomorphic statuettes described in the above paragraphs. The
piece has a brow-brick-like colour, being preserved only the front side until the point where the
legs start and where the neck starts. On the right calf of the leg of the animal are represented a
swelling and two incisions. The fragment was discovered in hut B
3
/1994, which is represented by
the architecture of level II inferior.
At Fig. 29/2 (Luca 2001, Fig. 4/2) there are graphically represented six projections of a
zoomorphic statuette, brick-like coloured, fine and well burned. The head of this piece and a part
of the legs disappeared from ancient period. It can be notice the masculine sex of the
representation, which is with all possible doubts a pig (?). The statuette was discovered in
dwelling L
1
/1992 which belongs to level II superior.
Another zoomorphic piece, nicely ornamented with deep incisions, was found in the
same dwelling. The animal was made from a fine paste, well-chosen and well burned. The
yellowish colour of the piece reflects the wish of Neolithic man to create a piece that has special
artistic valences.
The zoomorphic pots from Turda represent after all the appearances pigs (Luca
2001, Fig. 5/8a-c, 12a-c). It was preserved, in both cases, only the part from the snout. Both pots
are framed in the fine category, being brick-like-yellowish coloured. The dimension of the pots is
a small one. The two pots were discovered in dwelling L
1
/1992, belonging to level II superior.
1.3. Amulets
To this level belong also small sized amulets obtained from the walls of the post
belonging to fine category (usually, this amulets have either black colour, or they present the
chromatic effect called blacktopped). These pieces were obtained by cutting the wall of the pot
usually in the curvature of its belly being common for all Neolithic settlements.
One of these amulets is black coloured, semifine and slightly rounded shape (Luca
2001, Fig. 5/9). The piece is sandy as facture and it was discovered in dwelling L
1
/1992, the
feature belonging to level II superior. From the same stratigraphic context there is a piece that
has brick-like colour and it has two attempts of perforation (Luca 2001, Fig. 5/5). The third piece
is semifine, yellowish and floury. It is interesting that the perforation was done from a single
side, the piece being more like the rest of a repaired pot (Luca 2001, Fig. 5/6a-b).
Also a clay amulet was made from the wall of a pot that was discovered in dwelling
L
4
/1995, level II superior.
1.4. Other objects made of clay. From hut B
3
/1994 was discovered a fragment from a
cult altar (Luca 2001, Fig. 18/7). These one is polished and burned and it belongs, from a
stratigraphic point of view, to level II inferior.
From this material was made a spoon with a very short end, semifine, well burned, grey
coloured. It was discovered in dwelling L
4
/1995 from level II superior.


92

1.5. Tables with incised signs
From the archaeological campaign of 1992, the first from a new series of systematic
researches, we have discovered, in hut B
1
/1992, a clay table with incised signs (Fig. 30), piece
published at short time after the recovery (Luca 1993, 21-23). The table belongs, from a
stratigraphic point of view to the oldest habitation level from Turda.
The amulet (we called it that name due to the e
Existence of some perforations, as it can be noticed from the following paragraph) has a
round shape the diameter is 7.5 cm. It is made of fine kneaded clay. The temper used is fine sand
with small particles of gravel and fine mica. The paste was very well burned, maybe because of a
secondary burning caused by the fire from the moment of the huts destruction. The pieces
colour is brick-like-red.
The table has two holes disposed in opposite direction, two by two. The holes have 0.3
cm diameter and are placed at 0.5 cm distance one from other the ones from the superior side
and 1 cm one from another, in the inferior side. The perforations seem to be done after the
incised signs were marked.
The incisions were made with a bone or wood object and have 0.15 cm depth.
The messages sent by this piece should be taken with caution the possibility of
interpreting subjectively the signs is relatively high.
In the quarter from left-upper side it can be distinguished a small sledge a symbol that
is quite frequent in Orient also (Vlassa 1976, 176, Fig. 14 the quarter from left-upper side, Fig.
15/11). For the representation of this object there are extremely few analogies, even though the
sledge was after all the probabilities the main mean of transportation until the full wheel
appeared.
Under the small sledge there is in our opinion this is a very clear sign the figure of
a character that is in full motion dance? This mode to represent the dancer is often met in the
ceramic objects from Neolithic (Makkay 1990, Fig. 13/6-8; 24/k; 25/Ib6 perfect analogy; Fig.
33/12). Striking is the prefect analogy with the character from atal Hyk (Makkay 1990, Fig.
25/16), but also the one with the sketching style of the human character from the Anatolian
settlement. The piece from fig. 25/13 (Makkay 1990) has also the head represented in the same
style as our character.
With a little imagination effort we can notice the presence of an other human character
in the right side (as we are looking it) to the one just described. This one is represented upside
down and without head.
Under the legs of the first character and under the right hand of the second one there are
incised two waves, as in the case of other similar discoveries (Makkay 1990, Fig. 18/7, 8d;
21/1; 24/b-d; 36/4). It is hard to affirm certainly this symbols meaning, but in case one of ours
characters is scarified for the other, then the waves can be represented by the sanguine liquid
of the one that was scarified.


93

Associations between waves and human sketched characters are represented at
Turda, incised on a pot published in 1941 (Roska 1941, T. XCII/12).
Edge signs (Makkay 1990, Fig. 7/2, 5; 13/1; 18/8a; 19/3; 33/8; 34; 37/7; 38/1(5)), V
letters that appear at relatively equal distance intervals can be either partition signs or they have
other meanings that elude us.
From the table is missing a piece of approximately 10%. The rest of the incisions make
us understand it is an anthropomorphic symbol (?).
The table from Turda brought new information regarding the messages sent to us by
Neolithic people, along with the ones discovered at Trtria (Vlassa 1976, 31-33). The text of
the table doesnt represent more than a legend, a story which has mystical protection role of
some products or human gestures. In hut B
1
nothing from the structure of the archaeological
materials offers a clue on the existence of a ritual complex. More likely, the tables text role
was to protect the grains found in one of the pots from there, or in the most trivial case it was
lost in the moment of firing the Neolithic pantry.
Pots with special signification
1. Pots with animals. This pot, belonging to semifine category, having brown colour
with lighter burning spots, has two animal representations, one caught in the running and one in
static position. These are made in the neck area through incision, being displayed in opposite
position, in one side and the other of the pot (Fig. 35). The pot was discovered in the cultural
layer, in a small through of level II from the western side of Turda-Lunc site and it was broken
in ancient period.
In the right side of the drawing it can be noticed an animal with horns (stag) with the
front legs outstretched. It can be noticed the way the sketched running was represented by the
multiplication of legs showing speed, a manner that is commonly used in ancient times to
suggest motion.
In the left side it was preserved the back part of the tailed animal (dog? wolf?) in a static
attitude. The lack of other elements made us stop the description in this point.
The animals are being displayed on the pot in opposite directions, one following the
other.
At Trtria, on table number 1 is represented a goat or a deer, which with the necessary
goodwill, can be assembled to the "deer" on the vessel from Turda, being different only the
positioning (Vlassa 1976, 41, Fig. 3/1 the right side).
2. The pot with houses. An extremely interesting pot was discovered in dwelling
L
1
/1992 and it belongs from a stratigraphic point of view to level II superior (Fig. 33). The
ceramic container belongs to fine category and is red burned and covered with a white engobe
after the burning.
If we should literary interpret this pots incisions we could call it portrait of the
Neolithic village from Turda-Lunc. We can notice that two houses (hovels?) in the central plan


94

of the held drawing, bounded in the superior side by a wavy line (sky?) and having at the end of
the support pillars incised signs (flags?). On both sides of the houses there are two double
incisions, rounded, some kind of eyes, which are the main decorative motives of the opposite
register of the dwellings represented by incisions.
Taking into account the fact that the pots buttons separate the register with houses
from the one with eyes and that the parts that are filled with dotes in the soft clay are made as
some teeth that interlock, we believe that we are in front of an allegoric representation of two
worlds obsessing for human, the world of the alive ones and the tenebrous world of the death.
While the house protects the Neolithic man of the possible daily dangers, in the opposite one, the
one of the death, there isnt this last chance of salvation.
3. A protection for the sexual parts. This object, made of common clay, with gravel in
paste, burned in medium temperature, was found in B
4
/1995, dwelling that belongs to level II
inferior (Fig. 34). The piece preserves inside the marks of a phallus head, on which it seems, was
modelled the malleable clay. The piece has perforated handles, displayed two by two on the
opposite part of the object. The superior part of the piece has a necessary row for better griping
the piece to the sex in all probability. The string that fixed piece was passed through the
handles small eyes.
We believe that we are in front of one piece that is rarely preserved on archaeological
sites, which represent the practical way to apply sexual restriction for men. Of course, we cant
say anything more, the details of the ritual remaining obscure, but is important the existence of
the piece itself, in order to illustrate a ritual that is believed to have been practiced, but extremely
difficult to prove until now.
4. Lids
In hut B
4
/1995 was discovered a fragment from a lid. It is well polished and burned,
ornamented with incisions and short cuts, belonging from a stratigraphic point of view to level II
inferior.
A house model is, in our opinion, extremely realistic represented Fig. 29/5. Through
the five projections of the drawing it can be noticed that the pieces discovered in dwelling
L
1
/1992, house that belongs to the superior part of a lid. The fashion of making house models on
the superior side of the lids it is well known in Gumelnia culture but, as it seems, also in Turda
culture. This house has a wide opening and several rows of indent belts, which represents, after
all the probabilities, architectural elements (beams that reinforced the roof). If we should be
confident in the fact that this house model is realistically represented, then we would say that the
beams from inside the resistance structure of the house are being doubled, in Turda culture, by
others that have as purpose to fix properly the straw from the roof against the wind. The plateau
were the settlement is placed would impose it, being the path for the winds from Mure River
corridor.
The pieces had yellowish-brick-like colour, is fine and the burning is a good quality
one.


95

About the house models or cult small houses from Turda Nicolae Vlassa has written
(Vlassa 1979). In this article it is specified the fact that this houses miniatures arent the
house of the ancestors spirits or some protective spirits (Vlassa 1979, 20, 22), but more likely,
containers were the grains as offerings for the gods were kept (Vlassa 1979, 22). Of course that,
this fashion of the miniature houses is much older, from Starevo-Cri culture (Luca 1993a)
where this models have, according to some authors, the signification of kiln imitation (Petrasch
1986, 33-83).
Other archaeological materials with special signification
1. In dwelling L
1
/1992, level II superior, was discovered a piece of flooring made of
clay, thick of approximately 5 cm, on which it was printed the footprint of an adolescent. We
cannot entrust this discovery and cultic connotations, because of the lack other arguments which
would be recovered from a systematic excavation (Luca 2001, Fig. 36/9a-b).
Petreti culture fine arts
Petreti culture fine arts (Paul 1992, 97-102) comprises both anthropomorphic and
zoomorphic statuettes, but also other adornments or cult objects, generally made of clay, but also
stone or bone.
The anthropomorphic plastic is especially represented by anthropomorphic and
zoomorphic statuettes, rarely masculine, characterized by schematics and geometry. The manner
in which are modelled the statuettes in Petreti culture with emphasised steatopygia in old
Phase and moderated in the following Phase indicates and evolutionary line different form
Turda fine arts, even though there are some chronological successions and, partially territorial
of the two mentioned cultures.
In Petreti culture settlements there have been discovered also small altars (earthen
lamps?) or miniature chairs made of clay.
1. Petreti culture fine arts from Turda
A zoomorphic statuette. In the paper dedicated to the researches made at Turda it is
graphically illustrated the inferior part (stand) of a clay statuette (Luca 2001, Fig. 3/12). This one
has a brown colour, the paste is semifine. The statuette fragment was discovered in dwelling
L
2
/1994-1995.
1.1. Lids
In another place was published the button from the superior side of a lid. It has brick-
like colour, it is very well burned and made of well selected clay. The piece was discovered in
dwelling L
2
/1994-1995 (Luca 2001, Fig. 3/8).
One of the horns belonging to a piece from this category, black coloured and fine
category, well burned (Fig. 29/4). The horn is sharp and facetted in a less characteristic manner
for this object category.
1.2. Small altars or earthen lamps


