Szőllősy Csilla - Pokrovenszki Krisztián (szerk.): Alba Regia. Annales Musei Stephani Regis - Szent István Király Múzeum közleményei. C. sorozat 45. (Székesfehérvár, 2017)
Tanulmányok/közlemények - Régészet - Keszi Tamás: A nagyrévi kultúra szimbolikus ábrázolásokkal díszített urnái Kiapostag - Dunai-dűlő lelőhelyről. Alternatív javaslat a Budapest - Pannonhalmi úti edény ábrázolásának értelmezésére
Tamás Kesf: Cinerary urns from the Nagyrév Culture ornamented with symbolic representations found at the Kisapostag - Dunai-dűlő site Fig. 8 Flat representation of the decoration of the urn found in grave No. 100 Interpretation of motifs A parallel of the urn, in terms of shape and decoration, is known from the neighbouring town of Dunaújváros (formerly known as Dunapentele) (Fig. 10, No. 2)F The exact findspot of the artefact is unknown, it most likely comes from the Duna-dűlő cemetery. The decoration and typological similarity of the vessels both indicate that, from an archaeological point of view, they were created in the same period, i.e. the Late Nagyrév Culture as determined by Rózsa Schreiber. In theory, it would not be unimaginable that they are the creations of the same person. However, this theory is contradicted by the important differences in the representations: the filling of the squares that form the bodies of the creatures, differences in the legs and horns - details regarded as the personal marks of a craftswoman/craftsman. Besides the similarities of the representations, the composition principle is also similar: in the case of the Dunaújváros vessel, a band created by incision and filled with cross-hatching represents the bottom edge of the field, while the surface used for composition is open at the junction of the shoulder and mouth of the vessel.* 48 A possible explanation for this is that the bottom edge symbolises the ground, while the image is open towards the top, in the direction of the sk)t During the composition, however, the creators took into consideration the line defined by the point where the vessel’s shoulder and neck meet: only the main character, who was also placed opposite the handle, is taller than this line.49 Tünde Horváth and Erzsébet Marton also interpret the representations of the Dunaújváros vessel as horizontal looms with people kneeling next to them.50 Rózsa Schreiber considers the same as buildings to which stylised halfhuman figures are connected with raised arms, although she notes that the motifs as a whole are similar to sitting or squatting people.51 The more recent representation on the Kisapostag vessel gives probability to the latter hypothesis, 4’ PATAY 1938, T. IV, 5; SCHREIBER 1984a, 12, Fig. 10. 48 Different composition principles: SCHREIBERa 1984. 49 Examples of different composition: SCHREIBER 1984a, 2—4, Fig. 8, No. la, etc. 59 HORVÁTH - MARTON 1998, 250; 2002, 209, Table 1. 51 SCHREIBER 1984a, 12, 20, 22. 21 I
