Cristian, Virag (szerk.): Neolithic cultural phenomena in the Upper Tisa Basin (Satu Mare, 2015)
Katalin Kovács: The Role of Bodrogzsadány int he Late Neolithic Evolution of the Bodrog Valley
Among the types of decoration, painting and different plastic knobs are common, while incised decoration is completely missing from the ceramic assemblage. The colour of the paint used can be red and white. Most of the time the two colours are combined, although the white paint may also appear independently, mostly on the inner side of the bowls (PI. 6:1; PL 7: 8). The following motifs of painting can be distinguished: net (Pi. 6: 11; Pi. 7: 2, 4), chess-board motif (Pi. 7: 3, 11, 20), spirals (Pi. 7: 5, 9) and parallel lines (Pi. 6: 2; Pi. 7: 13-14, 16). The redon-white painting plays a significant role in the Late Neolithic development of the Carpathian Basin, although it does not appear among the finds of every culture. This decorational type can be found at most sites of north-eastern Hungary; thus at the settlements of Szerencs-Taktaföldvár,17 Bodrogkeresztúr-Kutyasor,18 Sárospatak-Vár,19 Kenézlő-Fazekaszug,20 Kisgyőr21 and Polgár- Csőszhalom.22 It is also common at the Late Neolithic sites of south-eastern Slovakia, where it appears at Cicarovce,23 Oborin,24 Maié Raskovce25. The red-on-white painting style is present at areas of the Lengyel culture both in Slovakia and Hungary from phase I onwards.26 Based on the results of the tell settlement excavations at Berettyóújfalu-Herpály in eastern Hungary, the red-on-white painted ware appears from phase II (the 7th level of the tell settlement), and becomes widely used in phase III in the Herpály culture.27 In comparison, we do not find this decorational type among the find assemblages of the Tisza culture. Among the plastic decorations, mostly small knobs can be found on painted vessels, and the large, flat knobs are dominant. Similar flat knobs are not known from many other sites, its closest parallels appeared among the finds belonging to the proto-Tiszapolgár phase of the Sárospatak-Vár,28 and Cicarovce-Vel’ká MolVa29 and Oborin30 settlements. Round knobs, flattened on both sides appear on two pottery fragments (PL 5: 5, 7), which resemble the owl-headed knobs of the Santovka phase of the Lengyel Culture.31 Besides these types, semicylindrically formed knobs or pseudo-handles (PL 8: 10) and pointed knobs (PL 8: 7) appear on the storage vessels. As we have seen, the ceramic material of the Bodrogzsadány-Templomdomb site comprised mostly the vessel forms and decorations of the Lengyel culture, in addition to the local, northern characteristics. The pottery assemblage of the Tisza culture is completely missing from the settlement. The closest analogies of the ceramic material can be found in Kenézlő- Fazekaszug,32 Sárospatak-Vár,33 Zalkod-Jakabdomb,34 Polgár-Csőszhalom tell35 and the III phase The Role of Bodrogzsadány in the Late Neolithic Evolution of the Bodrog Valley 17 Selján 2005, CLXII. Tábla 5-6. 18 Kovács 2013a, 162. 19 Kovács 2013a, 188-189. 20 Kovács 2013a, 174. 21 Kovács 2013a, 176. 22 Raczky et al 1994, Table VIII-X; Raczky/Domboróczki/Hajdú 2007, Fig. Fig. 9: 1-2; Bánffy/Bognár-Kutzián 2007, Fig.l9, 1, Fig. 40,11, Fig. 45,1, Fig. 49, Fig. 62, Fig. 68, 1-2, Fig. 69, 2-6, 13-17. 23 Vizdal 1980, Obr 11, 15, 18, 20-21, 30, 39, Tab. LXXI, LXXIII-LXXIV; Vizdal 1993, Obr. З, 1-2, Obr. 11, 1-2. 24 Vizdal 1961, 325, Obr. 142. 25 Attresová 2010, 351, Fig. 4:4. 26 Pavúk 1965; Tocik/Lichardus 1966; Pavúk 1981; Kalicz 1985, 76-77; Zalai-Gaál 1993, 82-83; Pavúk 1994; Zalai- Gaál 2002, 22-26. 27 Kalicz/Raczky 1984, 132, Kalicz et al 2011, 14, 53. 28 Kovácsa 2013,189. 29 Kaminská 2007, Tab. III. 2, 6, Tab. IV. 2-3. 30 Vizdal 1970, Tab VIL2, 5, Tab. 1,16. 31 Pavúk 1994, 172; Tocik 1986, 274. 32 Tompa 1929, 23, Tafel XVI. la-lb, XVL, XLV. 5-8; Kovács 2013a, 171-175. 33 Kovácsa 2013, 185-191. 34 Kalicz 1994, 269. 35 Raczky et al 1994; Raczky et al 2002; Raczky/Domboróczki/Hajdú 2007; Bánffy/Bognár-Kutzián 2007. 233