96

A small altar with four legs (Luca 2001, Fig. 3/13) that was unfortunately broken in
ancient period, was discovered in dwelling L
2
/1994-1995. Its superior part was also broken in
ancient period. The piece has brick-like colour, semifine, with well selected and kneaded clay.
The burning it is very good.
A leg, this time belonging to a piece from this category of small altars, can be found
ilustrated at Fig. 29/6. The leg has a semifine structure, it is brown, sandy and well burned.
1.3 Amulets
In dwelling L
2
/1994-1995 were discovered also three incised amulet made of a pot wall
(Luca 2001, Fig. 3/2-3, 9).
1.4. The ritual foundation feature of dwelling L
2
/1994-1995 level III (Luca 1996;
Luca 2001, 88-91).
In the North-Western corner of this dwelling it was noticed, even since 1994, a burning
spot, which didnt seemed to be an arranged hearth, among which it could be found, broken, a
number of large sized pots. Here, we also found entire and functional hand mills. All these
archaeological materials were discovered on the walking level of the house, at approximately 1.5
m from the copper link. In 1994 the researches were stopped at approximately 0.40 m deep, the
surface being prepared for winter, after dismantling the archaeological materials from the
walking level. On this occasion it was noticed the existence, immediately under the above
mentioned, of an agglomeration of hand mills being certainly displayed under the walking level
of the house. In 1995, after cleaning the surface, it has been noticed that this hand mills were
displayed in a ritual hole, one of foundation in our opinion of the dwelling. The pit was ovoid
shaped, being dogged in such manner to comprise the only the remains prepared as offerings.
The ritual feature was composed by nine pieces:
1. Fragmented hand mill made of local sandstone, as it can be found on Mure River
bank, right under the settlement, in the area of some very powerful springs that al flowing today,
as they were in old period, on the eastern side of the site. The piece was intentionality broken in
two, one of the pieces being displayed here. The dimensions of the hand mill fragment are:
13.5/21/6 cm.
2. Fragmented hand mill made of local sandstone, broken in two pieces, ovoid shaped.
Once again, only o part was buried. The dimensions of the piece are 31/29/12.5 cm.
3. Fragmented hand mill made of local sandstone, broken in two pieces, ovoid shaped.
The dimensions of the buried piece are 22.5/19/9 cm.
4. Almost entire hand mill made of local sandstone. The dimensions of the piece are
29/22.5/7.5 cm.
5. Fragmented hand mill made of local sandstone. The piece was broken in ancient
period, the sides are irregular. The dimensions of the piece are 17.5/15/6.5 cm.
6. Hand mill made of local sandstone, unfinished. The dimensions of the piece are
17.5/15/6.5 cm.


97

7. From a piece of local sandstone it was obtained a piece T letter shaped, having 32
cm height. The long side width is 20 cm and short side 7.5 cm. The thickness is 4 cm.
8. Large rock of Banat flint (Punescu 1970, 85; Lazarovici 1979, 83; Coma 1987,
89). This piece doesnt presents signs of processing, having a brownish-yellowish colour with
black and reddish intrusions. The rock presents some traces of the fire that destroyed the
dwelling and maybe of the fire that was made over the cult pit (after this event appeared the
burning spot above mentioned). The pieces diameter is 18 cm and the shape is almost rounded.
We have to remind the fact that almost all the hand mills described at position 1-5 were
placed with the active face down, fact that belongs after all the probabilities to the foundation
of the house/sanctuary ritual, as we shall see forward.
9. The last and the most interesting piece of the ritual foundation feature of dwelling
L
2
/1994-1995 (level III) is also made of local sandstone. This represents a head with two
asymmetrical horns, the right one being broken in ancient period. The inferior part of the
sculpture was broken (Fig. 31). The shape of the broken area suggests the fact that the piece can
be fixed in a complex with monumental dimensions. The face of the sculpture has 55 alveolus
having 1.2-1.5 cm diameter, symmetrically displayed on the entire surface. These can represent
either an ornament, or a hammer-wrought of a God face which, only through its look can
bring problems to other community than the one it belongs to. The snout of the piece is
symmetrically placed, in the middle of the face. In adequate grazing lightening, it can be notice
two fine incisions, among which the one from the right side of the face it is clearer and it
represents the way the eyes were suggested, specific to the Neolithic communities. The back side
of the piece is carefully finished, rounded. In consequence, the head is not on of a bull as we
expected but one of a masked man (divinity), prepared for a ritual (about masking in Neolithic
period: Luca, Dragomir 1987, 39-42; Luca, Dragomir 1989, 231, 233).
The most important detail in solving the signification of the ritual feature discovered
here is the one that the head was discovered with the face up.
The interpretation of the ritual feature. As it could be noticed in the previous lines,
piece number 9 represent a head made of local sandstone through carving and polishing
technique. This technique can be also found in the Superior Palaeolithic from Europe.
Afterwards, stone sculpture can be found, at Lepenski Vir (Srejovi 1969), Gura
Baciului (Vlassa 1972, 18-21, Fig. 32; 34-36, 38-40, 43-45; Lazarovici, Dragomir 1993, 10-11)
and in other more remote areas (Vlassa 1972, 20, Fig. 42, 48 Eynan). Recently, a piece carved
in stone from Piatra Eliova, between Cozla and Svinia in the Danube Gorges was published
(Lazarovici, Dragomir 1993, 7-10). We believe that, in this pieces case, we should valorise the
idea that the chronologic and cultural horizon were it can be framed is a Celtic one, as it was
mentioned in a place by the collective that took care of publishing the sculpture mentioned in the
quoted article (Lazarovici, Dragomir 1993, 8). The moment, judged in its ensemble, can provide
an direct analogy with the cultural area quoted by the article authors. The features are made in a
more realistically way in anthropomorphic sense then in Lepenski Vir-Schela Cladovei
horizon or in the one from Gura Baciului settlement. The way the head was covered (hair or


98

helmet) and expressing of the facial hairiness has no connection at all with the fish face
represented in the sculptures to which the analogies were made.
Going even further in decrypting the signification of the cult feature from dwelling
L
2
/1994-1995 from Turda-Lunc, level III (Petreti lelvel), we believe that the archaeological
observation is the most important one, which certainly leads us to decrypting the logical sense of
this pit, is the one that all the mill stones are placed with the active face downwards, meanwhile
the sandstone head is placed upwards. Also, important is also the observation through which we
see that the pieces are placed one between the other and the pit it is no deeper or wider that the
necessary space to arrange all the pieces directly under the walking level of the Petreti culture
dwelling. Relevant it is also the fact that in the walking level, over this cult feature, it was made
an open fire, without arranging a hearth. After burning in this area of the dwelling grinding took
place (the proof are the un-fragmented mill stones discovered on the walking level of the
dwelling) and cereals were preserved (the proof are large vessels, for supplies, preserved with
this occasion).
In consequence, even though many of the significations of Neolithic people gestures are
hard to reveal, we dear to issue an interpretation to the cultural feature, from different possible
angles:
1. From the observations made during the research of the features results that the pit
discovered is a cultic one. In case the signification of the pit is connected with founding the
dwelling we observe that the imposed ritual is composed of several Phases in the following
order: first a grinding takes place (this Phase can be omitted because is a hypothetical one); the
mills are broken; a part of each broken mill it is thrown away, another one is buried and in this
case is, for now, a particular one, because there are no other similar discoveries it is buried the
head of a divinity (special made for this ritual ?, taken from an existing monumental complex?)
an a sample of raw materials necessary for making chopped tools. The fact that the hand mills
are destroyed and buried with the face downwards symbolized the certitude that they wont be
used anymore with the purpose they were created. The divinity is buried (its head) upwards,
either to communicate with the inhabitants of the settlement or because it represents a divinity
belonging to an anterior community or an enemy one (in this case, the 55 alveolus from the
sculptures face would be hammer-wrought, another extra punishment besides the fact that
people are stepping on its face brought to a foreign or hatefully God).
2. Connecting these observations with the fact that the walking level is burned only
above the pit and the existence of some functional hand mills, but also some supplies pots in this
side of the dwelling, the cult feature gets also other significations. The broken mills were used,
almost certainly, for a ritual grinding (Makkay 1978, 13-36), operation that, following, will
consecrate this part of the dwelling for processing cereals. The head of the buried divinity
upwards assures the fertility and the fecundity of the grained kept over it, protecting them and
here our logic becomes fragile of external factors that can affect them.
3. If the grinding made in a dwelling has an episodic character, sequential, ritual, than
the entire construction is transformed in an archaeological sanctuary discovered inside.


99

1.5. Other objects made of clay
A small bead is made of this material and it was discovered in dwelling L
2
/1994-1995,
level III.
Coofeni culture fine arts
From burned clay were produced (Roman 1976, 30-31) also spindles, bobbins, spoons,
car wheel representations, representations of anchors, clay pearls anthropomorphic and
zoomorphic representations belonging to Coofeni culture.
The rarity, even disposition of anthropomorphic statuettes proves without doubts
other conceptions and religious practices, all the populations that came from east and north-east
to whom crazing cattle and shepherding played a much higher role that agriculture being
foreign of chtonian cult of fertility and fecundity. It was passed through even from Neolithic
when it existe a certain dualism of the origins of divinity to a uranian cult, solar (Dumitrescu,
Vulpe 1988, 57).
1. Coofeni culture fine arts from Turda
In level III displayed in the western side of the archaeological site from Turda-Lunc it
was discovered the inferior part of a statuette (Luca 2001, Fig. 3/1) which has good analogies,
for the shape, also in the older discoveries from here (Roska 1941, T. CXXIX/20), as in other
parts of the areas with discoveries belonging to Coofeni culture.
The piece has a semifine structure; the clay from which it was made has slit with fine
grained mica. The statuette fragment is well burned, the holes that ornament it are made by
unequal hands and displayed unorganized on its surface.
2. Other objects belonging to Coofeni culture mad of burned clay
In level II, in the western area, it was discovered a fragment of a spoon made of clay
(Luca 2001, Fig. 46/18).


100

Fig. 29. Turda-Lunc.



