Inkrustovana keramika bronzanog doba u srpskom Podunavlju:
Gespeichert in:
| Beteilige Person: | |
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| Format: | Buch |
| Veröffentlicht: |
Beograd
Vojni Muzej [u.a.]
2013
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| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028091171&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028091171&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | PST: The bronze age encrusted pottery in the Serbian Danube region. - In kyrill. Schr., serb. - Zsfassung in engl. Sprache |
| Umfang: | 305 S. Ill., graph. Darst., Kt. |
| ISBN: | 9788633503976 |
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| 246 | 1 | 3 | |a The bronze age encrusted pottery in the Serbian Danube region |
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Datensatz im Suchindex
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| adam_text | THE BRONZE AGE
ENCRUSTED
POTTERY IN
THE SERBIAN
DANUBE
REGION
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
During the Bronze Age the whole Danube region was exposed to constant eth-
nic, economic, cultural, and stylistic trends. Several cultural groups with different stylistic
characteristics which emerged during this period, as well as their development, succession
or parallel existence give special importance to the area of the Danube region. At the be-
ginning of the Middle Bronze Age, the groups with encrusted pottery made their way to
the Central and Lower Danube region, stylistically distinctive, with no close ties with the
previous cultures in this region. This style would soon become very accepted, regardless of
the ethnicity of certain cultural groups, and extend to a significant area of the Danube re-
gion. It would cover almost the entire Pannonia and surrounding regions, Serbian Danube
region and to the east region from the Iron Gate and Oltenia and northwestern Bulgaria.
Also, in the Bronze Age, this is the unique example that, in the specific economic and cul-
tural conditions and in such a geographically limited area, figural sculptures redeveloped.
In the central part of the Carpathian Basin, the home region of encrusted pottery,
based on typological characteristics, two cultural groups were separated: in the north -
North Pannonian, and in the south, or in the area of Central and Southern Hungary and
part of the Croatian Danube region, South Transdanubian encrusted pottery culture. Af-
ter stabilization of this style, typical for ornamental concepts, methods and techniques
of decoration, as a result of complex ethnic and cultural developments in the late Early
and early Middle Bronze Age that affected most of the Carpathian Basin, there were mi-
gration movements toward the Serbo-Croatian Danube region. At first, encrusted pottery
appeared to a limited extent there, and later it became the dominant phenomenon or sec-
ondary, very strong and long lasting center of this style.
Encrusted pottery groups on Serbian territory, which, due to the general character-
istics and different decorative style, clearly separated from simultaneous cultural groups,
were placed in chronological framework from 1800/1700 to 1200/ 1100 BC.
We believe that examining the archaeological material originating from sites in
Serbia, its detailed comparison with the results of adjacent and simultaneous cultural
groups, their placement in specific and clearly defined chronological framework and the
results that we have obtained during the latest research in the past few years will enable
forming a clearer idea about the development of the cultures that existed in Serbia during
the Bronze Age and provide the best possible basis for future research. 1
1. History of Research on Encrusted Pottery Groups
In this section, we first look back at the introduction of the term encrusted pottery,
then at some of the most important research in the countries in the region, and then in
Serbia.
At the International Congress of Prehistoric Anthropology and Archaeology held
in Budapest in 1876, F. Rómer used the term encrusted pottery for the first time. On
that occasion, he presented a series of ceramic objects found on the territory of Hungary,
which, in the technique of making and method of decorating, were unknown to the wider
public by then. For this, he suggested the term Pannonian pottery. In a paper published in
1904, M. Wosinsky attributed this ceramics to the culture of encrusted pottery, with the
different types from the Northern and Southern Danube region and related types from the
Lower Danube. He placed encrusted pottery from Banat and the Danube region in the late
Bronze Age. Division of the territory with encrusted pottery in the Carpathian Basin into
173
Mirko Peković
North Pannonian area, as a closed cultural entity, and the area south of the Danube was
introduced by P. Patay and for these two genetically closely related groups he proposed the
term North Pannonian Encrusted Pottery and Encrusted Pottery of South Transdanubia.
A. Mozsolics has repeatedly objected to the inconsistencies in the use of the term Encrust-
ed Pottery Culture, and proposed to introduce a term Veszprém for the Northern Danube
region culture and Szekszárd for the Southern.
Having perceived the territorial distribution of the encrusted pottery, production
and decorating techniques, as well as a unique burial ritual, I. Bòna believes that this is the
same Bronze Age culture in the whole region, with local variations, and proposed a single
term Encrusted Pottery Culture.
However, he accepted confirmed typological differences, and uses the following
names for the local variants: for the North Transdanubian - Esztergom and Veszprém
group, and for the Southern Danube region - Szekszárd and Pése groups. Considering the
problem of groups with encrusted pottery in Hungary, G. Bandi and T. Kovács expressed
an opinion on the independence of Szeremle group, based on the findings from a number
of sites.
Czech archaeologists determined the stratigraphic position of North Pannonian
encrusted pottery at several sites in Slovakia. At the site of Malé Kosihy, A. Tocic found
that a layer containing North Pannonian encrusted pottery corresponds to the end of the
Br A. In the opinion of M. Dusek, the North Pannonian group spread and developed on the
territory north of the present-day Budapest and engulfed most of the Slovak Republic, and
the Southern Danube region group covered the areas east of Lake Balaton to the Danube,
from Budapest to Slavonia. He gave a comprehensive list of the North Pannonian pottery
sites in the Slovak Republic (Patince, Malé Kosihy, Nitriansky Hrádok, Stúmovo etc.), as
well as numerous sites in Hungary on which this pottery appears as an import (Gerjen,
Kölesd, Medina, Harc, Szekszárd et al.).
Several authors were dealing with the issue of encrusted pottery in Romania. D.
