Marta, Livius et al.: The Late Bronze Age Settlement of Nyíregyháza-Oros „Úr Csere” (Satu Mare, 2010)

VIII. Conclusions. Nyíregyháza-Oros site and its significance for the reearch of the Late Bronze Age

tion towards north of certain cultural elements from the Banat and Voivodina areas was noticed352. The Tumuli cultural grounds on which all these cultural manifestations in the above mentioned areas are based, clearly evident in the case of the local culture Hajdfibagos-Cehăluţ too, makes it difficult to reveal the particular contribution of the manifestations from the two regions in the formation of the HaA pottery in the northern Hungarian Plain. This makes the precise indication of the contribution brought by the Hajddbagos-Cehăluţ group in setting up the cultural manifestation of the pre-Gáva type rather difficult.

Numerous vessel shapes present on the Bronze Age settlement at Oros have close analogies within the Lăpuş II-Gáva I cultural horizon: amphorae with long, arched and cylindrical neck (type 1 and 6), biconic amphorae, most of the pots types, portable cooking vessels, dishes/bowls of lAa and lAc variants and of all the variants of the types 2, 3 and 4, and finally cups of 1C, 2 and 3 types. Analogies for these vessels in the Lăpuş II-Gáva I pottery were mentioned when presenting each ceramic variant, they being well represented in the settlements of Berveni, Carei and Petea-Csengersima353. As for the decoration, almost every relief, thumb-impressed or channelled ornament finds analogies in one of the three settlements of the cultural horizon Lăpuş II-Gáva I. Instead, we find a poor transmission of the dotted ornaments. The small number of ceramic fragments with dichromic firing, black in the exterior and brownbrick like in the interior, highlights the issue of the origin of this technique of firing the vessels. In this regard, it is observed a similar situation with the settlement of the Late Suciu de Sus culture of Petea-Csengersima. If the two settlements are approximately at the same chronological level within the RBD phase - as suggested by the mutual imports - then we can find a somewhat synchronous adoption of the new method of firing the ceramics.

Although the new technology gains prominence in time, it seems that a quick transmission of the information on this process took place since the early use of the black-and-red dichromic firing. In this respect, there are no visible differences between a western cultural manifestation, with strong Tumuli influences (Hajdfibagos-Cehăluţ culture) and a culture located to the east, anchored in the traditions of the Middle Bronze Age from the Carpathian area (the Suciu de Sus culture).

352 Kemenczei 1984.

353 Németi 1990; Marta 2009, p. 274-275, typological plate 5-6.

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