101




102




103



104


105

THE INCISED DECORATED AMULET FROM TURDA
11

1. Turda Culture geographical, terminological and chronological framing
Turda culture is following the Vina Culture in Transylvania and belongs to the Early
Eneolithic period. The moment is linked to the evolution of Vina B
1
communities, documented
by generalization of the Lumea Nou (Zau) painted pottery. Unfortunately we do not have so
many data and complexes available for early Turda culture. The stratigraphic contexts were not
well defined in the decades after WWII because of the use of Vina-Turda term by some
scholars (Luca et al. 2004, 109) who affected the bibliographical understanding of materials and
cultural relations. It was not found the proper relations between the Early Vina, Lumea Nou
and Turda cultures (Luca 2001, 124). The new excavations from Miercurea Sibiului-Petri,
Ortie-Dealul Pemilor, X
2
point and Turda made possible to ordinate some cultural relations.
The Turda Culture geographical area is axed on the Middle Mure Valley concentrated
in the area of Alba and Hunedoara counties. Other settlements could be seen on the Mure
tributary rivers, in Sibiu, Cluj and Mure counties. At the level of 2004 year were counted sixty
Turda settlements (Luca et al. 2004, 109) (Fig. 36).
The data (Luca et al. 2009) show us that the evolution of Turda culture could be seen
starting after 6.200 BP. In the northern area of Transylvania is the last part of Picolt Culture and
is starting the evolution to Tisa Culture (Virag 2008, 22). At the same chronological level the last
data of Szaklht Culture are coming. This period is known, in Hungary, as proto-Tisa or as the
Szaklht-Tisa transition and it was equalized in the Mure area, by Ferenc Horvth, with Vina
B
2
and with the start of Vina C
1
. The Szaklht influence is still strong, but meander incisions
are missing. Now the bitumen painting is becoming appearing in the area. This proto-Tisa Phase
is corresponding, maybe, to Zseliz III-Vorlengyel in Transdanubia with contacts Bkk, Esztr
and Lumea Nou (Horvth 2005, 67). At Turda there are some elements in the old and
intermediate levels, namely the red and yellow painted pottery (in crussted technique), the
incisions filled with white; some typical meander elements having sometime imprecates made
with red that are to do with Szaklht-Tisa influences (Luca 2006, 356) which are confirmed by
discoveries from Banat (Draovean 1996, 97-98). We presume that this is the moment of Turda
culture birth. The oldest Turda culture complexes excavated and published till now, are the
features from the layer I from Turda-Lunc settlement.
Long time, scholars considered the Turda culture as a Group, not a Culture. Between
them, the most influent was Gheorghe Lazarovici, who seen it as a group, formed in the presence
and at the contact with Vina C
1
materials. The origin is seen in the South, at the earliest Vina C
level (Lazarovici et al. 2006, 570). After the abandon of the CCTLNZI groups terminology,
Gheorghe Lazarovici accepted the term of Turda culture, who contributes to the evolution of
third Phase of Zau Culture from the Transylvanian Plain till Mese Mountains and in Maramure
area (Lazarovici 2009). The term of Turda Culture sustains that it is formed at an earlier level,

11
Luca et al. 2008 (EN); Luca et al. 2009 (RO).


106

Vina B
2
/C
1
. In the settlement from Turda-Lunc the old materials are in level I, in sort of
isolation of the old systematic researches (1992-1998) (Luca 2008, 30). Turda culture reveals
itself as an independent entity, born as a result of a powerful Vina rush. This influence marks
the shape, the ornaments, the processing techniques, even though the Vina materials are very
rare (Luca 2006, 354).
2. Incised amulet discovery context at Turda-Lunc settlement
The new excavations at the eponym site of Turda started in 1992 and were stopped in
1998. The first volume, covering excavations from 1992 to 1995, was published in the year 2001
(Luca 2001). In the central area (A) of the site was uncovered pit house B1, from the early
Turda culture horizon (level I). The pit house was recovered in the trench SI/1992-1993 area (10
m length and 3-4 m breadth Fig. 38). After the levelling of the profiles from 1993 the area was
11 m long. The geographic disposal of the area is approximately North-East South-West. The
variable breadth of this surface it devolved due to the tracks and excavations on a part of the area
situated on the Mure`s bank and it was well exposed (Fig. 37). Surely the pit house was 50 %
bigger than what it was preserved. We presume that this one had an oval shape, 6 m length and 4
m breadth. The soils colour from this pile is grey; pigmented by the ash resulted from burned
upper wooden structure. Left side when we see it from Mure River is steep dug till it reaches
2.80 m depth, representing the bottom of the complex. The right side is dug in levels. After one
larger level, situated at 1.50 m from the actual soils surface (maybe a place for sleeping), it
descends to the maximal proximity of the pit house, were we found entire pots on the pit houses
bottom (one pot was with carbonized seeds` remainders) and a board covered with incised signs
(Luca 2001, 42) (Fig. 39; Annexe 1 Fig. 43-50).
Beside this surface, the pit house B
2
/1992-1993 was uncovered, followed by dwelling
L
1
/1992, L
3
/1992, domestic pits and ditches on layers II and I. The depth at which we arrived
with the exploration is 0.90-1.25 m for the culture layer and below 3 m at the bottom of the pit
house B
1
/1992 (Luca 2001, 42-43).
3. Description of the incised amulet
The incised amulet (Fig. 39) found in B
1
/1992 (in the oldest level from Turda-Lunc)
had 7.5 centimeters in diameter and it is made of clay, carefully choice. The pasta is sand
tempered with little stones and mica. The burning is good and a secondary burning can be seen
as a result of the pit house fire destruction. The amulet colour is brick-red. The little blackboard
has 4 holes disposed opposite, 2 to 2. Orifices have 0.3 cm diameter and are disposed to 0.5 cm
one from another the ones in superior part and 1 cm one from the other; in inferior part.
Perforated seems to have been done with an object from the incised face towards the back side,
and have 0.15 cm deep. So called wearing is not visible on the incised side.
The incisions were made with a small stick. Unfortunately, the amulet is not entirely
preserved. It was broken in the ancient times and we were able to recover only two fragments.
The last one, very small, was lost (Luca 1993, 21-22; Luca 2001, 83-84).
The incisions were made with a small stick. Unfortunately, the amulet is not entirely
preserved. It was broken in the ancient times and we were able to recover only two fragments.
The last one, very small, was lost (Luca 1993, 21-22; Luca 2001, 83-84).


107

4. Description and interpretation of the signs from the incised amulet
The messages from this piece have to be observed with special prudence, the
possibility of personal interpretations of signs is relative high.
Fig. 40, S
1
. Sledge?
On the left quarter a sledge can be distinguished. For the representation of this object
only few analogies exists, even if the sledge was in all probabilities the only means of
transport for heavy objects till the wheal appeared. The presence of sledges on signed tablets can
be counted later (protoliterate time), in Ancient East (Vlassa 1976, 176, Fig. 14-15), in a time
when the full wheal was not extensible used (Luca 2001, 83-84).
Fig. 40, S
2
. Stylized human body. Under the sledge a clear sign can be seen: the figure of
a moving person (dance?). We meet them frequently on the ceramic objects with this way of
reproduction of the dancer from Neolithic (Makkay 1990, Fig. 13/6-8; 24/k; 25/Ib6 perfect
analogy; 32/o, p; 33/12). It strikes the perfect analogy with the position of the body from atal
Hyk (Makkay 1990, Fig. 25/I6). The piece from Makkay 1990, Fig. 25/I 3 has represented the
head, too, in a similar style like our stylized body (Luca 2001, 84).
Fig. 40, S
4
. Stylized human body (?).With little imagination we can ascertain the
presence of another human person in the right (as well as we know), flat on the ground.
Fig. 40, S
5
. Waves, stream. Below the first persons leg and below the second one, we
could have waves (?), which can represent the blood liquid of the person who is sacrificed or it
could be a stream. The associations between waves and human persons were meeting at Turda,
on an incised vessel published in 1941 year (Roska 1941, Taf. XCII/12; Luca 2001, 84).
A pictographic sign (very close as shape with ours) came from early writing system in
Mesopotamia and can be interpreted as a stream if we link it with later evolved cuneiforms (X X
X 2005, 440, Fig. 12/9).
Fig. 41. Signs of edge (Makkay 1990, Fig. 7/2, 5 Trtria 13/1, 18/8a; 19/3; 33/8; 34
the column represent signs from Troy; the first symbol; 37/7; 38/1-5). The V signs appear like
relatively equal interval as distance. It is possible to be separate signs or it is possible to have
another meaning which escapes us (Fig. 40, S
2
, S
3
, S
4
i S
5
; fig. 41) (Luca 2001, 84).
It is strange that some edge signs can appear as heads of two stylized persons. On the
first one (Fig. 40, S
2
), the sign seems to be clear. Here the V is having a short line, starting from
the up-right to down-right. On the second stylized human (Fig. 40, S
4
), the short line is starting
from the upright V to up-left. Another similar sign appears (Fig. 40, S
3
), but it is near the missing
part of the amulet and it cannot be linked.
In B
1
pit house nothing offers us any sign about the existence of the complex ritual from
the structure of archaeological material besides the incised amulet (Fig. 43-50).
5. Chronology of B
1
pit house


108

The Turda incised amulet is coming with a closed early Turda culture context.
Chronological we do not have any radiocarbon data for this level. But we know that the next
level, the intermediary level from Turda, is contemporary with the lower level from Ortie-
Dealul Pemilor, X
2
point who was radiocarbon dated (Deb-5.765; Deb-5.790; Deb-5.775).
Another data is coming from Cauce Cave (GrN-28.994).

Table 1. IPTCE RADIO Turda Culture, radiocarbon data (Luca et al. 2008).
Settlement LABNR BP Error Feature cal BC
Ortie-Dealul
Pemilor, X
2
point
Deb-5765 6.070 70 B
2
5.070 BC (59.2%) 4.880 BC
Ortie-Dealul
Pemilor, X
2
point
Deb-5762 5.825 60 B
1
4.780 BC (68.2%) 4.600 BC
Ortie-Dealul
Pemilor, X
2
point
Deb-5775 5.790 55 B
2
4.710 BC (63.2%) 4.580 BC
Cauce Cave GrN-28994 5.760 40 depth 0.50 m
from surface,
Turda level
4.680 BC (26.3%) 4.630 BC
4.620 BC (41.9%) 4.550 BC

From Table 1 we can date the inferior level from Turda-Lunc, terminus ante quem,
4.800-4.900 cal BC.
Beside the discoveries of the tablets from Trtria (Vlassa 1976, 3133) and of the
incised pot from Daia Romn (Paul 1995, 135-144, Tafel I, Abb. 1), the discovery of sign
amulet from Turda is representing an important step forward. The researches from last decade
(Merlini 2008, 58-59) show us that the appearance of signs in Northern Balkans is a wider
phenomenon at this chronological level.

Fig. 42. Chronological frame for 6.000-4.600 cal BC (modified the original
from: Bhner et al. 2006, where we added Transylvanian radiocarbon frame
data as present at Luca et al. 2008).
5. Could we consider Turda amulet signs as writing like in the Near East?


109

The signs from Turda amulet seem to be logographic or pictographic and for sure the
signs are linked some how. At this chronological horizon, Turda Culture corresponds, in the
Near East, to the Ubaid Culture (Fig. 42), dated from 5.900 to 4.200 BC. The earliest Ubaid
material is contemporary with Halaf Culture and earlier developments in Upper Mesopotamia,
while later, from around 5.400 BC, see a spread of Ubaid influence into Upper Mesopotamia,
replacing the Halaf period occupation, and beyond to southeast Anatolia (X X X 2005, 437).
From Halaf times are attested stones or pieces of clay decorated with simple patterns. Some are
pierced for suspension and seem to have been used as amulets; others have been used to stamp
fabrics or to secure portable containers used in trade, acting like signatures (Crawford 2004,
198). Seals were used to represent legitimacy and property based on social power in a form
which makes them independent of personal confrontation (Damerow 1999, 14).
The Ubaid culture is followed by Uruk period framed from around 4.200-3.000 BC.
Social and economic development will conduct to the appearance of an early writing system in
Mesopotamia, around 3.500-3.200 BC, in the Late Uruk period, named proto-cuneiform. Some
850 signs are employed, but the lack of grammar is preventing a secure identification of the
language used. The messages are hard to understand. Maybe, the use of pictographic signs and
unused of grammar elements could be intentionally made to be read by different ethnic groups
(X X X 2005, 438- 440). The appearance of these pictographic writing did not appear overnight.
Far for representing the beginning of a phenomena, those earliest text represent an end of a long
process of elaboration of social order, with roots in the Ubaid period (Potts 1997, 236). The
oldest writing development from logographic or pictographic signs was well attested in
Mesopotamia, but some 1.500-1.700 years later than Turda culture. The difficulties of
understanding the messages written in a proto-writing system result primarily from the fact that
the information represented in such a system is essentially incomplete. The users of proto-
writing apparently assumed that the readers of their messages knew the context of information
(Damerow 1999, 2).
In this way, our Turda amulet could be compared with proto-cuneiform who had at the
base a pictographic system, very hard to decrypt even if the signs from Mesopotamia were able
to evolve to a more advanced writing system.
For sure we have, at Turda, signs and a story. The clear archaeological context and the
holes from the amulet indicate that was human used. But we cannot be sure about message
meaning or about the language.
5. Conclusion
The signs from the little Turda amulet could be a legend or could represent a tale
which has a role of mystical protection of a product or human gesture. Maybe the role of the
tables text was to protect grain found in the vessels from the B
1
complex or the amulet was
simply lost in the moment of pit house burning.
Maybe we will never guess the real message transmitted, but the clear archaeological
context proves us that, at the start of fif
th
millennium cal BC, in a village near by the Mure
River, somebody was able to understand the meaning of a message, scratched on a burned clay
amulet.