Berciu dated the findings from Oltenia, similar to Dubovac—Žuto Brdo, to the Middle
Bronze Age. V. Dumitrescu dated the most significant finding of Gèrla Mare group in Olte-
nia, necropolis of Cirna, to the Middle Bronze Age. M. Guma put Žuto Brdo—Gèrla Mare
group in Romanian Banat, in which he distinguished three different phases, in the period
Br B2 — Br D. Unlike him, S. Morintz distinguished four phases of the group dating them
to Br B/C- Br D. Both authors support the view of the role of Szerémi group in the forma-
tion of Žuto Brdo-Gàrla Mare group. After exploring multi-layered settlement Ostrovul
Corbului, P. Roman and B. Hansel, considering the emergence of the Lower Danube region
groups with encrusted pottery, expressed the opinion which excluded the impact of Szeré-
mi group in their creation. In his synthetic paper on the Žuto Brdo-Garla Mare culture, M.
S. Chicideanu concluded that in its development there were three phases which included
a period of Br A to Br D.
In the discussion about the Late Bronze Age in North-Western Bulgaria, V. Mikov
was the first of Bulgarian archaeologists to consider the issue of encrusted pottery. After
years of excavation of the necropolis in Orsoya, T. Filipov has published approximately
180 graves, but he used the movable excavations only for typological analysis. A. Bonev
also examined this material on two occasions. In recent works, T. Salganova has linked
the oldest layer of Baley to the classical phase of Žuto Brdo culture, and she called the late
Bronze Age cultures in North-Western Bulgaria Novo Selo—Baley, Baley—Orsoya groups or
encrusted pottery cultures along the Lower Danube.
174
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
The issue of encrusted pottery in Croatia has been repeatedly dealt with by K.
Vinski-Gasparini and N. Majnarič-Pandžič, as well as J. Šimič in recent times. N. Majnarič-
Pandžič particularly emphasized the impact of Szeremle group on forming specific groups
with encrusted pottery in Croatia and Serbia. She also suggested again the name Dalj-Bi-
jelo Brdo group for the findings of the Bronze Age encrusted pottery in Eastern Slavonia,
as G. Childe did in 1929. She stated that Szeremle group, falling back before the culture
of burial mounds, moved into the triangle of the Drava and the Danube and took on some
new features, which led to the formation of Dalj-Bijelo Brdo group. In the concluding
observations of her work on the cultures with encrusted pottery from the Bronze Age in
North-Eastern Croatia, J. Šimič even expressed the opinion that the leaders of Dalj-Bijelo
Brdo group, who crossed to the left bank of the Danube and migrated further eastward,
participated in the creation of Dubovac-Žuto Brdo group in South-East Vojvodina.
The findings of encrusted pottery on Serbian soil very early attracted the atten-
tion of the world public. In 1890, M. Valtrovič published anthropomorphic figurine from
Kličevac, discovered in 1881, which was brought as a gift to the National Museum, and
which attracted the attention of archaeologists and entered into all archaeological text-
books.
At the end of 19th century, a number of sites were discovered in Banat, and the ex-
cavated objects arrived in private collections and museums. A significant part of the mov-
able excavations is located in a museum in Vršac, thanks to the dedicated work on collect-
ing objects done by F. Milleker. He has performed less research at some sites. According
to his and the other authors’ data, these sites generally consist of necropolis with crema-
tion, sometimes with inhumed deceased, while the settlements are mentioned very rarely.
Although only a small portion of the material comes from the excavations, it still made a
significant contribution to the study and knowledge of the encrusted pottery cultures.
After the Second World War, more intensive archaeological research began that,
in addition to the contribution to new knowledge about encrusted pottery groups, also
provided data to determine their chronology.
In 1948, in Vojvodina, excavations of the necropolis in Ilandža were carried out,
folowed by those in Orešac in 1957 and 1959. Then, in the sixties, Stojiča gumno site near
Belegiš was excavated and in the period from 1956 to 1985, systematic research of Go-
molava was done, as well as of Popov salaš from 1961 to 1965 and multi-year research of
Gradina on the river Bosut that started in 1964.
In the mid sixties, during reconnaissance and minor excavations in the area of
Sombor and Odžak, S. Karamanski noted several sites with encrusted pottery, mainly set-
tlements, from which, in addition to pottery, he collected a large number of figurines.
In the seventies and early 80’s of 20th century in the northern part of the site At
near Vršac the necropolis with encrusted pottery was excavated. Also, in the late eighties
and early nineties, multilayer settlement Feudvar near Mošorin was excavated, as well as
Stubarlija necropolis in the period from 1992 to 1994.
In North-East Serbia the following research should be emphasized: Grad site, in
the village of Usje, carried out in 1957 and 1958, when Glamija necropolis near Korbovo
(33 graves) was excavated, and in the period from 1957, 1960-1961 and 1980-1981 ne-
cropolis Korobovo-Pesak with over 40 graves. Intensifying research of the sites in the Iron
Gate has begun with the plans to build a hydroelectric power plant.
Research carried out in Braničevo has also contributed significantly to the study
of Dubovac-Žuto Brdo group. We would point out the sites of Orašje near Dubravica, then
175
Mirko Peković
Drmno-Lugovi settlement, Pećine site in Kostolac, and a significant number of sites dis-
covered during reconnaissance.
The issue of encrusted pottery from the Bronze Age in Serbia was dealt with by
several authors, though they mainly explained its appearance at the sites they explored.
The first major works were published only after the Second World War.
In his extensive work on the prehistoric cultures from the Early Neolithic to the
Early Bronze Age, V. Milojčić systematized and chronologically determined the archaeo-
logical material from the territory of Serbia, Vojvodina and Northern Croatia, which was
the starting point, among other things, for consideration of the issue of encrusted pottery.
In the seventies of 20th century, two major synthetic publications on prehistory of
Serbia and Vojvodina were published, which presented a comprehensive archaeological
material.
