Vadas Ferenc (szerk.): A Szekszárdi Béri Balogh Ádám Múzeum Évkönyve 13. (Szekszárd, 1986)

Ferenc Horváth: Aspects of Late Neolithic changes in the Tisza-Maros Region

question, however, is to discuss the causes of differences among the artefacts. The most revealing differences between the pottery of the Tisza culture and that of the Gorzsa group-sites are the collared ware (pi. III. 3-4), and the so-called „LengyelType" triangle-form of handles, pointed upwards (PI. II. 13-14). They appear only in the pottery of Lebő and Gorzsa, even in their earlier phases (the top of Lebő A, Gorzsa D). The chronological situation of these artefacts is clear: in the case of Lebő A they coexist with the late Szakáihát form and pattern of pottery, which indicates the latest phase of the ETC (KOREK 1958 PL XLIII, TROGMAYER 1957 Pis. I—II). While the appearance of the collared ware at only two or three sites may be due to a local workshop, the emergence of the Lengyel-type of handle is a genetical question, because it exists already together with embossed ware and early Tisza-early Herpály culture sherds at Bodrogkeresztur-Kutyasor (PATAY 1957, Pis. I-IV, KUTZIÁN 1966, 276). This type of handle is widespread in Aszód and in South Transdanubian early Lengyel sites which determines its chronological place exactly (KALICZ 1969-a, PL 5/1, GAÁL1982 Figs. 11,18/2,21/2,24/5. KALICZ 1969-b Figs. 2/1, 9/15). The time of the appearance of collared ware is supported not only by Gorzsa and Lebő but also by imported examples in the Vinöa C phase at a depth of 4,1 m, in Hodoni in the Tisza I. settlement and an analogous pot in Nebo, belonging to the Butmir culture of Central-Bosnia (VASIC 1936 Fig. 76, LAZAROVICI

1969 Fig. 31, BENAC

1952 PL XVIII. 1.) J. KOREK quite correctly established the time of use of this type as parallel with the Vinca B2-D period (KOREK 1973,199, TROGMAYER 1969,473). As for the painting, the wide-black line is widespread in settlements of the ETC. The pitch-like resinous black covering emerges in one case in D phase Gorzsa combined with white and red (PL 1.

2.). The black paint is characteristic of Herpály in the early and in the classical period (KALICZ 1982,6). In the Gorzsa C phase the predominant painting is the thin lines of black and white, the latter in the upper levels (HORVÁTH 1982 Fig. 17/1-12, Fig. 18/6-28). At the same time, e. g. in the upper levels of phase C the on the black burnished ware appears (HORVÁTH 1982 Fig. 18/1-3.) and according to the observations of I. KUTZIÁN its presence in Békés-Povád and the Upper Tisza-Region also proves the Lengyel-Tisza connections (KUTZIÁN 1966, 268). So Gorzsa D phase should be set at the very end of the ETC (the end of Early Tisza IB according to J. KOREK 1984,148). J. KOREK puts series of strata of Gorzsa and Lebő B at stage A of the Tisza III period. By this statement, however, he contradicts the earlier chapters of his work where he clearly establishes on the basis of a thorough analysis of the artefacts, that the CTP starts with the upper level of Lebő A (KOREK 1973,379,393). The roots of such inconsistencies are terminological. We have no opportunity here to point out the overlappings in content of such terms as: „late Szakáihát, Szakáihát-Tisza Transition, early Tisza, vor-Tisza and classical Tisza periods". We mean by the term early Tisza the period of sites which is defined by the artefact-complexes containing early Tisza and Szakáihát or Vinca-Tordos elements together (Battonya-Gödrösök, the middle phase of Vésztő, the top level of Lebő A, some difficult-to-identify levels of Kökénydomb, Coka, Szegvár-Tüzköves, and Szeghalom-Kovácshalom, etc.). Thus, the Sopot II-Bicske group in Transdanubia, the early Tisza import-sherds from Bicske and moreover, the emergence of the early Lengyel culture are within this long progress of development of the ETC. At the end of this the Gorzsa group appears in the SouthernAlföld (Plain) parallel to the Lengyel culture, of which different elements from the Tisza 91