Tárnoki Judit szerk.: Tisicum - A Jász-Nagykun-Szolnok Megyei Múzeumok Évkönyve 19. (2009)

Régészettudomány - Magdolna Vicze - Nagyrév symbolism revisited: Three decorated vessels from Százhalombatta and Dunaújváros

Régészettudomány resenting three groups of ornamentation types. Going from simple towards complex the first group shows the presentation of a single motif repeatedly forming a horizontal almost band-like effect (Fig. 1.2). Simple and/or single motifs arranged horizontally creating the main stream of ornament in a ribbon-like manner can be recognized on some of the suspend-able vessels from Tószeg (these vessels have been published several times in several articles, here only the best known and most frequently used citations are mentioned

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5). Possibly similar to these is the small pedestalled cup from Dunaföldvár-Kálvária

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6 and Százhalombatta.

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7 Related concept can be detected on the two non-vessel stray finds from Tolna County.

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8 Parallel iconographical presentation is recognisable on the bowl from Mokrin,

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9 on the pedestalled, suspendable cup from Szanda

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0 and the jug from the vicinity of Vác.

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1 It is important to stress here that I am not discussing the signs and/or individual motifs but their style or mode of presentation, regardless of whether they are simple

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2 or complex like the ones from Szanda

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3 or Vác.

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4 In the second group the composition of motifs are framed and positioned vertically on the largest surface of the vessels. There is a good example of one vertical composition on the primary side (i.e. opposite the handle) of a jar from Szentendre island.

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5 More complex arrangements can be seen on the small cups from Nagyrév,

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6 Tiszaug

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7 and Tószeg.

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8 The applied decorative elements are different, but the concept and way of composition is the same on a small pedestalled cup from Szolnok-Szőlőhalom.

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9 A combination of the socalled horizontal and vertical decoration is displayed on a jug from Tószeg,

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0 where stress is on the vertical band of decoration, consisting of three 'X'-s made from simple or double lines, separated by three horizontal lines, they are framed by a single line and placed opposite the handle (very 35 TOMPA Ferenc 1936. Pl. 21.8,12; X)NA István 1963. PI.I.7.; SCHREIBER Rózsa 1984. Fig. 6.5-7. 36 SZABÓ Géza 1992. Pl. LXIV.4. 37 POROSZLAI Ildikó 1993. Fig. 9. 38 SCHREIBER Rózsa 1984.10,12 Fig. 8.3-4. 39 GIRIÚ, Milorad 1971. Pl. 14.2; SCHREIBER Rózt 1984. Fig. 11.2. 40 BÓNA István 1963. Pl. IV.1. 41 BÓNA István 1963. Pl. Xlll.11. 42 see BÓNA István 1963. Fig. 1.2, or SCHREIBER Rózsa 1984, Figs. 6.7 and 8.3. 43 BÓNA István 1963. PI. IV.1. 44 BÓNA István 1963. Pl. Xlll.11. 45 PATAY Pál 1938. Pl. 5.2; the same in SCHREIBER Rózsa 1984. Fig. 9.5 46 CSÁNYI Marietta 1992. Fig. 50. 47 CSÁNYI Marietta - STANCZIK Ilona 1982. Fig. 9.5,7; the same in SCHREIBER Rózsa 1984. Fig. 5.3. 48 BANNER János - BÓNA István - MÁRTON Lajos 1957. Fig. 17.11, the same in SCHREIBER Rózsa 1984. Fig. 5.2. 49 BÓNA István 1963. Pl. V.4. 50 BANNER János - BÓNA István - MÁRTON Lajos 1957. Fig. 28.5. similarly to the decoration on the boar's tusk from Tiszaug). At the same time the horizontal band includes relatively thinner ribbon of zig-zags (or wavy lines) composed of double and single lines. The assembly of motifs on the one handled jar from Dunaújváros (Fig. 2.2) presents a dense multipart variation of this group. A characteristic trait of the third group is that the surface of the vessel is divided into sections, and the sections are filled with the main motif or motifs. The border or the frame of the segments is well defined by horizontal and vertical lines or narrow bands of multiple parallel lines, zig-zags, hatches, lines of dots or the combination of these simple recurring motifs. Inside the sectors the focal depiction could consist of simple and/or single motifs

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1 or with complex compositions, like the jug from Százhalombatta (Fig. 3.2), or the three examples known from Nagyrév-Zsidóhalom.

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2 The arrangement and concept of the compositions and even some of the applied motifs are similar to that of the small vessels from Gyula

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3 and Dévaványa

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4 but nevertheless they clearly embody a different tradition. There are three main symbols on the two most elaborately adorned small Nagyrév jugs (Cat. Nos. 384, 386). These are the so-called „house" symbol, the step-like motif and the „human figure" with raised arms. The three symbols together as part of a composition appear on these two vessels solely until now. But if the elements are considered individually then their number of occurrence and distribution territory becomes significantly larger. The house symbol is known from four examples. Two can be found on the two Nagyrév vessels (Cat. Nos. 384, 386), one on a small one handled cup from Tószeg,

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5 and one made from plaster on the wall of a house from Tiszaug.

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6 The steplike symbol appears in two forms and seven instances. The two variations consist of an upside-down 'V' or 'X' and are either composed of small squares like in the case of the wall plaster from Tiszaug

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7 and on two of the vessels from 51 see SCHREIBER Rózsa 1984. Figs. 5.6; 9.3 and 11.1. 52 The three small vessels under discussion here have been published several times by different authors. I have cited not their first publication but the most recent or the most obvious ones. In the following I shall mention or cite their decorative elements a number of times, therefore to avoid confusion I shall refer to them by their catalogue number from the only publication they were published together. This is CSÁNYI Marietta - TÁRNOKI Judit 1992.; KOVÁCS Tibor 1977. Pl. 4; the same KOVÁCS Tibor 1992. 81, Fig. 42.; CSÁNYI Marietta 1982. Fig. 22; the same ones SCHREIBER Rózsa 1984. Fig. 7.1-2; CSÁNYI Marietta 199192. 23, Figs. 22-24; the same CSÁNYI Marietta 1992. 84, Fig. 48. 53 KÜRTI Béla 1971. Figs. 21-22; the same in SCHREIBER Rózsa 1984. Fig. 8.2. 54 KALICZ Nándor 1968. Pl. CXVIII.5; the same in SCHREIBER Rózsa 1984. Fig. 8.1 55 SCHREIBER Rózsa 1984. Fig. 5.1. 56 CSÁNYI Marietta - STANCZIK Ilona 1991-92. 35, Fig. 39; or CSÁNYI Marietta-STANCZIK Ilona 1992.116, Fig.76. 57 CSÁNYI Marietta - STANCZIK Ilona 1991-92. 35, Fig. 39; or CSÁNYI Marietta-STANCZIK Ilona 1992.116, Fig.76. 313 |