In the book of Serbian prehistory, M. Garašanin put Dubovac-Žuto Brdo group
into the Middle and Late Bronze Age, or Br B to Br D/Ha A. The works of R. Rašajski
should also be noted. Based on the tombs in the At necropolis, he pointed to the elements
of the Middle Bronze Age in the whole Carpathian Basin and partially corrected the mi-
gration dating of the leaders of Transdanubian encrusted pottery culture, or Szeremle
group.
However, of all the authors in our literature, N. Tasić mostly dealt with the issue of
encrusted pottery groups. In several synthetic papers he presented a thesis on the migra-
tion of the leaders of encrusted pottery to the south, which is explained by their falling
back before the invasion of the leaders of Hügelgräber culture. This, according to him,
resulted in forming of Szeremle style in Baranja and the region between the Danube and
Tisa, and in creating a secondary center of encrusted pottery culture in Southern Banat,
South-Western Romania and North-Western Bulgaria, as well as formation of dubrovačka
culture that at a later stage developed into Žuto Brdo culture. N. Tasić distinguished two
groups of encrusted pottery in the Croatian and Serbian Danube region, the Northern or
group Baranja-Bačka, whose start is connected to the end of the Early Bronze Age, and
the Southern or group Banat-the Serbian Danube region, at the beginning of the Middle
Bronze Age.
2. Encrusted Pottery Sites
The area of distribution of findings and sites with encrusted pottery on Serbian
soil, based on the published works, is fairly accurately determined. New movable archaeo-
logical material collected in the museums in Serbia, and to a lesser extent in private col-
lections, did not change significantly our understanding of the encrusted pottery findings
in our territory.
In Serbia, there are more than 150 encrusted pottery sites from the Bronze Age. At
only ten sites systematic studies were carried out, while the others were explored partially
in the protective or trial excavations, or noted during reconnaissance. The paper covers
131 sites in alphabetical order, with the name of the place given first, then the name of the
site and at the end of the municipality where it is located. The number that is in front of
the site covered in this chapter corresponds to the number on the attached map (Map 1).
The site name is followed by the number of illustration (table) at which the material from
this site is displayed. A number of sites that have recently been discovered, of which we
176
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
were unable to obtain information on the exact location, nature of the site and material,
are not taken into account.
Uneven display of materials, both in text and illustrations, stems from the fact that
only certain sites were systematically explored, and where significant movable material
was collected, and that the majority was collected by reconnaissance or the material is
from private collections, reduced to a few fragments of pottery. In order to gain full insight
into the available material, we did not want it to be separated; instead it was consolidated.
3. South Danube Pottery Findings on the Territory of Serbia
The South Danube group belongs to a broad cultural complex of encrusted pot-
tery cultures that was formed at the end of the Early Bronze Age in the area between the
Danube, Lake Balaton and to the northern regions of the Carpathian Basin. Unlike Baranja
in Croatia, which is certainly an integral part of the Southern Transdanubian encrusted
pottery following up on the area that this group covers in the central and southern part
of Hungary, from Lake Balaton to the Drava River, the sites of this pottery group in our
territory, in Bačka and on some sights in Srem, are the peripheral area of spreading the
Transdanubian cultural area and can be seen as a short-term penetration of the leaders of
this style (map 2).
In the South-Western Bačka a number of sites were discovered from which you
cannot get a true picture of their stratigraphy, but it can be concluded that this material
appears with pottery from the late Early and early Middle Bronze Age. In Southern Bačka,
three sites that provided a clearer stratigraphic picture were systematically explored. On
Popov salaš near Kač, in the lowest layers of the Vatin culture settlement, pottery with the
features of Ottomani, Southern Transdanubian and Szeremle groups was also discovered.
The settlement of Feudvar near Mošorin is similar to this, where together with the Vatin
pottery, encrusted Southern Transdanubian and Szeremle pottery appears, and in the ne-
cropolis of this settlement, Stubarlija, in the skeleton tomb 2, Southern Transdanubian
one-handled floor cup was discovered, while the necropolis of the Middle Bronze Age, ac-
cording to P. Medovič, entirely belongs to encrusted pottery of Szeremle type.
There are the findings of this pottery group in Srem, such as Gradina site on the
Bosut river, where it was located in Bosut III horizon, Lice in Erdevik in a layer with Vatin
pottery, and also on Gomolava near Hrtkovci in layer IVa, on Golokut near Vizič, where
in the grave with the deceased in a contracted position, Vatin, Mokrin and South Danube
region pottery was found, and in the necropolis of Belegiš culture Stojiča gumno, where
in two graves (78 and 97), South Transdanubian pottery was found. We believe that they
represent the import.
In the following part of this chapter typological analysis of ceramic materials is
given. According to the functional forms of this pottery from the territory of Serbia, we
can single out only three forms of vessels including: cups, bowls and pots. This pottery is
generally made from purified clay, it is well baked, and the colors vary from reddish-brown,
pale brown, brownish-gray and gray. The outer surface is partially polished, smooth, and
less often coarse, mostly on larger vessels and in places where they were not ornamented.
Ornament is made by engraving, stamping, grooving and notching.
Not so much material allowed us only a partial insight into the material culture of
this group, but it was instructive enough to be able to spot a number of analogies in our
neighborhood.
177
Mirko Peković
4. Szeremle Pottery Findings in Serbia
Beginning of the Middle Bronze Age in the territory of Serbia, in the South-Western
and Southern regions of Bačka, at some sites in Srem and the Southern and South-Eastern
Banat, was marked by the appearance of encrusted pottery belonging to Szeremle style
(Map 3). The breakthrough of Mad’arovce culture in the area of the North Danube region
groups caused their displacement to the south. South of the mouth of the river Sió and in
the southern parts of the area between the rivers Danube and Tisa, Szeremle group, style,
or phase of development of encrusted pottery, was shaped by merging forms of the South
and North Transdanubian pottery. With further migration to the area between the Danube
and the Drava, Szeremle and South Danube region groups existed at the same time, as
indicated by findings from several sites in this area, until the appearance of Hügelgräber
culture. Further movements of the leaders of this style were to the south and can certainly
be traced to the confluence of the Sava and Danube rivers.