110

Fig. 36. Map with most important Turda
Culture discoveries from South-West
Transylvania.

Fig. 37. Topographic plan at Turda-Lunc site with
highlight of S I area (Luca 2001, Map 2).

Fig. 38. Level I, S I area with complexes
B
1
/1992 and B
2
/1992 (Luca 2001, Plan 5).

Fig. 39. Incised amulet: original drawing (Luca 1993,
Fig. 1).

Fig. 40. S
1-5
Incised amulet: S
1-5

pictograms / signs present on the amulet.

Fig. 41. Possible signs of edge from Turda amulet.


111

Annex 1. Archaeological materials from B
1
/1992 (without the incised amulet)

Fig. 43. Pottery from B
1
/1992
(Luca 2001, Fig. 12).
1
/1992 (Luca 2001, Fig. 13).

1
/1992 (Luca 2001, Fig. 15).


112

1
/1992 (Luca 2001,
Fig. 17).
1
/1992
(Luca 2001, Fig. 31).

1
/1992 (adapted after Luca 2001, Fig. 30).


113

1
/1992 (Luca 2001, Fig. 35).

Fig. 50. Horn tool from, B
1
/1992 (Luca 2001, Fig. 2/3).


114


115

NEW NEOLITHIC AND AENEOLITHIC FINE ARTS OBJECTS DISCOVERIES
FROM TRTRIA AND LUMEA NOUA (ALBA COUNTY)... AND SOME
DISCUSSIONS CONCERNING THEIR TYPOLOGY AND CHRONOLOGY
12

The prehistoric settlements that comprises Neolithic and Aeneolithic cultural stratum
from Trtria-Gura Luncii and Alba Iulia-Lumea Nou represents, through variety, quantity and
quality of the archaeological materials discovered there, a mile stone for each and every
researcher that is dealing with the study of these periods from the history of Transylvania.
Being located in agricultural zones that are nowadays intensively exploited, the
archaeological materials from the two sites were and still are disturbed and brought fortuitous to
the surface. From this case, the two sites are the base of some valuable private collections, but
they were also studied through systematically researches, in several occasions. The results of the
systematic researches, but also for the survey, brought celebrity for these settlements.
The archaeological site from Trtria-Gura Luncii is known due to some accidental
discoveries reported by Mrton Roska (Roska 1942, 21, n
o
77).
The prehistoric settlement form Gura Luncii point was systematically searched, for the
first time by Kurt Horedt in 1942-1943 (Horedt 1949, 44-57).
The following researches belong to Nicolae Vlassa and they were conducted in 1961
(Vlassa 1962, 23-30; Vlassa 1963, 485-494; Vlassa 1976, 28-43).
The last systematic researches form this point date since 1989. They were conducted by
Iuliu Paul (from the research collective were also part: Ioan Alexandru Aldea, Horia Ciugudean,
Florin Draovean and Sabin Adrian Luca).
I. The description of the Neolithic and Aeneolithic fine arts from Trttia-Gura
Luncii (Gheorghe Alunguleseis collection)
1. Fragment of statuette (Fig. 51/3; Foto 6/1). It was preserved the head and the body
from the neck down. Judging by its main features, this fragment of statuette is one of the most
recent of those belonging to the new series of incidentally discoveries made at Trtria. The
mask of the statuette is a developed type and slightly pentagonal. The eyes are made of two
incisions, the right one being oblique than the left one. The nose is round, one of the nostrils
being rendered by an impression in the form of a tear. A very important characteristic for the
chronological framing of this piece is the fact that the top of the head is drawn towards the back
like in many other representations from Banat and Transylvania belonging to this chronological
and cultural level.
The piece is made of a brown paste, sandy and for common use. The burning is good.

12
Luca 2002 (RO); Luca 2003 (EN). The archaeological materials described on this occasion can be found in
Gheorghe Alunguleseis personal collection. They have been collected several years ago, after some successive
surveys made in the two Neolithic Transylvanian sites. The pieces are being preserved in the house of Gheorghe
Alungulesei.


116

The part that was preserved represents the superior side of a column idol which
evolved from those very characteristic for Starevo-Cri culture and manly found at the end of
early Vina Phase.
2. Statuette fragment (Fig. 51/4; Photo 9/5). It was preserved the head of the statuette.
The piece presents a triangular mask with a grate nose. A slight incision, interrupted by
the nose, separates the face into two parts. The top of the statuette is blunted and the look is
pointed upwards. The slip that used to cover the statuette totally peeled off. The statuette is
brick-like coloured, has a sandy structure and it was poorly burned, the paste being baked.
The statuette may culturally and chronologically belong to an early Vina culture Phase,
the Transylvanian alternative.
3. Statuette head (Fig. 51/6; Photo 12/3).
As it appears, the head of this statuette does not have a mask. The way in which the face
is made (preeminent eyebrows, the eyes rendered by incisions, in a slight oblique position as
compared to the nose; the nose is represented in realist manner, even the nostrils are rendered by
two intrusions, round moth) points out the fact that the statuette was accomplished under the
influence of an extra-Carpathian culture (Gumelnia, Slcua, Precucuteni) that belongs to Upper
Aeneolithic.
The fragment is brown and there are some burning spots. The statuette is tempered with
sand, chaff and has a very good burning. It is also polished and it has slip.
This representation may be chronological and cultural framed in one of Petreti culture
Phases, or maybe Lumea Nou.
4. Fragment of a small altar (Fig. 52/3; Photo 9/2-3; 12/4).
The piece of this small altar that was preserved has two legs as pedestal and a fragment
from a small container. It was also preserved an anthropomorphic protome with a round-
pentagonal mask and the eyes situated almost perpendicularly on the nose, are rendered by
incisions. The eyebrows are well defined. The nose of the protome is prominent and long.
The piece is brick-like coloured (and black in the inside), it has half-fine sandy
structure, spatula retouches and good burning (as it seems secondary burning because of the fire).
The small altar joins the other works which were found in the Aeneolithic stratum from
Trtria and taking into account its structure and manner in which it was made it might belong to
Petreti or Lumea Nou cultures.
5. Fragment of statuette (Fig. 52/4; Photo 11/3) representing the head.
The fragment had a pentagonal mask on its face whose inferior part was not preserved,
being broken a long time ago. The eyes are represented by deep incisions and the nose follows
the model of a small protuberance. From under the nose another deep incision goes downwards.
It is not known on what distance this lays, but not a very long one, anyway, as it certainly


117

represents a nostril. The nape of the statuette is blunted and so are its breasts. This representation
is yellow coloured, has fine sandy structure, slip, and a very good burning.
All this features enable us to attribute this fragment of statuette to the late Aeneolithic
strata of this site.
6. Fragment of statuette (Fig. 52/6; Photo 12/2).
From one of the most beautiful pieces of this lot of objects it was preserved only the
torso. The head, the arms from the shoulders down and the legs from the thighs down
were broken in ancient period. The fragment that has been kept is a clear evidence of the special
care of the ancient artist to render correctly the anatomical details of the representation (e.g. the
number of fingers). It appears that like many other statuettes from Tisa I culture, this one too sat
on a throne.
The statuette is brownish with grey slip and very good burning (the core of the structure
is black). The piece was tempered with fine sand.
The features of the statuette enable us to attribute this fragment of statuette to the late
Aeneolithic strata of this site.
7. Head (?) made of river rock (Photo 9/6).
From Trtria too, it come a round river-boulder on which one may distinguish the
features of a human face. There can be notice the eyebrows and semicircular eyes. The mouth,
too, is semicircular and broad. The details that make up the face which are in fact more grotesque
than realistic and through schematic as the Neolithic art usually is, make us think that we are
witnessing in the best case a product of the nature.

The prehistoric settlement from Trtria-Gura Luncii is one of the most important
archaeological sites from Transylvania (Vlassa 1976, 28-31). We could frame, at least from a
typological point of view some of the pieces accidentally discovered here in the already kwon
stratigraphy of the ancient villages from this area.
The first systematic excavations done by Kurt Horedt during 1942-1943 and published
(Horedt 1949), are according to the pictures from this article (Horedt 1949, Fig. 1, 4-8) much
more complex than those done by Nicolae Vlassa in 1961 (Vlassa 1976, Fig. 1-3). The latter
added to the sections A, C, D, E and B, F surface areas, which have been investigated during
1942-1943, the H section and G surface, both having been done in 1961. The most complex
excavations are those made in the G surface, which in fact checked in the profiles of the C
surface, profiles that were analyses by the scientist form Sibiu.
Kurt Horedt claims that that the cultural level from section A is 1.15 m. Even though the
excavations were deepened to 2.80 m he couldnt find anything. Kurt Horedts most interesting
observation is that Turda culture pottery can be found at any depth (Horedt 1949, 49).


118

It is a different case in what the B (F) excavation is concerned. The stratum has been
deepened up to 2.6 m and the deepened dwelling discovered on this occasion was excavated up
to 3.8 m depth m (Horedt 1949, 50).
In C excavation the painted pottery goes down up to 1.40 m, the Turda pottery being
found again here, in each level (Horedt 1949, 51-52).
In the E surface, at 3.20 m sterile soils was reached (Horedt 1949, 53).
After all this excavations, Kurt Horedt names the discovered levels (Trtria I with
huts; Trtria IIa, b and c with surface dwellings) (Horedt 1949, 53-54). It is also very
important the parallel between Trtria IIb and Boian A levels on the account of pottery import
ceramic (Horedt 1949, 53-54; n.a; probably Precucuteni I or II).
As I was saying before, Nicolae Vlassas excavations were only meant to check the
already known stratigraphy. I made use of Nicolae Vlassas conclusions in a quite recent
publication, in order to parallel the stratigraphy of Trtria-Gura Luncii with that of Turda-
Lunc.
Stratum no 1 from Trtria is generally analogous to Stratum n
o
1 from Turda-Lunc
(Luca 2001, 147). The cultural stratum in thin and interrupted, here and there, in both sites, and
the dwellings are manly huts containing a lot of archaeological material (Vlassa 1976, 29).
In what concerns the cultural framing of Stratum n
o
1 from Trtria, it was meanwhile
demonstrated that the classical Tisa I culture is contemporary to the Vina C culture. This brings
under a question mark the very early classification established for the Stratum I from Trtria.
According to the authors opinion, there are also Starevo-Cri materials. In fact, remains of this
culture pointed out by the presence of hashed chaff used as a temper, parallel with Vina A. the
first level from Trtria was parallel with Vina B
1
because of the Tisa I materials present there!
Meanwhile it has been demonstrated that the latter generic element, the Tisa I, is later discovered
and parallel to Vina B
2
(the early Tisa I Phase) and Vina C
1
(the classical Tisa I Phase)
(Draovean 1996, 87-89). The presence of chaff as temper is from our observations from the
Turda culture sites researched in the last decade loose, but consistent. This is because of the
late development of the early Vina culture Phase and of the perpetuation of the ancient
technology of producing the paste, as we have already noticed in many occasions.
Gheorghe Lazarovici who knows best the realities of the earlier Phase of Vina
culture in Romania, claimed in 1979 that: At Trtria, besides fine arts, . . ., were not found any
define Vina elements. But their structures, motifs and forms, the discoveries from level no I date
later (s.n.) than those from Balta Srat I, Trnovaka, Banija, Aradac sites belonging to Vina A
/ B
1
horizon (Lazarovici 1979, 123). The same author went on saying that: In Transylvania...
most of the elements considered to be Tisa, belong presently to Szaklht culture, to Bucov
group or Turda group developed independently of Vina culture (Lazarovici 1979, 159).
All these observation lead to the later classification of the Stratum, probably in a period
contemporary with level n
o
1 from Turda-Lunc, in this way being attributed to the earlier
Phase, or slightly before it, of the Turda culture.


