Alba Regia. Annales Musei Stephani Regis. – Alba Regia. Az István Király Múzeum Évkönyve. 16. 1975 – Szent István Király Múzeum közleményei: C sorozat (1978)
Tanulmányok – Abhandlungen - Makkay János: Excavations at Bicske. I, 1960. The Early Neolithic – The Earliest Linear Band Ceramic. p. 9–60.
opted it in the decorative motifs of their own earliest pottery( 16 ). 4. The pattern burnished technique. In this technique the matt surface is retained as a background to a design of polished lines. This technique differs from the impressed linear technique in Bicske in that the polished lines lie flush with the surface and are produced by contrast with the matt background rather than by differences in depth as well as polishing as in impressed lines. Only very infrequently can a tiny fractional depth difference be observed in the polished line technique. It was apparently made by rubbing a blunt-ended tool back and forth regularly or irregularly over the surface. Traces of the implement itself appear as a succession of shiny lines, a little darker than the unburnished areas. Only a few fragments belong to this category, from the material of house 1. 1971 (Cat. Nos. 30, 31, 32), some pieces from pit 1. in trench III. 1976, with worn surfaces (Cat. Nos 146, 147), and finally a conical bowl with a flat base from the 1959 excavations (Cat. No. 38). The surface colour of all the sherds is black although the bowl is graybrown in colour. This technique is unknown in the Körös-Starcevo culture material of the Great Hungarian Plain, so that its origins remain obscure. 5. The stroke burnished technique. In this technique the surface is completely polished, but the marks on the burnished slip made by a pebble or a bone remain distinct. This technique occurs on a number of sherds. Among these are sherds from the bowls of two pedestalled vessels with stroke burnishing on the outer walls (Cat. Nos. 23 and 24), as well as an example from the outer wall of a rounded based bowl (Cat. No. 29). On the latter the thin oblique lines which cross themselves in an inverted V form can be seen on the lustrous gray surface when the piece is held slantingly to the light. On the wall fragment of one pedestalled bowl long zig-zag lines cross the whole outside surface. On the other bowl the crossing lines formed three or four vertical bands which repeated themselves symmetrically around the body. This stroke burnished technique is somewhat similar to the technique of impressed lines. This decorative technique with essentially similar motifs, also occurs in the material of the KörösStarcevo culture of the Great Hungarian Plain on outer walls of pedestalled bowls( 17 ). There is one important difference, however. The Körös-Starcevo cul(16) In some of our earlier works we dated this decorative technique to a late phase of the Körös-Starcevo culture: J. MAKKAY, ,,Das frühe Neolithikum auf der Otzaki Magula" und die Körös- StarcevoKultur. AArchHung, XXVI, 1974, 148. — In the course of recent excavations on Körös-Starcevo sites in Co. Békés this decoration turned out to have been used in all probability in every phase of the KörösStarcevo culture. (17) Excavations of the author on Sites Szarvas, Co. Békés, site no. 8., Endrőd, Co. Békés, sites no. 35. and 39. Unpublished. ture cross-hatching or zig-zaging between the vertical bands is regular while the space between the vertical Bicske bands is filled with irregurlarly spaced lines running in various directions. No doubt, the earliest Transdanubian Linear Pottery adopted this technique from the Körös-Starcevo culture. The chronological position of the stroke and pattern burnished ceramics of Bicske must be considered relative to a sherd found in 1959 at the developed Notenkopf site of NeszmeTy-Tekeres patak( 18 ). The sherd has a fine clean paste, is thin walled, well fired, and gray polished on the outside with pattern burnished dark gray bands. The ends of the pattern burnished bands do not end evenly while the polishing of the bands is not neatly executed at the borders (Cat. No. 54, PI. XIV, 9 and XV, 5). To our knowledge, this piece is unique in the ceramic material in the whole development of the Notenkopf pottery in Transdanubia. It is apparent that both these techniques (i. e. stroke burnishing and pattern burnishing) of the developed Notenkopf pottery material were not the result of direct influence of the earliest Transdanubian Linear Pottery forms which developed locally from the earliest Neolithic times into the Notenkopf pottery. The high quality of the piece is also inconsistent with this idea. It seems most likely that this sherd was part of a vessel imported from the Southern Balkans. A special type of Tsangli pottery with „dunkelgrauen Mustern auf grauem Grund"( lö ) might be offered as a contemporary parallel if the chronological contemporaneity of the Tsangli and developed Notenkopf phases could be proved. Most probably however, populations from an early phase (probably phase A) of the Vinca culture( 20 ) acted as the real intermediators in this connection. 6. Incised motifs. It must be emphasized that not a single piece of typical Notenkopf pottery has been found in the material of the two features (house 1. 1971 and pit 1. in trench III. 1976). Among finds (18) The excavations of the author in 1959. Cf. Alba Ilegia XII, 1971 (1972) Fig. 6, (Í. (19) H. HAUPTMANN — V. MILOJCIC, Die Funde der frühen Dirnini-Zeit aus der Ar api Magula, Thessalien. ВАМ, Band IX, Bonn, 1969, p. 44. (20) M. M. VASIC, Preistoriska Vinca, vol. IL Beograd, 1936, PL CIV, fig. 29. (9,1 m) and vol, IV. Beograd, 1936, fig. 22, nos. 195 (10,03 m), 196 (9,0 m), 197 (9,0 m), 200 (8,3 m) and 201 (8,2 m). — One part of these finds is from the early Vinca A phase. Therefore they may be contemporary with Thessalian parallel examples dated to the Tsangli phase. Cf. S. DiMiTRiJEVic, Sopotska-lengyelska kultúra. Zagreb, 1968, p. 68. — At the Same time, both the ThesSalian and Vinëa pieces must be earlier than the piece from Neszmély, since the late Notenkopf — early Zseliz date of the site at Neszmély corresponds to a later Settlement phase of the site at Vinca, probably Vinca Bl. See N. KALICZ •— J. MAKKAY, Gefäße mit Gesichtsdarstellungen der Linienbandkeramik in Ungarn. IDOLE, о. c, Wien, 1972, p. 9—12; J. PAVTJK, Zur Deutung der Importe in Vinca für die Chronologie des Neolithikums. Studijnó Zvesti AÚSAV,' XIII, 1964. 38—39; ID., Chronologie der Zeliezovce-Gruppe. SlovArch XVII, 1969, 35Ï— 352. 24