This pottery was found at several sites in South-Western Bačka during reconnais-
sance or minor excavations but with no reliable data on the stratigraphy, while in South
Bačka at the site Feudvar, the South Danube region and Szeremle pottery appears together
with Vatin, and in the necropolis of this settlement Stubarlija several tombs belonging to
encrusted pottery were explored. Also, on Popov salaš in the lowest layers of the village
Vatin culture, fragments of Szeremle group were discovered.
In Srem at the site of Gomolava near Hrtkovci in layer IVa, together with Vatin
and South Transdanubian pottery, a cup distinctive of Szeremle group was discovered.
This pottery was also found in the necropolis in Surčin with no information about the
graves, and in the necropolis Kaluđerske livade, tomb 69, together with the vessel from
earlier stage of Belegiš culture the bowl decorated with ornaments typical of Szeremle
pottery was found. This pottery was discovered at several sites in Southern Banat. Except
those sites where minor excavations were carried out at the end of the nineteenth or early
twentieth century (Kovin Ludoš), the important sites are At, Orešac and Staro Selo. Eight
graves were discovered in the necropolis At, three in Orešac and one in Omoljica with a
number of vessels with characteristics of Szeremle style.
According to the functional forms, Szeremle pottery includes multiple vessel forms,
namely: amphorae-ums, pots, cups and bowls of Mad’arovce type. Szeremle pottery was
made of more or less purified clay mixed with fine-grained sand, it is unevenly baked, and
the colors vary from reddish-brown, light brown and gray. The outer surface of these ves-
sels, although it may be rough and unpolished, mostly is polished and shiny, and in some
vessels, such as bowls and amphorae, it can be both polished and have a fine coating of
clay. Ornament in the Szeremle pottery is made by engraving, stamping, grooving and the
ornament made by notching is missing.
In this chapter below, there are numerous analogies between the pottery from our
territory and the materials from our surroundings.
5. Dubovac - Žuto Brdo Findings in Serbia
178
Moving the leaders of the early stages of encrusted pottery to the south, in the
Serbo-Croatian Danube region, the area of Baranja was first to be affected, and then, with
further migrations through the Danube region to the south, fertile ground for further de-
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
velopment of encrusted pottery was located in Banat and the Lower Danube. In this area,
under the influence of Vatin and Verbičioara group that was prone to encrustation, there
was the mixing of many cultural elements from which Dubovac-Žuto Brdo group emerged.
Dubovac-Žuto Brdo cultural group included the area of Southern Banat, narrow
coastal strip of the Serbian Danube region from the mouth of the Morava to the east, the
sites on the Danube islands, southern and southwestern parts of Oltenia and Northwest-
ern Bulgaria (map 4).
In Serbia, more than a hundred sites were discovered, however, such a large
number of sites is inconsistent with the level of their exploration.
The settlements of the Dubovac-Žuto Brdo group members are still insufficiently
known. Based on previous research, it can be concluded that they were located on river
terraces, mainly of the Danube and its tributaries, as well as at the mouths of small riv-
ers. The existence of a considerable number of sites has resulted, most likely, in creating
greater number of settlements. Frequent spills, floods and erosion have significantly dam-
aged, and possibly completely destroyed some settlements. In most cases, these are single-
layer or settlements with a horizontal stratigraphy. The existence of highland settlements,
except for the observations made by M. Vasić, has also been confirmed in recent studies
on hilly landscape in the hinterland of the Iron Gate, on Miroč Mountain. Also, only a few
sites were found in the Iron Gate.
The knowledge of Dubovac-Žuto Brdo group is, for the most part, based on the
movable material collected from the necropolis. Bearing in mind that a number of ne-
cropolis was discovered at the beginning of the last century, more detailed information on
their location and method of burial in recent years has been provided by a few, relatively
well-researched necropolis in Serbia, as well as in Romania and Bulgaria. The position of
necropolis was carefully chosen and determined by the clear intention to be formed close
to the rivers. The basic form of burial is cremation of the deceased. It was done out of ne-
cropolis and cremated remains were collected and placed in the urns that were deposited
in shallowly dug pits. Sometimes, part of the grave inventory was also placed in the urns
and it was covered with a bowl. Other ceramic vessels were also placed in the grave, usually
at the urn height, and sometimes there were also anthropomorphic figurines and omito-
morph rattles in the graves. There are also the graves where the remains of the cremated
deceased were placed on the bottom of the pit, as in the case of the graves in Ludoš, At, and
most likely a few graves in the necropolis Korbovo-Pesak and probably one grave in the
necropolis Glamija.. The existence of common - family graves, double and triple graves, is
determined in the necropolis of this group.
According to the functional forms, the pottery of this group can be grouped into:
urns, bowls used as covers for urns, bowls, cups with one or two handles, cups, double
bowls, zoomorphic vases, pedestals, inglenook containers, lids and objects made of baked
clay.
Pottery of this group is very diverse, both in terms of shapes and decorating. It was
modeled freehand, made from refined clay which, depending on the vessel size, was sup-
plemented with coarse-grained or fine-grained sand. The surface of the vessels was often
carelessly flattened, less baked and brown in color. This pottery is characteristic mainly for
settlements. For vessels that were used as grave goods, the outer surface is mainly polished
and often painted with fine coating of clay before baking.
