Folia archeologica 27.

István Ecsedy: Két neolitikus idol Kelet-Magyarországról

46 I. ECSEDY Tisza culture can be paralleled only with the very last stage of the Bükk culture.

16 Thus it does not seem likely that the idols of Borsod,

1

7 Polgár-Tikos, MiskolcFűtőház

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8 etc. would be made under the influence of the Tisza culture on the Bükk area.

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9 It could be sooner surmised that this way of representation, basically of a homogeneous character, developed during the Middle Neolithic period of eastern Flungary, for which time the mutual connections

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0 proving a synchronism as well, are more characteristic than the differences in the style of ceramic manufacture, typical for the single groups. Maybe we are not on the wrong track if we mention, by way of illustration, the characteristics of the idols dealt with here. Besides the common features in the modelling of human figure we can observe that in every case the ornamentation indicates a full-length dress, laced on both sides, covering the figure to the toes; in some cases it is fastened on the back, in the height of the breasts.

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1 The pattern of the decoration seldom corresponds to a realistic representation of the dress (Tiszadada-Kálvinháza). In most cases we find motifs corresponding to the ornamentation of pottery vessels,

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2 to be led back generally to woven patterns.

2:

! From this respect it is enlightening to compare the pieces of Sarovce

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4 and Miskolc-Fűtőház, being modelled in a similar way. While on the Sarovce specimen we can observe the typical ornamentation of the Bükk culture,

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5 the characteristical woven pattern of the Miskolc idol is usual in the decoration of Szakáihát and Tisza

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6 and akin to the Körösladány find. Its occurrence in northern Hungary is obviously due to the Bükk connections of the Szakáihát group.

2

7 The Szakáihát characteristics of the Körösladány idol are most evidently reflected by the pecularities of the representation of the face. The indication of the face of this statuette corresponds precisely to the features over the wellknown motif in the form of the letter "M" of the Szakáihát group,

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8 which is underlined by the incised line, broken in an obtuse angle, separating face from body. To another type of the effigy pots, developed probably earlier, belongs the forming of the face of the statuette, found at Szeghalom-Kovácsdomb. We meet the linear pattern, surrounding the face, almost in the identical form in face 1

6 Kalic

Z, N.-Makkay, ]., ActaAntArch 10(1966) 39-47.; Kalic

Z, N., Acta Arch.Hung. 22(1970) 15-17. 1

7 Csalog, J., FA 7(1955) 31., Pl. IV. 2-3. 1

8 Korek, J., op. cit. See notes 3-7. 1

9 See note 15. 2

0 Ka/icz, N., Acta Arch.Hung. 22(1970) 15-17. note 17. - Bükk pottery, unearthed during recent excavations of Szakáihát settlements: Szeghalom-Kovácsdomb. See bakay

, K., op.cit. 140-144., 155., Pl. III. 2.; Dévaványa-Réhelyi gát - excavation of the author in 1970. Cf. UcbardiisJ., op.cit. 101-104,119. 2

1 Höckmann, О., Idolplastik . . . 19.; Kalicz, N., Clay Gods. 31, 74., Figs. 16-17. 2

2 Höckmann, О., Andeutungen . . . 188-189. 2

3 Csalog, ]., FA 3-4(1941) 2-5, 18-20. 2

4 See note 12. 2

5 Cf. I^icbardus, J., Domica-Höhle, die bedeutendste Siedlung der Bükker Kultur. Pamätníky nasej minulosti, 5. (Bratislava 1968) 58., Fig. 12.; Licbardus, ]., Studien . . . Figs. 19:4-8, Figs. 6:1-2. 2

0 Korek, ]., op.cit.; Cf. Csalog, J., Arch.Ért. 87(1960) 188. 2

7 See note 20. 2

8 Kalicz, N.-Makkay, J., Gefäße mit Gesichtsdarstellungen der Linienbandkeramik in Ungarn. In: Idole. 9-12.