119

Analysing the state of the early Vina sites from Transylvania Transilvania (Vina A
13

and B
1
) (Luca et al. 2000; Luca et al. 2000a; Luca 2001, 97-124) it comes out that it is possible
for these archeological materials to be dated later, as a consequence of a division process that
had happened on thos historical area of Romania. Because of the mentioned phenomena and also
because of the contacts with the Vina mother-areas broken for about 200 years, the Late
Neolithic in Transylvania has ancient features on which overlaps a kind of painted pottery whose
origins are in the north-western and western areas of Romania (Luca et al. 2000; Luca 2001,
124-139; Luca 2001a; Luca 2001b).
Stratum n
o
2 from Trtria, named by Nicolae Vlassa also of Turda-Petreti Phase
has exclusively surface dwellings (Vlassa 1976, 30), unlike the settlements from Turda-Lunc
(the lower level II consisting of huts, only the Upper level II consisting of surface dwellings) and
Ortie-Dealul Pemilor, X
2
point (Luca 1997; the lower level consists of huts and the upper level
consists of surface dwellings), where the classical Turda levels have a moment of arrival
(with deepened dwellings) and another one, subsequent, of sedentary (with surface dwellings).
This observation suggests that at least two ideas, different in their purpose, concerning
the stratigraphy of those two sections:
1. The presence of those two old levels of huts at Turda-Lunc, may represent two
different moments of arrival and implicitly a possible hiatus between them. This observation
pleads for the antiquity of the former huts of both site, but not earlier than Vina B.
2. At Trtria, the stratum no 1 is bound through the same relation (arrival sedentary)
as the level II (or intermediary) at Turda-Lunc and Ortie-Dealul Pemilor, X
2
point

(earlier
Phase later Phase) and this makes it Vina B
2
.
These observations, as well as the one according to which the level II from Trtria is 1
m depth (Vlassa 1976, 29) may suggest the idea that there can be found the best stratigraphy
for the Turda culture of this area.
Stratum n
o
3 from Trtria is named by NicolaeVlassa also Petreti-Turda (Vlassa
1976, 30). One may notice, once again, the resemblance between the stratigraphy of Turda-
Lunc and that of Trtria (lelvel III of the former station belongs to the Petreti A-B culture
probably A , while Stratum n
o
3 of Trtria generally belongs to this Phase, too).
It should be mentioned also the observation according to which: .at Trtria one of
the pure Petreti stratum is missing, lacking any Turda elements, as it can be found in the
Petreti settlements which are dated later and are situated in places that outruns the maximum
extension area of Turda culture. Moreover, Iuliu Paul goes further in the investigation of the
Petreti culture monograph, claiming that: the Turda-Petreti co-habitation seems to have been
for a longer period of time in this area. Here, too, it finally ends with the gradual spreading of
the Petreti culture in the form of several extensive settlements, densely inhabited and belonging
to the middle (A-B) Phases, especially to the late (B) Phase (Paul 1992, 20). It can be noticed
that the matter concerning this co-inhabit is not at all cleared up, and that because of at least two
reasons:


120

1. The secondary implication of some Turda culture archaeological
elements in the Petreti culture stratum as a result of the building of Petreti dwellings
and archaeological features.
2. The borrowing by the Petreti inhabitants of some incised decorative
motives, having their own evolution, but still close to the basic model in the Petreti
culture.
Stratum n
o
4 from Trtria was named Petreti-Coofeni by the same researches from
Cluj. He thought that from a late Phase of Petreti culture and undecorated by painting, it can go
to Coofeni culture (Vlassa 1976, 30). Certainly the chronological distance between Petreti
culture, Phase B, and Coofeni culture is considerable according to our knowledge at present, and
this makes this theory unreliable.
Hortensia Dumitrescu notices that the inhabitants of Coofeni culture preferred, like
Neolithic communities Turda or Petreti culture the same type of habitat (H. Dumitrescu
1985-1986, 8), at least during the earlier Phases. This observation is important for the definition
of the specific economy at the end of Aeneolithic (Ciugudean 2000).
All these observations can be supplemented with those ones made in 1989, when the
habitation levels that have been previously established, were confirmed.
All this ideas have been reminded to the reader for a better cultural and chronological
classification of, at least, several of the objects from the collection published on this occasion.
We are talking about the pieces from Fig. 51/3-4, 6; 52/3-4, 6. According to their typological and
stylistic features, these statuettes could be dividing into, at least, two groups, which would
belong to two different chronological moments.
The first lot includes the statuettes from Fig. 51/3-4 and 52/3-4. Inside lot 1 it can be
distinguished 2 groups, because of the statuette from Fig. 51/3, on one side, and the statuettes
from Fig. 51/4; 52/4, on the other side, and finally because of the altar from Fig. 52/3.
These subgroups would also have chronological valences, the subgroup no1 being the
earlier, by the presence of the statuette from Fig. 52/3. Based on similar statuettes it was
established the antiquity of the ritual complex discovered by Nicolae Vlassa at Trtria (Vlassa
1976, 31, 34, Fig. 6; 125). This one consists of 16 burned-clay statuettes, two Cycladic alabaster
idols, a Spondylus-shell bracelet and three slated (little plates) with incised marks, none of this
having been published before together with illustrations (the statuettes). Besides, there were also,
the scattered bones of a human of 35-40 years old, several of them burned and the other broken.
Nicolae Vlassa thought of a cannibalism ritual form (Vlassa 1976, 31).
Judging by the image of the anthropomorphic clay statuettes from Vina area, of the
approached chronological moment, it comes out that the anthropomorphic ones from Gornea
(Blnescu 1979; for chronological and cultural framing: Lazarovici 1977), Balta Srat
(Blnescu 1982; for chronological and cultural framing: Lazarovici 1975b) or Liubcova (Luca
1990; Luca 1998: levels V-III) could be the typological model for those of the Trtria group.
But none of the approached statuettes are as structurally compressed as the Transylvanian
deposit. In my opinion, the archaeological context discovered by Nicolae Vlassa is truly rithual


121

and has nothing to do with the stratigraphy that has so far been known for the site, especially
with Stratum n
o
1. The statuettes were buried in, having no relation with the habitation strata
from Trtria. It rather belongs to an earlier Phase, chronologically classified in a previous stage.
The people that buried the statuettes were either passing by, or they were doing an initiation or
devotion ritual. The signification it is still unknown to us, the sacred place having been inhabited
only after the signification of the devotion ritual have been forgotten, or even the Neolithic
population changed something in this specific manner of relating to Divinity. This modification
appeared together with the Turda culture as it is nowadays called.
Each time this cult feature was investigated, it was very difficult that it should also
chronologically suit (adapt) to the stratigraphy in this case, as the typology of the statuettes urged
their classification into an earlier Phase, and the pottery allowed this compulsory way (Miloji
1965; Makkay 1990a). We think that our previous explanation is the solution to our problem
regarding the chronological classification of the ritual complex from Trtria, but also regarding
some ancient levels that have an already well-kwon stratigraphy in Transylvania. The
conservatism of the earlier Vina communities mentioned above can be noticed in the
perpetuation of some archaic Vina features, in the Turda pottery and especially in the statuettes
found in these situations. The Turda culture, at a chronological Vina B or C Phase, still
observed the common laws that have already been imposed by Vina inhabitants during the A
Phase of their culture, while they had for a long time failed to observe them in their native
places. How else could it been explained the fact that the mask of the Transylvanian statuettes is
triangular or slightly pentagonal plainly rendered throughout the Late Neolithic, like in the
Turda culture. This is characteristic only to the earlier Phases of the Vina culture in Yugoslavia
and in the southern area from Banat (type a and b: Tasi 1973, 23, Sl. II)? How could we explain
the fact that all the Vina and Turda statuettes in Transylvania have the eyes incised, according
to the plainest Vina pattern, but considerably complicated during the late Phases of the culture
in the mother-areas? (Tasi 1973, Sl. I, Type a). In order to give extra information, I can only
refer to the recent discoveries at Romos (Luca 1995-1996, T. III) and Turda-Lunc (Luca 2001,
81, 88-91, Fig. 6; 7/7), and also bearing in mind the previous discoveries at Turda (Roska 1928;
Roska 1941; Roska 1942) and those from Trtria published by Nicolae Vlassa.
It is also symbolic the fact that the mask of the Statuette from Liubcova is triangular
and not pentgonal as required by the chronological and cultural Phase of which the statuette is
attributed (Luca, Dragomir 1987; Luca, Dragomir 1989; Luca 1989(1990); Luca 1991a). It is
also eloquent the case of the tell type settlement from Chioda Veche where the statuettes, which
followed an ancient paten, with triangular mask, are found in the same huts together with those
having pentagonal mask (Radu 1979, 67, Pl. I-III). It comes out that the typology of the mask
form does not always submit to the common laws, which have so far been established as basic
rules, not even in the Vina culture.
Lot 2 comprises statuettes from Fig. 51/6 and 52/6.
The manner in which the face of the statuette from Fig. 51/6 is schematically created is
almost similar to that characteristic for the cultures from the south of Carpathians (Dumitrescu
1974, Fig. 243, 251/1, 259- 261), even if the procedure still has certain local influences.


122

Regarding the second piece (Fig. 52/6) we are certainly dealing with a statuette that has
its origins in the aeneolithic Petreti levels in this site. The bust has analogies in the Vina
culture (Tasi 1973, T.XLVII/179; LIII; LXI; LXVIII), being possible for this statuette to be
related to those presented on a throne, in the Tisa I culture too (Korek 1987, 53-57, Fig. 14-16;
Raczky 1987, Fig. 32-35, 37; Hegeds, Makkay 1987, Fig. 7-10; X X X 1987, cover; the same
type pots are present also in Gumelnia culture: Dumitrescu 1974, Fig. 256-258).
Both types prove the spreading westwards and southwards of the aeneolithic
Transylvanian world and the cultural and, why not, trade connections of the epoch.
These statuettes may come from a level, in which there is a synthesis between the
Turda elements, those of Lumea Nou and Petreti culture.

The station from Alba Iulia-Lumea Nou has been known since 1942 when, after the
construction of some buildings of public utility, it was discovered a compact stratum of burn
traces and ceramic fragments. It was during the same year that the first scientific determination
historical and archaeological concerning the site, were done. The proper researches took place in
1944, 1945 and 1947 (Berciu, Berciu 1949, 1-2). Further systematic excavations regarding this
site were done in 1961 (I. Berciu 1968, 54-55).

II. The description of the Neolithic and Aeneolithic statuettes from Alba Iulia-
Lumea Nou (Gheorghe Alunguleseis collection)
8. Fragment of a statuette (Fig. 51/1; Photo 11/1-2) only the head was preserved.
The mask on the face is pentagonal, bent. The eyes are rendered by short and and
oblique incisions as related to the position of the nose. This one is represented in a realistic
manner, linked to the eyebrows and has a single nostril rendered by a round impression. The top
of the head is blended and cross-vertically perforated, here and there.
The statuette is brick-like coloured, sandy, smooth surface and very good burning. It
may belong to the earlier level from Lumea Nou, more specific to the Vina or Turda culture.
9. Fragment of a statuette (Fig. 51/2; Photo 10/1-2) representing the body.
The statuette is modelled according to the requirements of the realistic manner popular
in Neolithic and Aeneolithic. The pedestal of the bust represents the legs. On its base there are
two short, parallel and overlapped incisions. In its lower part the pedestal has a round cell. The
breasts, which demonstrate the female sex of the representation as well as the buttocks, firmly
rendered are modelled in a realistic manner, even nipples are being present. On the back of the
statuette one can see many incisions. From the buttocks two incisions go up towards the
shoulders forming a triangle with its point headed downwards and filled with a complicated
series of short incisions. The arms of this representation are wide open.