An earlier stage of development of Dubovac-Žuto Brdo group is characterized by
heterogeneity of pottery forms and ornamentation. The dominant form is the so-called
179
Mirko Pekovič
vessels of floor type. Classical phase is characterized by a change in the form of vessels and
characteristic forms are pear-shaped or biconical amphorae, cups with one or two handles,
stands for urns. The feature of this stage is much richer ornamentation, and there are also
motifs unknown in the earlier stage.
Although there are not enough elements to distinguish the final phase of the group,
it may be indicated by the appearance of decorating with the use of shallow, wide grooves
and hornlike features and by an increased percentage of undecorated pottery.
6. Decorating and Analysis of the Ornament Motifs in the Southern Danube Region,
Szeremle and Dubovac—Žūto Brdo Group
As for the groups with incrusted pottery in the territory of Serbia, the Southern
Danube region group is the most prominent with its specific and recognizable ornaments,
typology and style. On the other hand, the connection, even similarity of style and orna-
ments of Szeremle and Dubovac—Žūto brdo group.
The Southern Danube region group has rather simple ornament motifs and de-
pending on the shape of the vessel they cover the entire surface or just some parts orna-
ments are placed using engraving, embossing, notching and grooving (table 7).
Amphoras are sometimes decorated by the so called comb ornament, viz. an entire
surface of monotonous, deep incised lines, a combination of vertical beams or slanted lines
that sometimes form a lattice, square or rhomboid motif. The neck of these vessels is often
unadorned, but it can be decorated by wavy or zigzag lines. The ornament can be zone
distributed. A frequent ornament is a series of narrow and broad grooves, parallel lines,
branded motifs V or M-shaped, shaded areas that are quite deep and filled with a white
ground.
Cups in this group never contain comb ornaments. The decorations on these ves-
sels are placed in two zones, i.e. in the upper part the ornament is placed horizontally and
vertically on the bottom. Frequently, parallel notches and grooves of different widths are
placed on the top, above the M or V decoration. The squeezed cup portion, which separates
the upper from the lower part is often decorated by grooves filled with inlay.
The Southern Danube region bowls, such as cups, are decorated in zones. Only
rarely and mostly bowls of coarse structure, the entire surface of the vessel is covered by a
simple comb ornament. From the top to the widest part of the bowl the ornament is done
horizontally and in the lower part to the bottom, vertically.
The ornamental motifs on Szeremle pottery may be quite simple but also very di-
verse. The ornaments are placed by cutting, stamping and grooving, while the notching
ornament is missing (table 8).
Amphoras of this group are sometimes undecorated, decorated with simple orna-
ments or adorned by rich ornaments. At some amphoras there is also slightly emphasized
plastic rib around the body, at the height of the handles, and some have hom-like exten-
sions. The simplest decoration is placed deeply incised lines or grooving, a combination
of vertical beams or slanted lines i.e. grooves which sometimes form a lattice or diamond-
motif and is always placed on the lower part of the body. When amphoras are decorated,
the rim is ornamented by groups of short transverse incisions, and this is the first time the
internal openings of the vessels are decorated. In the upper part of the vessel, horizontal
and vertical zones are combined. Concentric circles in combination with a couple of verti-
180
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
cal incisions are usually impressed on the neck. The central motif is usually a combination
of three elements i.e. horizontal lines, derived from the short transverse incisions, which
end in circles on the top or bottom, while the ornament on the lower part of the body is
performed by a combination of horizontal and vertical beams of incised lines.
Bowls are similarly ornamented, though the decoration is somewhat simpler. It is
placed at the top of the bowl, conceptually similar to the amphoras, while the bottoms are
often ornate since they are used as urn covers. Because of the distinctive forms and orna-
ments, cups are the most characteristic vessel shapes in the group. The main ornamental
motifs are the large concentric circles filled by white lime ground. They are four arranged
on the neck and upper body. Sometimes this decoration is complemented by grouped se-
ries of short vertical incisions; V-shaped bands filled by notches and dotted stings.
Dubovac-Žuto brdo group is characterized by a variety of decorating techniques
and concepts of ornamental compositions. The majority of ornamental motifs are derived
by cutting and stamping, and they can also be decorated by channeling and relief orna-
mentation although this is only occasional towards the end of this period (table 9/1-2).
One of the peculiarities of Dubovac-Žuto brdo group ornamentation is the tendency to
avoid leaving empty space on the vessels. Among the incised ornamental motifs arcades
or zigzag lines hold prominent position, often in combination with vertical beams. Com-
mon motifs are also wavy or zigzag lines, rarely independent, but commonly appearing as
integral parts of ornamental compositions, a combination of bundles of parallel lines with
dotted stings, hatched triangles and diamonds, usually in small groups, making a small
ornamental whole. Also, the tangent circles, placed through short furrow lines, strings of
garlands and arcades, often in combination with concentric circles, making independent
decor in the form of strips, complex bag motifs or set frontally, as well as current, con-
nected continuous meander motif, is a common theme in stands.
In addition to these motifs, which are largely independent decors, Dubovac-Žuto
brdo group pottery includes a series of ornaments which has a certain value and role in
the system of decoration in addition to its secondary value. Concentric circles, different
circular depressions and semicircles are placed using marking technique. This ornament
is characteristic on urns and bowls. Channeled ornaments, mainly vertically placed, are
rare and present on a limited number of bowls, urns and pots with one or two handles.
Embossed ornament is represented by plastic ribs, scrolls and various forms of bumps
primarily of decorative effect.
In addition to the immediately detected differences, all of these groups possess
common ornamental and stylistic elements. Firstly, as fundamental and most character-
istic ornamental motif, embossed concentric circles filled with white lime ground. In all
three groups, these concentric circles are arranged in groups of three, four or more circles.
