Folia archeologica 26.

István Ecsedy: Vinca finds in the collection of the Hungarian National Museum

18 I. ECSEDY shoulders into horizontal protuberances, similar to arm stumps. At its lower part the torso is of a cylindrical cross-section, ending downwards in a broadening base. The lower part of the idol is decorated by incisions forming a net pattern. Its analogies, published also by Höckmann, range it with Period Vinca C.

2

0 10. Fragment of an idol. Inv. no.: 1932:26.37. (Figs. 5:5a

—c.) The lower part and cylindrical base of a dark grey statuette, with an incised zig-zag pattern and indication of the female genitals. It may be considered as a representation of a standing woman, often occurring in Vinca C.'

2

1 11. Cross-shaped figure. Inv. no.: 1950:8.38. (Figs. 6:a

—b.) The schematic idol represents a figure in standing position, with the arms bent in the elbows. A representation wholly simplified, with a smooth surface, the head is flattened, with a vertical perforation on both sides, serving evidently for suspension. Though there are no exact parallels known from Vinca, it can be connected with the schematic, cruciform representations of Vinca C, already mentioned.

2

2 12. Fragmentary claypendant. Inv.no.: 1932:26.27. (Figs. 5:1a

—b.) Spheroid clay object of an oval vertical section, terminating on its upper part in a rim-like protuberance ; of the two perforations, serving for suspension

, only one has remained. The idea may present itself whether it might be — as in the esse of certain spondylus pendants, resp. marble idols and Copper Age gold pendants of a similar form — a figurai representation schematized to the utmost.

2

3 13. Clay object. Inv. no.: 1932:26.28. (Figs. 7:a

—b.) Fragment of a starshaped clay object. In the middle part of the central element of a cylindrical shape, broadening towards the two ends, four arms of a similar shape started, forming a right angle to the axis, of which, however, only two has remained, placed in the same level as the axis. The object type is characteristic for Vinca B.

2

4 14. Clay pendant. Inv. no.: 1932:26.23. (Figs. 5:2.) Triangle-shaped clay pendant of an arched form, with rounded corners; burnished red surface. On the upper part there are four perforations for suspending. Its form and finish point to its employment as a jewel intended to copy the form of spondylus pendants, so popular in the Late Neolithic period.

2

5 2

0 Cf.: Höckmann

, О., op. cit. 56—57., note 128. 2

1 Vasic, M., op. cit. III. 69., Pl. LXXIX. 370—371. 2

2 See note 20. An idol, suppended in a similar way, is published: KalicN., Clay Gods. Hereditas. (Bp. 1970) 34., Fig. 23. 2

3 No close analogy is known from Vinca. The flat, violin-shaped marble figurines, emerging during the Middle Neolithic in the Carpathian basin as well, and the schematic animal bone idols are, as for their shaping, to be connected with the object shown here. Cf.: banner, J., Acta Arch. Hung. 12(1960) 29., Pl. XXXII. 5.; Cit. by Ka/ic

Z, N„ op. cit. Fig. 50.; See also: Ga

Zdapus

Ztai, Gy., Ein Goldfund der Kupferzeit in Hencida. MAGW 96—97(1967) 295—296. (with a further literature); Höckmann, О., Menschliche Darstellungen in der bandkeramischen Kultur. JbRGZM 12(1965) 16—19.; Uchardus, ]., Studien zur Bükker Kultur. (Bonn 1974) 57., note 127. 2

4 For its spreading and significance see in detail: Makkay, ]., Alba Regia 8—9(1967) 9—21. 2

5 For the spreading of the Spondylus and its imitations see: Vencl, S., Parure en Spondylus dans le néolithique danubien. ArRoz 11(1959) 725., Fig. 277., 731, 739—742. For its presumable cultic significance see: Höckmann, О., Menschliche . . . loc. cit.; Cf.

: Kodden, R. J., The Spondylus -— shell trade and the beginnings of the Vinca culture, in: Actes du VII

e Congr. Internat, d. Scienc. Préhist. et Protohist. Prague 21—27 août 1966. (Prague 1971) 411—413.; Nandris, J., Alba Regia 12(1971) 64., notes 11—13.; See also: Renfrew, C., Trade and craft specialization. in Neolithic Greece. (Athen 1973) 186—187., Fig. 116.