123

This fragment of statuette suggests that sometimes the incisions made on the Neolithic
and Aeneolithic statuettes may represent not only garments but also tattoos.
The statuette is brick-like coloured, sandy, half-fine and with very good burning. It may
be attributed to the earlier levels of the site from Lumea Nou, more specific to the Vina or
Turda culture.
10. Fragment of statuette (Fig. 51/5; Photo 12/1) representing the head and a part of the
body.
This statuette represents one of the most realistically modelled from Lumea Nou. The
mask covering its face is triangular. The features of the face are more realistically rendered
similar to a portrait. The top of the statuette is blunted and cross-vertically perforated, here and
there. Moreover, on its extreme-lateral sides there are two perforated tabs. The statuette has
also the right breast blunted, as well as the right shoulder, on which one can notice several
creases and by us, represent the manner of rendering the clothes for the upper part of the body.
The statuette is brick-like coloured, tempered with sand and chaff, very weak burning,
rather backed.
This representation may belong to the level named as the settlement from where the
group of statuettes comes.
11. Fragment of statuette (Fig. 52/1; Photo 9/4) representing part of a torso.
What was preserved of the statuette has sexual female features, namely the breasts
which are rendered by two pointed nipples and the buttocks prominently modelled. The buttocks
of this representation are separated by a deep incision. On its back one can see the extremity of
an oblique incision (could it be part of the incisions representing the hair?).
The statuette is black, semi-fine, sandy, very good burning.
Judging by its structure and its basic features, the statuette may be attributed to the
levels of Lumea Nou culture, or probably of the Turda culture.
12. Fragment of statuette (Fig. 52/2; Photo 10/3) representing part of a torso from the
neck down up to the first quarter of the thighs.
The statuette is decorated with incisions. On the chest there is an incised triangle with
its point headed downwards. Inside it, there are incisions parallel to the one of the sides of the
triangle. The back of the statuette is decorated with three angular parallel incisions, which from
the buttocks go up point headed. From the shoulders other angular incisions go down conversely
arranged. These incisions may stand from a garment (probably a shirt). Something new is the
fact that there is a modelled swelling on the lower part of the torso and there are no buttocks
rendered. These details classify a male statuette, one of the few examples of this kind throughout
the Neolithic and Aeneolithic.
The arms are lateral facing and perforated.


124

The statuette is black, semi-fine, tempered with sand, good burning.
This representation may be considered to belong to Lumea Nou culture or probably to
the Turda culture.
13. Fragment of statuette (protome?) (Fig. 52/5; Photo 10/4).
Its adjustment to a pot led to the very schematic representation of its essential features.
The look rendered by the incised eyes is orientated upwards, its nose is long and the nostrils are
in fact two round impressions. The incisions on the chest and on the back of the protome suggest
its wrapping like that of a mummy.
The representation is brick-like coloured, semi-fine, sandy, very good burning.
According to its structure and its main features the statuette may come from the Lumea
Nou strata or, probably, those of Turda culture.

The stratigraphy of the prehistoric settlement of Alba Iulia-Lumea Nou has already
been dealt with in two articles (Berciu, Berciu 1949, 1-18; I. Berciu 1968, 53-60). According to
the former paper, the settlement has a stratigraphy whose depth varies from 0.70 to 2.00 meters.
This stratum is divided into three sub-levels more on the account of the typology of the pottery
than on the difference in colours, in structure or architectural of the discovered levels (Berciu,
Berciu 1949, 4). We keep in mind that the painted D
1
species, belonging to Lumea Nou culture,
is found also in the lower levels of the Turda culture, while the D
2
species belonging to the
Petreti culture is found, mainly, in the middle and upper levels (Berciu, Berciu 1949, 9).
These observations are complemented with those of the Ion Bercius article, which for a
long time have been ignored. On this occasion we find out more complex and correct
information, about the stratigraphy of the site (I. Berciu 1968, 55-56).
Level I (the oldest) belongs to Turda culture, with sporadic Starevo-Cri ceramic
fragments. This level has two different horizons. The former consist of huts and the letter of
surface dwellings. The huts may be 1.50 m depth.
Level II is separated from level I by a clay floor. Just like the next level, this one too,
belongs to the Lumea Nou culture and has deepened dwellings and huts. The surface dwellings
have not been discovered yet.
Level III consists of archaeological materials transitional towards the Petreti culture. In
what its architecture is concerned, the habitation of this level consists of surface dwellings. The
pottery consists of linear imports as well as of the best Vina-Turda structure (the Turda
culture in our opinion).
Level IV belongs to Petreti culture. According to the authors opinion this level ends
the evolution of Lumea Nou culture. On this settlement it has been discovered a pottery deposit
belonging to Basarabi culture.


125

In the arable soil there have been discovered pottery fragments belonging to Coofeni
culture, as well as traces of Roman habitation. Sometimes, these traces made up an independent
level.
These observations of vertical stratigraphy and complemented with the ones obtained
from the comparison of the different areas where excavations had been done at Lumea Nou,
determined the author of this work to draw conclusions valid at present too (I. Berciu 1968, 56-
58).
The first observation (I. Berciu 1968, 56) points out the participation of the Tisa culture
to the genesis of Petreti culture, even if the author claims that this influence is not necessary
fundamental.
The second observation (I. Berciu 1968, 56-57) refers to the birth of Transylvanian
Vina-Turda culture (actually the earlier A and B Phases of the Vina culture and about the
Turda culture formed on Vina elements during the late Vina B
2
Phase). We are not talking
about the old Vina-Turda culture early Vina in our system meaning Vina A and B Phases
and as it has been said in some articles and books recently published, I totally agree with this
observation (Luca 1995-1996; Luca 1997b, 71-76; Luca 1999, 7-14; Luca 2000, 96-104; Luca
2001, 95-143, 147-152; Luca, Pinter 2001, 34-40, 81-90) concerning the relative dating of this
civilization. But it is about another Phase of ex Vina-Turda background Early Vina which
developed under new circumstances, created by the Middle Neolithic of the central Transylvania.
This couldnt be more valid, as it can be noticed certainly on a different scale and with other
arguments throughout my latest works (Luca et al. 2000; Luca et al. 2000a).
Further on, Ion Berciu whom we have mentioned so many times makes observations
about the way in which the earlier Vina culture evolved in Transylvania claiming that: The
earlier Vina background continued its existence in central Transylvania unlike in its other
areas of development and went on evolving and assimilating some Starevo-Cri elements
among which the painted pottery before burning was an essential factor. This phenomenon
stands for the originality of the Middle Neolithic the Developped Neolithic, in our opinion in
the central Transylvania, in this way leading to the lasting of the Vina-Turda and Starevo-
Cri background and creating the base for the development of the Petreti type painted pottery
(I. Berciu 1968, 57). Certainly, the birth of Petereti culture was influenced by the evolution of
the Turda culture, previous to the Peteti and subsequent to the earlier Phases of the Vina
culture. It is still an enigma the role of the Lumea Nou culture, whose painted materials are
rather painted species of another culture the Turda culture in our case? similar to the case of
the new discoveries in the south-west of Transylvania the Tula facies it is certain to be
painted type of the Turda culture. If it would have been the same case with the Lumea Nou
culture, the understanding of the historical realities of that moment would be easy. All the other
observations that are to come in this article concern the legs of the pots, the decorations
consisting on incised points, the technique of pottery making, of painting, of folds and stone
tools making. These are very precise and accurate for a better understanding of the
Transylvanian Neolithic and Aeneolithic of that moment (I. Berciu 1968, 57-58), but they have
not been used properly by the subsequent historiography.


126

In what concerns the fine arts published here, they represent, totally, moments of the
late chronology, middle Aeneolithic, maybe early Aeneolithic from Alba Iulia-Lumea Nou
site.


127

Illustration catalogue
Fig. 51. Trtria-Gura Luncii and Alba Iulia-Lumea Nou. Aeneolithic fine arts from
Gheorghe Alunguleseis collection.
1. Alba Iulia-Lumea Nou. Fragment of a statuette. Head. Brick-like
coloured, sandy, fine, very good burning.
2. Alba Iulia-Lumea Nou. Fragment of a statuette. Body. Brick-like
coloured, sandy, semi-fine, good burning.
3. Alba Iulia-Lumea Nou. Fragment of a statuette. Head and superior part of
the body. Brown coloured, sandy, rough, good burning.
4. Alba Iulia-Lumea Nou. Fragment of a statuette. Head. Brick-like
coloured, sandy, weak burning baked.
5. Alba Iulia-Lumea Nou. Fragment of a statuette. Head and a part from the
body. Greyish-brown coloured, tempered with sand and chaff, weak burning baked.
6. Trtria-Gura Luncii. Head from a statuette. Brown coloured presenting
burning spots, tempered with sand and chaff, very good burning, polished and with slip.
Fig. 52. Trtria-Gura Luncii and Alba Iulia-Lumea Nou. Aeneolithic fine arts from
Gheorghe Alunguleseis collection.
1. Alba Iulia-Lumea Nou. Statuette fragment. Part from the body. Black,
semi-fine, sandy, good burning.
2. Alba Iulia-Lumea Nou. Statuette fragment. Part from the body. Black,
semi-fine, sandy, sandy, with mica, good burning.
3. Trtria-Gura Luncii. Fragment from a small altar. Brick-like coloured
(the interior is black), semi-fine, sandy, levelled with spatula, good burning (secondary).
4. Trtria-Gura Luncii. Statuette fragment. Head. Yellowish, fine, sandy,
with slip, very good burning.
5. Alba Iulia-Lumea Nou. Statuette fragment (protome?). Brick-like
coloured, semi-fine, sandy, good burning.
6. Trtria-Gura Luncii. Statuette fragment. Brownish with grey slip, very
good burning (the core is black).


128

Fig. 51. Fine arts from la Lumea Nou and Trtria settlements.


129

Fig. 52. Fine arts from la Lumea Nou and Trtria settlements.


130

Foto 9. Fine arts from la Lumea Nou and Trtria settlements.