The motif evident in all groups of pottery is a single or multiple V or M motif. Also, iden-
tical ornaments at the outer rim or grouped series of short transverse incisions are also
evident. In addition to the more obvious ornamental motifs, one of the vessel decorating
characteristics in these groups is the zonal arrangement of ornaments. This can be noticed
by the almost ornamentally separate parts of the vessels, viz. the upper part of the bowl is
mostly decorated with several simplified motifs similar to those at the central part of the
vessel, which are a combination of several elements, while the fret at the lower part of the
body is reduced to a combination of simple incised or grooved motifs.
What distinguishes Southern Transdanubian pottery from these groups is its spe-
cific ornamentation. When decorating a vessel of this group, the most significant elements
181
Mirko Peković
are the wider strip, circular depressions, narrow and wide belts with significant infill white
lime ground, performed by notching which as vessel decorating technique is not found in
the other two groups. The same can be said of decorating the entire surface of the vessel
by sequential comb ornaments, executed by deeply incised lines.
The merging of form Northern Transdanubian pottery would shape the Szeremle
group, a particular style and phase in the development of incrusted pottery. Its decorative
repertoire, with its vertical organization, comprises the prevailing motifs of the Northern
Transdanubian while, to a lesser extent, those from the Southern Transdanubian group
are retained.
In many Northern Transdanubian localities (Šturovo, Šalov, Iža, Kamenica and
Patince) pottery ornate by motifs more or less present in Szeremle and later Dubovac -
Žuto brdo group ornaments is found (table 10). The central ornament of these are the ver-
tical motives, viz. one, two or three short or long lines ending in small circles. These circles
may be located above the lines outlined by multiple V or M motifs and parallel incised
horizontal lines. On either side of the central motif, notched horizontal lines, spirals or
elongated oval fields are often placed, a common motif in Szeremle, especially Dubovac-
Žuto brdo group where it is later complemented by concentric circles. Also, parallel hori-
zontal and vertical bands with a series of small circles along with the tendril motif shapes
of hanging moustache often combined with concentric circles lined by dotted stings is
taken from the Northern Transdanubian group.
One of the ornamenting innovations in Szeremle pottery, also adopted by the
Dubovac - Žuto Brdo group, is decorating the inside of the vessel, just below the rim. In
the Northern and Southern Transdanubian vessels, the inner side is never ornamented.
The reason for this decoration is the fact that the rim is particularly large in a number
of amphoras and bowls, flaring almost horizontally, causing the inner part to be fully ex-
posed to view. The Szeremle vessels this decoration segment is quite simple and includ-
ing a series of short vertical incisions, stretched zigzag lines complemented by circles or
inverted V motifs, while the Dubovac-Žuto Brdo group themes also include the horizontal
lines sometimes filled with a series of notches, circles, triangles and garlands. The rim is
decorated in a similar fashion. One of the identical ornamental motifs is the embossed
concentric circles, mainly placed at the high-neck vessels arranged in a triangle, square or
most commonly in the form of a cross.
The similarity of the two groups of ornaments is particularly prominent in case of
the so-called amphora condominium type. The development of ornamental motifs is clear-
ly evident through them, from the simple, such as the Szeremle amphoras, via the more
complex to extremely diverse ornaments. On one hand the same vertical derivative motifs
are repeated four times or, alternatively, two by two different designs. Central ornaments
in both groups comprise tripartite scheme. In Szeremle vessel three parallel, vertical in-
cised lines ending with circles punched and current, mainly fourfold V motif placed above.
This motif is often complemented by small tendrils, dotted punctures and short incisions.
In Dubovac-Žuto Brdo group, this motif is significantly transformed and supplemented by
for e.g. curly ornaments, concentric circles, and many other elements, but despite these
tripartite scheme remains constant. Then there is the garland motif of Szeremle vessels,
single or double, widely placed and connecting concentric circles. The motif of garlands in
Dubovac-Žuto Brdo group also appears n the form of lining placed below the rim, and at
the body of the amphora combined with concentric circles.
On the lower body part of the Dubovac-Žuto Brdo group vessel the ornament is
182
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
almost identical to the simple decoration of the Szeremle vessels. In addition to amphoras,
similar ornaments can be found on howls, which basically have a similar scheme. This
similarity is evident in the types of bowls, especially those in which the rim is modeled
angular and from which the handle starts.
Also, Dubovac-Žuto Brdo and Szeremle group pottery are similar in the relief or-
naments. At some Szeremle group amphoras, the slightly prominent rib around the body
at the height of handles is present and some of them even have hornlike extensions. This
function of this embossed ornament in Dubovac-Žuto Brdo group is predominantly deco-
rative.
In addition to evident common motifs, the ornamentation of these groups also has
significant differences. These are primarily reflected in the richness and variety of the
ornaments and ornamental compositions. The new decorations and ornaments unseen in
the Szeremle group are the ongoing meander and current coil, spiral disks connected by
loops, oppositely positioned pairs of arched lines with scrolls at the ends and the shaded
triangles or diamonds with spiral tendrils arranged at the corners.
Cups with one or two handles are also different from the Szeremle cups, both in
form, as they have no form of condominium and knee grips, and the richer and more di-
verse ornamental motifs present in Dubovac-Žuto Brdo group. However, concentric cir-
cles also appear here as a common ornament, yet much smaller and less prominently filled
with white lime ground.
Analysing ornamental motifs, the distinctive designs are most clearly set in South-
ern Transdanubian group. Nevertheless, all of these groups have common ornamental
motifs present in their original form. The ornamental repertoire of the Southern Trans-
danubian group, no excessive influence of other cultures can be observed, while much
more susceptible to these was the Northern Transdanubian group which is ultimately re-
flected in the further development of its ornamental style. This development can be traced
through the main ornamental scheme, consisting of three elements. In Northern Trans-
danubian group it is fairly simple, becoming more diverse in the Szeremle group, with the
use of different varieties, while the diversity is particularly evident in Dubovac-Žuto Brdo
group.
