Selmeczi László szerk.: Szolnok Megyei Múzeumi Évkönyv (1982-83)

M. R. Csányi: Finds of the Nagyrév Culture in the Middle Tisza Region

(Pl. 8:1). The vertically placed applique band is similar to the decoration on certain vessels of the Kőtörés- and Szigetszentmiklós-type.59 The pot, subsequently re-used as a pithos, found in grave 114 (PL 9:9) also dates to the early phase of the Nagyrév culture. The horizontally placed thumb-indented applique band on the shoulder of the vessel only occurs in the early phase of the culture.

60 Various types of bowls were found in disturbed graves or as stray finds. The type with out turning rim and strap handle (grave 158, PI. 8:7-8., grave 87. PI. 5:2^1) has many analogues in the early phase of the culture, with more developed variants in the late phase.

61 Its early dating is confirmed by the fragment of a biconical vessel, with a sharply-angled carination line, which was found in grave 158 (PI. 8:6). Small, truncated conical bowls with horizontal rims (PI. 3:4, PI. 9:4, PI. 12:5) are primarily deposited in graves.

62 This type of rim (decorated and undecorated) is also characteristic of the bowls of the Bell Beaker culture,

63 but the antecedents of our bowls also occur frequently in the Earliest Bronze Age.

64 An unusual, decorated variant was found at Kökénydomb together with three early Nagyrév jugs.

65 No specimans have been found to date belonging to the late phase of the culture. The analogues of the handled bowl with constricted base (PI. 3:5, PI. 9:1) have already been mentioned and discussed in the analysis of grave 138. The grave occupies a special place within the cemetery. It is also unique in that it is a burial, which became a general practice only in the late phase ofthe culture. The vessel is similar to the urn types ofthe Ökörhalom phase

66 (PI. 10:2,5, PI. 13:6, PI. 14:5), but the representation on its side, however, makes it a cultic symbol (Pl:la-b). The main motif is similar to the incised representation on a vessel found at Tószeg which was published by János Banner.

67 On the basis of its numerous analogues widely separated in both space and time, he convicingly proved that is depicts a squatting figure. The subjective interpretation of each occurence makes it futile to look for an exact analogue, but the Rákóczifalva variant can nevertheless be grouped with those where the squatting figure is combined with another symbol : the comb motif.

68 It can thus divided from an iconographical point of view into two main motifs. The plastic, relief-like composition is however, unique in contrast to the incised or engraved figures found on other vessels. The urn bears a representation of a human figure with upraised arms, without any sign of a head. The trunk is indicated by three vertical applique bands, the upraised arms are symbolized by two parallel, angular applique bands. The figure terminates in a nine-toothed comb motif. A matching relief can be seen on the opposite side of the vessel. In his above-mentioned study, János Banner mentions that the comb motif also occurs on its own, a fact also corraborated by the Tököl urn published by Pál Patay.

69 Another detail of the representation should also be stressed: the portrayal of upraised arms. A vessel found at Nagyrév-Zsidóhalom has two similar motifs symmetrically arranged that an integral part of decoration.

70 A analogous motif can be seen on both sides of an Ökörhalom-type vessel from Új dombóvár, on a fragment from Tószeg and on a vessel found at Gyula-Törökzug.

71 Grave 40 of Mokrin yielded a bowl, the neck of which is decorated by similar motifs arranged in a frieze, with the indication of head in one case.

72 Only the latter is regarded as the representation of a human being by the authors of the publication, as the interpretation of the other motifs is somewhat ambiguous

: there was a suggestion that they could perhaps be representations of altars.

73 The Rákóczifalva relief has now made it certain that these also symbolize human figures with upraised arms, and moreover, that complete figures were deliberately not depicted, only the details which were considered important being emphasized. It is a probably no coincidence that the head is depicted in only a single case

: however, to fully understand the context of these depictions, one would need a better knowledge ofthe spiritual background. We should nevertheless like to point out the well-known religio-historical fact that upraised arms have always been regarded as an expression of homage and adoration.

74 The vessel unearthed in grave 282 of the Mokrin cemetery bears a special variant of the "comb man", executed in the Vucedol style.

75 The comb motif appears in an empty panel on the shoulder of the richly decorated vessel

; however, the motif does not end in the horizontal line bordering the comb-teeth. Two vertical incisions run into the panel line, signifying that the idea expressed is not yet complete. A magical depiction can be seen in two rectangular panels on the lower half of the vessel. An "upside-down" human figure with upraised arms can be seen in the right panel. There can be no doubt as to the spiritual connection with the comb motif in the light of the Rákóczifalva find.

76 It would be difficult to give a precise explanation of the iconographical differences, but there is another motif which can perhaps contribute towards a better understanding. A zig-zag pattern divides the upper and lower panels from each other

; this similar to the decoration of the bowl mentioned above unearthed in grave 40. N. Tasic suggested that the zig-zag pattern perhaps symbolizes a river.

77 This suggestion would explain why the human figure is upside-down, a portrayal showing the figures reflection in the water; possibly the entire composition also embodies the idea of the netherworld. The surface between the figures on the Rákóczifalva urn shows a three-toothed comb motif in triangular panel bordered by an inverted V-shaped applique band. It is possible that the mathematical relationship between the three teeth of the independent comb motif is not just mere coincidence, but this main motif is not just mere coincidence, but this cannot be proved since no mathematical regularity has yet been observed among similar depictions. The numerous analogues listed by János Banner have demonstrated that the occurence oy such depictions cannot be pinpointed either area or time, but is nevertheless evident that their occurence was especially frequent during the Early Bronze Age, in the Nagyrév and Perjaámos cultures. In his discussion of the comb pendants of the Transdanubian Inchrusted Pottery István Bona dealt with southern origins of the motif, suggestiing that Aegean clay objects with similar motifs should be regarded as possible antecedents.

78 Their frequent occurence among find of the Nagyrév culture indicates and underlines the southern influences which, together with local elements, played a formative role in the evolution of this culture. The circle of analogues of the Rákóczifalva urn can be widened if we consider not only the implications of its decoration, but also complementary elements of the decoration and the technical execution of the applique ornaments. We should first mention the Békásmegyer urn unearthed in a cemetery of the Bell Beaker-Csepel group, which is similar in both shape and size to the Rákóczifalva urn, the only difference being that the former has a cylindrical neck.

79 One of its ornamental motifs is an inverted V-shaped motif executed by three applique band

; another is formed by four vertical applique bands on the shoulder. The two patterns are arranged symmetrically, similarly to the depictions on the Rákóczifalva urn. The inverted V-shaped motif consisting of three applique bands also occurs on a vessel fragment from Mezőkomárom

80 and on a vessel unearthed in grave 4 of the cemetery excavated at Hódmezővásárhely-Kökénydomb.

81 Thus, in spite of the unique character of the urn, the comparative evidence outlined above implies that grave 61 of Rákóczifalva can be securely dated to the early phase of the Nagyrév culture. The analysis of the grave goods has demonstrated that the deceased in the Rákóczifalva cemetery were buried during the early phase of the culture. Grave 138 can be considered as the 63