131



132



133



134


135

CATEVA IDEI (FR NOTE DE SUBSOL) DESPRE
PLASTICA NEOLITICA SI ENEOLITICA

Prezentul articol ne permite s emitem i unele opinii, care nici nu mai trebuiesc
justificate dup mine prin trimiteri bibliografice, deoarece sunt un bun comun pentru toi cei
care cunosc realitile neoliticului i eneoliticului din Banat, Criana i Transilvania, dar i
pentru toate culturile perioadei, luate n general.
Observaia de baz de la care pornim este cea dup care statuetele ntregi apar extrem de
rar astfel n perioadele strvechi. Este clar, dup noi, c aceast observaie se poate transforma
ntr-o axiom, ntr-o regul strict pentru comunitile neolitice sau eneolitice. Dac statuetele
ntregi sunt mai dese n neoliticul timpuriu (mai ales cele de tip Venus, dar, atenie, acestea au
i atribute falice evidente), o dat cu neoliticul dezvoltat i cu eneoliticul acestea devin tot mai
rare. Puinele piese descoperite ntregi dup neoliticul timpuriu sunt astfel n mod cert
datorit unor ntmplri sau fenomene magicoreligioase particulare.
Cum de se rup majoritatea statuetelor din lut ?
Exist mai multe modaliti de desprindere a capului de trunchi, dar i de fragmentare a
trunchiului, cruia, n prealabil, i s-a ndeprtat capul. Dar s vedem, mai departe, care sunt
variantele acestui ritual.
Capul este secionat de corp prin mai multe procedee:
- Prin prinderea ntr-o mn a corpului i n cealalt a capului i, mai apoi, prin
rsucirea s-au smulgerea capului; dac acesta capul a fost modelat separat i prins de corp
prin procedeele la ndemn n epoc, acesta rmne ntreg;
- Prin lovirea capului statuetei de un obiect tare; n acest caz capul statuetei se
desprinde la fel ca mai sus, dar pri ale capului (ceafa, cretetul, pri din masc) se rup separat;
- Prin lovirea capului de un suport elastic (duumea, pmnt etc.); n acest caz
capul se poate desprinde alturi de pri din umerii statuetei, secionarea acestuia nemaifiind att
de clar, bine delimitat, fa de restul corpului;
- Prin aruncarea statuetei cu putere i la distan; n acest caz, secionarea capului
survine n urma unei lovituri ntmpltoare, nedirecionate precis, deci desprinderea prilor
anatomice amintite nu mai rezult dup reguli pe care le vedeam ca fiind posibile mai nainte;
- n sfrit, ruperea statuetei se poate datora i unor intervenii ulterioare; de
exemplu, descoperirea unor idoli pgni sau descoperirea pieselor de copii i distrugerea
acestora n urma jocului.

Corpul, o dat secionat, poate fi i el, la rndul su, resecionat:
- Printr-una dintre metodele enumerate mai sus se secioneaz, de obicei, picioarele
de restul corpului; aceast aciune are drept rezultat ruperea picioarelor / postamentului sub fese,
deci partea care rmne ct de ct ntreag este doar torsul.


136

Minile, ca parte a torsului statuetelor, se rup n mai multe moduri:
- n cazul n care sunt modelate n lateral, schematizate, braele se rup n dreptul
perforaiilor, n cazul n care acestea exist sau se desprind n zona lipirii de corp;
- n cazul n care acestea sunt modelate realist, acestea se desprind n aa mod nct
se pierd braele i antebraele;
- Modalitile de rupere a minilor survin tot n urma unor gesturi ca mai sus, n
exemplele date pentru desprinderea / ruperea capului.

Sigur c n parte unele statuete, fie ele zoomorfe sau antropomorfe, se rup sau i
pierd poriuni din corp i din ntmplare, n timpul miilor de ani de pn la noi, existnd sute de
situaii n care acestea pot fi distruse.
De cele mai multe ori ns, procesul de rupere, distrugere a statuetelor, este intenionat
i se desfoar raional. Acest lucru implic gesturi raionale, greu de neles n acest moment.
Putem lega aceste manifestri de existena unor ritualuri ce implic att intenia de exonerare a
unor diviniti, ct i, mai ales, procese de magie neagr (sigur c aceasta, magia neagr, suport
i alte procedee, cum ar fi mpungerea unor pri ale corpului statuetei, trecerea prin foc,
ndeprtarea sau deteriorarea ochilor sau a altor pri anatomice etc.).
n primul caz s-ar pune n discuie ideea noastr mai veche, dup care n locuinele
oamenilor din neolitic i eneolitic ar exista truse magice, ca i n alte civilizaii mai apropiate
n timp de noi, acestea reprezentnd fie ipostaze ale existenei aceleai diviniti, fie diviniti
apropiate ca i competene, toate, mpreun, avnd un rol precis pentru propirea spiritual i
material a familiei n casa creia erau adpostite.
n al doilea caz, suntem n faa culturii nescrise, greu de descifrat n orice perioad
sau epoc. Gesturile i ritualurile magice rmn acoperite sub negura secretului. Ritmul acestora
este trepidant, dar greu de surprins de un privitor neavizat. Finalitatea acestuia se desfoar sub
semnul transcedentalului. nelegerea procesului magic este rezervat unor alei care, la rndul
lor, sunt alei. Astfel, statuetele pot fi fabricate special ca reprezentnd pe cineva, pentru a fi,
mai apoi, distruse intenionat prin gesturi i procedee n urma crora s sufere o persoan
creia i se adreseaz farmecele. Statuetele pot fi nepate, strpunse, rupte prin rsucire etc.
dup cum ne-o arat variantele de distrugere amintite mai sus. Poate c astfel se pot explica i
faptul c proporiile prilor anatomice ale corpului uman respectate, uneori pn la obsesie, de
artitii din perioada neolitic sau eneolitic.
Toate aceste observaii ne dezvluie o lume la fel de complicat i n acelai simpl
ca i societatea contemporan, n manifestrile sale populare. Oamenii au fost i sunt tot att
de complexai n faa imensitii iraionalului care i nconjoar, uneori prea strns. Debueul
gsit este, ntotdeauna, n cultura marginal, deviant, dar mplinit n lumi paralele, dac dorim.
Tocmai de aceea intrepretarea acestor gesturi i procese (proceduri) rituale i gsesc
locul undeva la marginea raionalului sau poate n plenitudinea lui ?, vor fi greu de descris
tiinific pentru lumea de astzi sau pentru cea din preistorie.


137

SOME IDEAS (WITHOUT BIBILIOGRAFICAL REFERENCES) REGARDING
NEOLITHIC AND AENEOLITHIC FINE ARTS
This article allows us to express some ideas, which do not even need justification in
my opinion by bibliographical references as they belong to those who know the features of the
Neolithic and Aenolithic in Banat, Criana and Transylvania, and also to all the cultures of the
period.
The basic theory is that, entire statuettes appear very seldom in the Ancient periods. In
our opinion, obviously this observation may change into an axiom, into a strict rule of the
Neolithic and Aeneolithic communities. If the entire statuettes are more frequent during the Early
Neolithic (especially those of the Venus type, but keep in mind that these have obvious fallus
type features too) once with Developed Neolithic and Aeneolithic they are more sporadic. The
few statuettes discovered after the Early Neolithic are certainly found like this because of some
private magic-religious phenomena.
Why most of the clay statuettes broke?
There are many ways of separating the head from the body and also of braking up the
body after the head had been remouved. Let us see the alternatives of this ritual.
The head may be removed from the body in many ways:
- By holding the head in one hand and the body in the other and then twisting or
pulling out the head; if the head was modelled separately and linked to the body by using the
techniques close at hand in the epoch, it remains unbroken;
- By striking the head against a hard object, in this case the head separated from the
body in the same way mentioned before, but parts of the head (the nape, the top, parts of the
mask) are separately broken;
- By striking the head against an elastic prop (the floor, the ground etc), a case in
which the head is separated together with parts of the shoulders, the separation not being very
clear and well delimited as related to the body;
- By throwing the statuette with force and at a considerable distance, in this case,
the separation of the head comes as a result of an incidental blow, without a precise direction, so,
the separation of the anatomical parts of the body, does not observe the possible rules already
mentioned;
- Finally, braking-up the statuette may undergo some subsequent interventions; e.g.
the discovery of some pagan idols or the discovery of the statuettes by children and their
destruction after playing with them.

The body, once it had been parted, it may be broken-up once again:
- The legs are usual separated from the body according to one of the rules
mentioned above. This means breaking the legs/pedestal from under the buttocks and what
remains relatively unbroken is just the torso.


138

The arms, as part of the torso, are usually broken in several ways:
- If they are orientated towards lateral and schematically rendered, the arms
will be broken where they are perforated, or where they are linked to the body;
- If they are not modelled in a realistic manner, they will be broken in such
a way that the arms and the forearms are destroyed;
- The ways of breaking the arms follow the model of separating/breaking
the head.

Obviously, some of the statuettes, either anthropomorphic or zoomorphic, are broken
or lose part of their body incidentally, through thousand years until today, being possible
hounded of cases when the statuettes can be broken.
But mostly, this separating and breaking process is done on purpose and develops
rationally. This process implies rational gestures, difficult to understand now. We can relate
these attitudes to the practice of some rituals implying the worshipping of some deities / gods
and especially black magic processes (of course that black magic bears also other process as the
piercing and burning of some parts of the statuette, the removal or deterioration of the eyes or
other anatomical parts).
For the first case we could approach an old idea of ours, according to which in the
peoples dwellings in the Neolithic and Aeneolithic, as well as at other more recent civilizations,
there were discovered magic kits. These may represent Phases of existence of the same deity
of deities with similar powers and together they contributed substantially to the material and
spiritual prosperity of the family they belonged to.
In the second case, we are dealing with the unwritten culture which is difficult to
make out in any period or epoch. The gestures and the rituals are wrapped in a mysterious veil.
Their rhythm is thrilling but difficult to feel by a person not very well informed. Its purpose is
related to the transcendental. Only gifted people are able to understand the magic ritual, people
who had also been chosen by someone above. Hence, the statuettes can be made especially to
represent somebody and then broke on purpose, by gestures and procedures that are meant to
hurt the person from whom the charms are done. The statuettes can be sung, pierced, broken
by twisting them, according to the rules mentioned above. This may explain the fact that the
proportionality of the human body is obsessively rendered by the Neolithic and Aeneolithic
artist.
All these observations reveal a world as complicated and simple in the same time as
our contemporary society is its folklore manifestations. People would be and still are self-
conscious in front of the irrational that surrounds them, sometimes too close. The outlet found
always is in the marginal, deviant culture, but fulfilled in parallel world, if we like.
This is why the interpretation of this gestures and processes who are located somewhere
on the edge of the rational or probably in its plenitude? is difficult to describe scientifically for
the people from now-days or for those of the prehistoric epoch.


139

Mulumiri

Majoritatea articolelor cuprinse n volumul ce urmeaz se datoreaz colaborrii noastre
cu profesori, cercettori, muzeografi i pasionai de arheologice fr studii de specialitate.
Trebuie s mulumesc n primul rnd profesorului Gheorghe Lazarovici fr de care
nu reueam s desluesc tainele arheologiei. De asemenea, i vd, fr s mai triasc printre noi,
pe profesorul Hadrian Daicoviciu sau Nicolae Vlassa. n vremea nceputurilor bnene, nu
reueam nimic fr suportul directorului Muzeului Judeean Reia, Ilie Uzum, regretatului
Florin Medele sau a omului de teren, amator n ale arheologiei, tot att de regretatul Ion
Dragomir. mi amintesc cu plcere de discuiile nverunate cu Florin Draovean, dar i de
regretatul arheolog Marian Gum sau de blndul i sftosul Caius Scrin.
Aceast carte se datoreaz i altor colegi din vestul sau nord-vestul rii. Eva Lak,
Doina Ignat, Sever Dumitracu, Jannos Nmeti, Zoia Kalmar-Maxim sau demn de a fi pomenitul
Nea Iercoan sunt doar civa dintre cei care merit amintii.
O mare parte din articolele republicate cu acest prilej au fost discutate cu eminentul
profesor Vladimir Dumitrescu. Susinerea acestuia am simit-o muli ani dup decesul su prin
doamna profesor Silvia Marinescu-Blcu, creia i mulumesc cu acest prilej.
M-au mai sprijinit i consiliat i alte personaliti. mi amintesc de academicianul
Alexandru Vulpe (primul conductor de doctorat), regretatul profesor Iuliu Paul (cel cu care mi-
am susinut doctoratul), Magda Mantu-Lazarovici, Mirel Popovici i atia alii.

Sunt ncntat de familia mea, Corina i Adrian. Soia cu ndrjire i ncpnare a
sprijinit prin toate mijloacele cariera i cercetrile mele, iar fiul o urmeaz cu sfioenie. Le
mulumesc !