7. Chronology and periodization
The results of the archaeological materials systematized in this fashion have been
used in the final section of this paper. Finding the appropriate timeline for certain Bronze
Age cultures is a highly complex issue, even more so with the inconsistencies and dis-
crepancies in the chronologies used here and in the neighbouring countries in view. In
addition to this problem, when it comes to the incrusted pottery group, the lack of metal
objects is evident, primarily those found in safe cultural contexts. Therefore, the things
relied upon most for dating was the typological analysis of pottery and analogies with the
neighbouring cultures, which does not always lead to safe conclusions.
At the end of the Early Bronze Age in the area between the Danube and Lake
Balaton and further towards the northern regions of the Carpathian Basin, the core of the
incrusted pottery culture was formed - the early stages of Vatya, Hatvan-Tokod, the early
phase of Northern Pannonian and Southern Pannonian pottery. After these groups were
stabilised, migrations towards the Serbo-Croatian Danube occurred.
183
Mirko Peković
The incrusted pottery of the Southern Transdanubia is genetically related to other
similar groups such as the Transdanubian Vatya, Gáta, Kisapostag, Hatvan. The emer-
gence the Southern Transdanubian incrusted pottery, in the areas east of Lake Balaton to
the Danube and from Budapest to Slavonia, marks the end of the Early and the beginning
of the Middle Bronze Age. On the other hand, the stratigraphic position of the Northern
Pannonian incrusted pottery, extending over and developing in the territories north of the
present-day Budapest, engulfing a large part of Slovakia, with its internal evolution, was
established at a number of sites in Hungary (Tószeg, Gomba-Várhegy, Hatvan), Romania
(Pecica) and Slovakia (Male Kosihy and Patnice), into the horizons belonging to the early
period and the beginning of the Middle Bronze Age. The development of the Northern
Pannonian and incrusted pottery of the Southern Transdanubia was mostly parallel, and
the existing differences were mainly due to the different bases and various influences on
their development. In the Pannonian sites, the artefacts belonging to these two groups are
often found together.
Based on the research done and analysis of the Danube region incrusted pottery,
the most probable theory is the one on the penetration of the Mad’arovce culture into the
northern area of the group, then moving through the Vatya culture area further south.
South of the Sió river mouth and in the southern parts of the area between the Danube and
Tisa rivers merging the Szeremle group would form, a style and phase in the development
of the incrusted pottery. In the decorative repertoire of the Szeremle style the dominant
motifs of the Northern Danube region were retained, while those from the Southern Dan-
ube region pottery are found is a lesser extent. Further migrations in the area between the
Danube and Drava the coexistence of Szeremle and the Southern Danube region groups
is evident, as confirmed by findings from several locations in the area, until the rise of the
Higelgreber culture i.e. period Br A2/Br B1 according to P. Reinecke. Further expansion of
this style stretches towards the south, and it certainly can be traced to the confluence of
the Sava and Danube rivers. These impulses from the northwest can be seen at the terri-
tories of Banat, Serbian Danube, Đerdap and Oltenia where a mighty secondary incrusted
ceramics culture centre i.e. Dubovac—Žuto Brdo—Gárla Mare was formed.
When it comes to Dubovac—Žuto Brdo culture at the territory of Serbia is Tasić’s
division into two stages in its development can be adopted. The emergence and stabiliza-
tion of the Szeremle group in this region would correspond to the B1 period, i.e. the time
when Pančevo—Omoljica phase of Vatya culture is experiencing a transformation into the
earlier phase. The symbiosis of the Szeremle group with the indigenous traditions leads
to transformation and new stylistic expressions with the emergence of the Dubovac—Žuto
Brdo culture, corresponding the period from the end of Br B1 and B2 beginning. The first
or the earlier phase of the development of this culture is characterized by heterogene-
ity of ceramic forms and ornamentation. The best example of this are the cemeteries in
the Southern Banat. The domination of this phase is represented by condominium type
vessels, urns and cups as bowls that are found in almost all the graves in several modali-
ties. Funnel neck urns are characteristic, with a short and narrow upper part below which
another recipient vessel is introduced. The ornaments on all the vessels are divided into
two segments: the upper part is decorated, fretted in combination with a coating of white
incrustation, conceived horizontally, and the lower part decorated with coarse irregular
incised lines and strips conceived vertically. In addition to the evident connection with the
Szeremle group vessels, a compulsory contribution in these cemeteries are the Mad’arovce
type cups indicating a close connection with this culture as well. During the stabilization of
184
THE BRONZE AGE ENCRUSTED POTTERY IN THE SERBIAN DANUBE REGION
the earlier phase of the Dubovac-Žuto Brdo group development the first indications of the
burial monuments culture appears in today’s Vojvodina i.e. Bačka. The end of the earlier
and start of the classical Dubovac-Žuto Brdo phase is placed at the Br B2 / Br Cl time. At
this stage, the ceramic forms dominant in the earlier phase were being abandoned. Name-
ly, instead condominium urns and cups, pear-shaped and byconical ones, with a plastic rib
at the widest part are introduced. Prevalent are cups with one or two handles, stands for
urns, etc.. The characteristic of the classical phase Dubovac-Žuto Brdo group ornamenta-
tion, as opposed to the earlier, is the tendency to avoid leaving empty space on the contain-
ers. Also, there is an evident correlation of ornaments with metal and other models, such
as vegetable, textile and also ornamental motifs unknown in the earlier stages, such as the
meander etc.. The start of the classical stage in this group, at the territory of the south-east
of Banat would be marked by a short coexistence with the Belegiš-Crucen culture which
is indicated by the entwining of the pottery of the two groups. In particular, the vessels
decorated by fake tape technique (Litzen) should be highlighted as this ornamentation is
characteristic of the early phase of the Belegiš-Cruceni culture development later aban-
doned as an ornamentation technique; it occurred within the short parallel evolution of
the two phases contrasted as provided by the chronological synchronization of the classi-
cal Dubovac-Žuto Brdo group phase and the early phase of the Belegiš-Cruceni culture
development. When the south-eastern area of Banat was imposed by the Hügelgräber in-
fluence and the spreading of the Belegiš culture, the outcome would yield on one hand
the assimilation and overtaking of this territory by the above cultures and on the other a
complete withdrawal of the Dubovac-Žuto Brdo group towards the Serbian Danube region
and Morava confluence to the east. Further development of Dubovac-Žuto Brdo group in
Serbia can be traced at the Braničevo and Kljuc areas.
