Marta, Liviu: The Late Bronze Age Settlements of Petea-Csengersima (Satu Mare, 2009)
III. Habitation of te Suciu de Sus Archaeological Culture
Generally there are no noticeable influences from neighbouring cultural environments compared to what they have in common and to their differences. Punched decoration (the C group of motifs — Typ. pl. 3) consists of the following motifs: group of three punches arranged in a triangular shape (CA), punches framing a knob (CB), punches placed in the folds of a zig-zag line (CC), wide punches arranged in an oblique line (CD), punches arranged in oblique lines (CE), punches made with a triangular tipped instrument and arranged in oblique lines (CF). Punched decoration is rarely used on the pottery from Petea—Csengersima, as it is the case of pottery from other sites of the Suciu de Sus culture205. The first two motifs (CA and CB) were applied on a cup which represents a pottery form characteristic of the Hajdtibagos-Cehăluţ group (PI. 49/6) 206. The presence of punched decoration on a vessel with excised decoration (PI. 59/3) confirms the use of this technique within the Suciu de Sus culture207. The technique of decorating by means of punching has origins in the Middle Bronze Age, however it appears less frequent compared with its high occurrence in the neighbouring cultural environments (Hajdtibagos-Cehăluţ, Berkesz, Piliny, the group of discoveries from the Kosice basin attributed to the Suciu de Sus culture). Impressed decoration (the D group of ornaments — Typ. pl. 3) Comprises ornamental motifs made by means of stamping with tipped instruments that have round, oval or triangular heads. The following motifs are achieved: a row of round impressions (DA), group of round impressions arranged in a triangle (DB), group of round impressions arranged in a triangle placed at the end of a strip of incised lines (DC), a register/group of 3-4 round impressions arranged one after another (DD), a register formed by two rows of round impressions framed by incised tines (DE), row of triangular impressions (DF), a tine formed by triangles that have two arched sides (DG), a register of two rows of triangles (DH). Round impressions are relatively rare. The ornamental motifs that comprise three round impressions (DB and DC) are present only on four vessels (PI. 54/6,12). This decoration is absent from the published material of other sites of the Suciu de Sus culture. They may originate from the north, from the Berkesz environment208, or they are likely to be assigned to an ancient origin, from the Otomani III/Suciu de Sus I period, considering the wide extent that the round impressed decoration had at that time209. Rows of round impressions (DA) also have a reduced frequency on the pottery from the complexes of the setdement (only five examples). This ornament is also encountered on pottery from other setdements of the culture21’. The motif DD (groups of round impressions in a row) is present on two vessels. This ornament is encountered on the pottery from the setdements of the Suciu de Sus culture211. It is possible that the greater frequency of round impressed decoration in the setdement at Petea-Csengersima, compared to the situation in other sites of the culture, might be due to its position in the north-western region of the culture. Towards the north and north-west these ornaments become numerous within the Berkesz group212, later becoming even more frequent on the pottery of the Piliny culture213. Round 205 Kalicz I960, pl. VII/13; Kacsó 1987, abb. 9/9-10; Kacsó 2003, pl. XXII/19; Kacsó 2004, abb. 7/7,8; Kacsó 2006, pl.6/4, 2/19. 206 Kovács 1970, pi. 1/9,10, 7/4; Kocsó 1999, t. XII/1. 207 A line of jabs is present also on a fragment with excised decoration from the setdement at Oarţa de Sus (Kacsó 2003, pl. XXII/19) and also on a pottery fragment discovered at the Valea Rea Cave from Vălenii Şomcutei (Kacsó 2006, fig. 6/4). 21,8 Kovács 1967, fig. 14/11, 15/1. 209 Németi - Molnár 2007, pl. 98/2, 102/1, 107/1-4, 108/1, 3-6. 210 Kacsó 2003, pi. XXXI/17; Kacsó 2006, fig. 13/12. 2,1 Kacsó 1987, abb. 8/12; Pop 2003, fig. 4/11; Kacsó 2004, abb. 3/14. 212 Kovács 1967, fig. 13/11, 15/1,9; Kemenczei 1984, taf. LVI/ 1, 3, 6. 37