Trebuie s dedic aceast carte celor 20 de generaii de student, masteranzi i
doctoranzi/doctori care au urmat fr ca s-i pun prea multe ntrebri indicaiile, dar i
drumurile noastre.
Doresc s le mulumesc i colegilor care au muncit la traducerea n limba englez a
textelor, dr. Cosmin Ioan Suciu, dr. Anamaria Tudorie i dr. Raluca Teodorescu.


140

Acknowledgement

Most of the articles from this volume are the result of my collaboration with professors,
researches, curators and people that are passionate about archaeology but without having special
training in this field.
I have to thank first of all Professor Gheorghe Lazarovici, without whom I couldnt
solve the mysteries of archaeology. I also see, without him being present any more among us,
Professor Hadrian Daicoviciu or Nicolae Vlassa. At the moment I started my work in Banat
region, I couldnt have created anything without the support of Reia County Museums
director, Ilie Uzum, late Florin Medele or the man specialized in field researches, only an
amateur in archaeology, late Ion Dragomir. I remember with pleasure the fierce discussions I
used to have with Florin Draovean, but also the ones with late archaeologist Marian Gum or
the ones with gentile and loquacious Caius Scrin.
This book is also due to other colleagues from western or north-western part of the
country. Eva Lak, Doina Ignat, Sever Dumitracu, Jannos Nmeti, Zoia Kalmar-Maxim and the
one who is worth mentioning here Nea Iercoan are only a few from the ones that deserve to
be mentioned.
A great part of the republished articles on this occasion have been also discussed with
the eminent Professor Vladimir Dumitrescu. I felt his support many years after he passed away
through Professor Silvia Marinesc-Blcu, to whom I what to thank on this occasion.
I have been supported and advised also by other personalities. I remember here
Academician Alexandru Vulpe (my first doctoral supervisor), late professor Iuliu Paul (the one
with whom I have finished my doctoral thesis), Magda Mantu-Lazarovici, Mirel Popovici and so
many others.
I am delighted with my family, Corina and Adrian. My wife persistently and
stubbornly supported through all means my career and researches and my son is following,
with shyness, the same career. I thank them!

I have to dedicate this book to all 20 generations of students, masters and doctorate
students/doctors that have followed without asking themselves too many questions my
indications, but also my paths.
I want to thank also the colleagues who worked at the translation in English of the
texts, Cosmin Suciu ph.D, Anamaria Tudorie ph.D and Raluca Teodorescu ph.D.

Sibiu, 18
th
of May 2014

The author


141

Abreviation

AAASH Acta Archaeologica Academiae Scientiarum Hungaricae, Budapesta
AAC Acta Archaeologica Carpathica, Cracovia
AAH Acta Archaeologica Hungariae, Budapesta
AB(SN) Analele Banatului (serie nou), Muzeul Banatului, Timioara
ActaH Acta Harghitensia, Miercurea Ciuc
ActaMN Acta Musei Napocensis, Muzeul Naional de Istorie a Transilvaniei, Cluj-
Napoca
ActaMP Acta Mvsei Porolissensis, Muzeul Judeean, Zalu
ActaTS Acta Terrae Septemcastrensis, Universitatea Lucian Blaga din Sibiu
A Archaeologiai rtesit, Budapesta
AICSU Anuarul Institutului de Cercetri Socio-Umane, Academia Romn, Sibiu
Angustia Angustia, Muzeul Carpailor Rsriteni, Sfntu Gheorghe
AO(SN) Arhivele Olteniei (serie nou), Academia Romn, Craiova
APA Acta Praehistorica et Archaeologica, Berlin
Apulum Acta Musei Apulensis, Muzeul Naional al Unirii, Alba Iulia
AR Archaeometry in Roumania, Bucureti
AttiX Atti del X Simposio Internaionale sulla fine del Neolitico e gli inizi
dell'Et del Bronzo in Europa (n volumul Il passagio del neolitico all'et
del Bronzo nella regione Alpine), Lazise-Verona, 8-12 aprile, 1980
AVSL Archiv des Verains fr Siebenbrgische Landeskunde, Neue Folge,
Hermannstadt / Sibiu
BA Biblioteca de arheologie. Institutul de arheologie, Academia Romn,
Bucureti
BAI Bibliotheca Archaeologica Iassiensis, Iai
Balcanica Balcanica. Annuaire de L'Institut des tudes Balkaniques, Belgrad
Banatica Banatica, Muzeul Banatului Montan, Reia
BAR British Archaeological Reports, International Series, Oxford
BBAM Bri Blogh Adam Muzeum vknyv, Szkszrd
BCSS Buletinul cercurilor tiinifice studeneti, Universitatea 1 Decembrie
1918, Alba Iulia
BerRGK Bericht der Rmisch-Germanische Komission des Deutschen
Archologischen Instituts, Frahkfurt am Main
BHAB Bibliotheca Historica et Archaeologica Banatica, Muzeul Banatului,
Timioara
BMA Bibliotheca Musei Apulensis, Muzeul Naional al Unirii, Alba Iulia
BMN Bibliotheca Musei Napocensis, Muzeul Naional de Istorie a Transilvaniei,
Cluj-Napoca
BS Bibliotheca Septemcastrensis, Universitatea Lucian Blaga din Sibiu
BZS Beitrge zum Neolithikum in Sdosteuropa, Viena 2000
CA Comori arheologice, Bucureti
CCA Cronica Cercetrilor Arheologice, Ministerul Culturii, Bucureti
CCDJ Cultur i Civilizaie la Dunrea de Jos, Muzeul Dunrii de Jos, Clrai
CCCE La civilisation de Cucuteni en contexte europen, Iai
CB Caiete Banatica seria arheologie, Muzeul Judeean, Reia
CI Cercetri istorice, Iai


142

CISPP 2 Actes VIII CISPP (Congresul internaional de tiine pre- i protoistorice),
Belgrad
ComSA Comunicri. Seria arheologie, Muzeul Olteniei, Craiova
Corresp. Correspondenzblatt der Deutschen Gesselschaft fr Anthropologie,
Ethnologie und Urgeschichte, Berlin
Corviniana Corviniana. Acta Mvsei Corvinensis, Muzeul Castelul Corvinetilor,
Hunedoara
CPF Cahiers de Portes de Fer, Beograd
Crisia Crisia, Muzeul rii Criurilor, Oradea
Cumidava Cumidava, Muzeul Judeean, Braov
Dacia Dacia. Recherches et dcouvertes archologiques en Roumanie, Bucureti
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Academia Romn, Bucureti
DolgSz Dlgzatk a Szegedi Jszef Tudomnyegyetem Archaeologii Interzebl,
Szeged
Drobeta Drobeta, Muzeul Porilor de Fier, Drobeta-Turnu Severin
rdMz rdly Mzeum, Cluj
FA Folia Archaeologica, Budapesta
ForVL Forschungen zur Volks- und Landeskunde, Academia Romn, Sibiu
FRP Festschirft fr Richard Pittioni, Viena
FU Freiburger Universittsbltter, Freiburg
Germania Germania. Anzeigen der Rmisch-Germanischen Kommision des
Deutschen Archologischen Instituts, Frankfurt am Main
Godinyak Godinyak, Centar za balkaniloska ispitivanja, Beograd
HTRT A Hunyadmegyei Trtnelmi s rgszeti Trsulat vknyve, Deva
Istros Istros, Muzeul Brilei, Brila
ITSR Istorie i tradiie n spaiul romnesc, Universitatea Lucian Blaga din Sibiu
JAM Jsa Andrs Mzeum vknyve, Nyiregyhza
JPEK Jahrbuch fr prhistorische und etnographische Kunst, Berlin
KzlC Kzlemnyek, Cluj
LNMDR The Late Neolithic of the Middle Danube Region, Timioara
LNTR The Late Neolithic of the Tisza Region, Budapest-Szolnok
Marisia Marisia. Studii i materiale, Muzeul Judeean, Trgu Mure
Materialj Materialj, Belgrad, Bor
MCA Materiale i cercetri arheologice, Bucureti
MCD In Memoriam Constantini Daicoviciu, Cluj
MemA Memoria antiquitatis, Muzeul Judeean, Piatra Neam
MemMCSN Memoria Museo Civico Stato Nationale, Verona
Mitteilungen Mitteilungen aus den Baron Brukenthalischen Museum, Sibiu
MittArch Mitteilungen des Archologische Institut der Ungarischen Akademie der
Wissenschaften, Budapesta
MFM A Mra Ferenc Mzeum vknyve, Szeged
MN Muzeul Naional, Muzeul Naional de Istorie a Romniei, Bucureti
OrtieFD Ortie. Fragmentarium documentar, Ortie
PBF Prhistorische Bronzefunde, Berlin
Peuce Peuce, Complexul etno-muzeal, Tulcea
PISC Publicaiile Institutului de Studii Clasice, Cluj
PMJH Publicaiile Muzeului Judeean Hunedoara, Deva


143

Pontica Pontica, Muzeul Judeean, Constana
PPS Proceedings of the Prehistoric Society, Cambrige
PZ Prhistorische Zeitschrift, Berlin
RA Rassegna di Archaeologia (L'Et del Rame in Europa), 7, Firenze, 1988
RadVojMuz Rad Vojvodianskih Muzeja, Novi Sad
RC Ruban et Cardial, Lige, 1990
RevMuz Revista Muzeelor, Bucureti
RTIH Rellation Thraco-Illyro-Helleniques, Bucureti 1994
SA Slovensk Archaeologia, Bratislava
SAA Studia Antiqua et Archaeologica, Universitatea Al. I. Cuza, Iai
Sargetia Sargetia. Acta Musei Devensis, Muzeul Civilizaiei Dacice i Roman, Deva
SC Studii i comunicri, Muzeul Judeean, Sfntu Gheorghe
SCIV(A) Studii i comunicri de istorie veche (i arheologie), Academia Romn,
Bucureti
SIBan Studii de istorie a Banatului, Academia Romn, Timioara
SIT Studii de Istorie a Transilvaniei, Cluj-Napoca
SMM A Szolnok Megyei Muzemok vkonyve, Szolnok
Starinar Starinar, Belgrad
StComB Studii i Comunicri Brukenthal, Muzeul Brukenthal, Sibiu
StComCar (Tibiscum) Studii i Comunicri de etnografie i istorie, Muzeul Judeean de Etnografie
i al Regimentului de grani, Caransebe
StComSM Studii i Comunicri. Satu Mare, Muzeul Judeean, Satu Mare
STh Studia Thracologica, Institutul de Tracologie, Bucureti
StUnivBB Studia Universitatis Babe-Bolyai, seria Historica, Cluj Napoca
StUnivBBT Studia Universitatis Babe-Bolyai, Theologia graeco-catholica Varadiensis,
Oradea
St Studijn vesti, Nitra
TG (red.) G. Tgls, Hunyadvrmegye Trtnete (I, Hunyadvrmegye fldejnek
trtnete az skortl a honfoglalsig), Budapesta 1(1902)
ThD Thraco-Dacica, Institutul de Tracologie, Bucureti
ThPrae Thracia Praehistorica. Supplementum Pulpudeva 3. Semaines
Philippopolitaines de l'histoire et de la culture Thrace, Plovdiv (Sofia)
Tibiscus Tibiscus, Muzeul Banatului, Timioara
VAH Varia Archaeologica Hungarica. Neolithic of Southeastern Europe and ist
near Eastern Connections, Szolnok-Szeged
VCRCC The Vina Culture, its Role and Cultural Connections, Muzeul Banatului,
Timioara
VPMIST Via privat, mentaliti colective i imaginar social n Transilvania,
Oradea-Cluj-Napoca
VW Vina and its World, Belgrad
Ziridava Ziridava, Muzeul Judeean, Arad
Zf.E Zeitschrift fr Ethnology, Berlin


144


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Art and Religious Beliefs in The Neolithic and Aeneolithic From Romania

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