Its classical phase there lasts throughout and to the end of the Late Bronze Age,
viz. the transition period towards the Early Iron Age. Although certain variations of geo-
metric motifs on the vessels can be noticed they do not provide sufficient evidence for its
further reliable division. For distinguishing the final phase of this group, as done by the
Bulgarian and Romanian archaeologists on the basis of certain bronze artefact from hori-
zon II from Baleya typical of the period Br D, due to the absence of metal artefacts on our
territory, the only observations in this direction can be typological. The final stage of the
group can be indicated by individual containers which in addition to them being undeco-
rated also have broad shallow flutes and hornlike ornament. This may also be indicated
by the presence of channeled pottery in the horizon with the pottery of this group. This is
evident in a number of sites, both in Braničevo and Ključ areas, which clearly indicates the
intertwining with neighbouring cultural groups (Belegiš, Gava Verbicioara IV-V). At these
locations, the enclosed complexes represent the youngest Dubovac-Žuto Brdo group ele-
ments, and also point to the fate of their community and their assimilation with the chan-
neled pottery falling at the time of the A1 according to Reinecke, i.e. around 1200/1100BC.
The data show that incrusted pottery on Serbian soil appears at the end of the Early
Bronze Age (Br A2/A3), and that the further development of these cultures can be traced
to the end of the Bronze Age and early Iron Age, viz. period Br D / Ha A1 (table 13).
185
CaflpMcaj
I Увод..................................................... 7
II Исторщат истраживан.а група са инкрустованом керамиком.. 11
III Налазишта са инкрустованом керамиком................... 23
IV Налази ¿ужноподунавске инкрустоване керамике у Србщи... 93
V Налази инкрустоване керамике Серемле типа у Србщи...... 103
VI Налази дубовачко-жутобрдске културне групе у Србщи...... 115
VII Украшаван е и анализа орнаменталних мотива на
jy KHOno,4yHaBCKOj, Серемле и дубовачко- жутобрдско) групи. 129
7.1.1ужнподунавска орнаментика...................... 131
7.2. Серемле орнаментика............................ 132
7.3. Дубовачко-жутобрдска орнаментика............... 134
7.4. Анализа орнаменталних мотива................... 136
VIII Хронологща и периодизащца............................. 143
IX Заюьучак.............................................. 163
Summary.................................................... 171
Индекс nojMoea............................................. 187
Библиографща............................................... 193
Табле
213
|
| any_adam_object | 1 |
| author | Peković, Mirko 1968- |
| author_GND | (DE-588)1073127931 |
| author_facet | Peković, Mirko 1968- |
| author_role | aut |
| author_sort | Peković, Mirko 1968- |
| author_variant | m p mp |
| building | Verbundindex |
| bvnumber | BV042658887 |
| ctrlnum | (OCoLC)913188808 (DE-599)BVBBV042658887 |
| format | Book |
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| geographic | Serbien (DE-588)4054598-2 gnd Mittlere Donau Region (DE-588)4290072-4 gnd |
| geographic_facet | Serbien Mittlere Donau Region |
| id | DE-604.BV042658887 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T17:16:48Z |
| institution | BVB |
| isbn | 9788633503976 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028091171 |
| oclc_num | 913188808 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 305 S. Ill., graph. Darst., Kt. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Vojni Muzej [u.a.] |
| record_format | marc |
| spellingShingle | Peković, Mirko 1968- Inkrustovana keramika bronzanog doba u srpskom Podunavlju Inkrustierte Keramik (DE-588)107457446X gnd Funde (DE-588)4071507-3 gnd Bronzezeit (DE-588)4008357-3 gnd |
| subject_GND | (DE-588)107457446X (DE-588)4071507-3 (DE-588)4008357-3 (DE-588)4054598-2 (DE-588)4290072-4 |
| title | Inkrustovana keramika bronzanog doba u srpskom Podunavlju |
| title_alt | The bronze age encrusted pottery in the Serbian Danube region |
| title_auth | Inkrustovana keramika bronzanog doba u srpskom Podunavlju |
| title_exact_search | Inkrustovana keramika bronzanog doba u srpskom Podunavlju |
| title_full | Inkrustovana keramika bronzanog doba u srpskom Podunavlju Mirko Peković |
| title_fullStr | Inkrustovana keramika bronzanog doba u srpskom Podunavlju Mirko Peković |
| title_full_unstemmed | Inkrustovana keramika bronzanog doba u srpskom Podunavlju Mirko Peković |
| title_short | Inkrustovana keramika bronzanog doba u srpskom Podunavlju |
| title_sort | inkrustovana keramika bronzanog doba u srpskom podunavlju |
| topic | Inkrustierte Keramik (DE-588)107457446X gnd Funde (DE-588)4071507-3 gnd Bronzezeit (DE-588)4008357-3 gnd |
| topic_facet | Inkrustierte Keramik Funde Bronzezeit Serbien Mittlere Donau Region |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028091171&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028091171&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT pekovicmirko inkrustovanakeramikabronzanogdobausrpskompodunavlju AT pekovicmirko thebronzeageencrustedpotteryintheserbiandanuberegion |