http://www.academia.edu/4996806/About_the_Salcuta_Eneolithic_culture
http://www.academia.edu/1747606/The_Gumelnitean_Character_of_the_Eneolithic_Culture_Salcuta
http://www.academia.edu/1745548/Towards_the_Copper_Metallurgy_of_the_Eneolithic_Salcuta_Culture_part_1_
In the late eneolithic, in Oltenia and a part of Banat
there lived some communities so - called Sălcuţa. The development period of this civilization
is characterized by great emigrations, the main perambulation direction in the
respective moment going from East to
West.
The research of vestiges such
as Sălcuţa lasts for almost a century, and meanwhile some assessments for this
were elaborated both from a chronological and cultural point of view.
The main stratigraphic information originate in Sălcuţa stratigraphy. In time, these were
correlated to some data from mediums in the
neighbourhood Bulgaria
- Krivodol and Serbia - Bubanj,
coming to the conclusion of a synchronous evolution and a cultural complex
which echoes reached over the Egee
Sea.
A great period, until 1970, it was said that the evolution of this
civilization is extended on four long phases, and these one were being
paralleled to Gumelniţa civilization evolution. The research of the vestiges
from the Ostrovul Corbului, Almajel, Valea Anilor(district Mehedinti), Cerăt, Şimnic, Verbicioara(district Dolj), Drăgăneşti - Olt, Dobrosloveni, Reşca,(district
Olt) locations imposed new cultural and evolutional realities such as:
- phase IV of
Salcuta is a self - contained civilization .
- Sălcuţa culture is subsequent to Gumelniţa
culture and only within its first phase it might have been contemporaneous with
the Gumelniţa communities secluded in the hilly part of Muntenia.
- Cernavoda populations reached Sălcuţa
medium and they are contemporaneous with this one when talking about the
classic phase III. There
are plentiful materials in Ostrovul Corbului, Salcuţa, Vădastra,Valea Anilor,
Drăgăneşti - Olt.
- Sălcuţa populations used the axes made of coppes, the Jaszladany type even in the evolutional phase
III level (Reşca piece), and the metallurgy of copper was highly developed, all
the copper tools categories from that
period being well represented.
In the present moment we consider
that the end of Sălcuţa civilization should not be searched in Sălcuţa phase
III level, but in a chronological moment caught before Sălcuţa IV and after
Sălcuţa III a and Sălcuţa III b phases
of the Ostrovul Corbului. This chronological reality can be found in Sălcuţa,
Almăjel, Cerăt , Şimnic, Almăjel and Drăgăneşti - Olt locations. This was
stratigraphically found by the
scientific explorers but because of the fact that at that time Sălcuţa IV was
considered to be the end, they did not insist on this stratigraphic reality and
it was regarded as belonging to phase III.
Per ensemble, the known Sălcuţa culture silex tools and weapons are
resembling as far as to identical with the similar types found in the area of
the Gumelniţa culture.
The number of Sălcuţa locations, totaly or partialy
studied is little enough. Representative for this point of view is the location
from Piscul Cornişorului, also the informations from the other Sălcuţa
prehistoric communities: Almăjel, Cerăt, Şiminic, Ostrovul Corbului, Curmătura,
Cuptoare ,, Sfogea ,, Slatina - Timiş.
In the first phase of evolution, Sălcuţa
populations used surface cottages, with
oval and
circular formes, then they used big regular and irregular residences.
About the cabins with circular and
oval caves, the roof was probably conical or prolonged.
The cottages or the cabins had one room, and in the
middle were central poles who supported the reed roof. The
surface residecences, with a regular forme, had half-timber walls. Between the poles stiff into the soil has been add a knitting made by smaller
poles; theseweren’t stiff into the soil (phase Sălcuţa II C). From the interior point of view the situation is:
- a fireplace with chime; after deterioration
became bigger and it was add a ovenvault (emplacement on the est wall); Almăjel
(evolutive phase II);
- a
fireplace emplasement in the north-west corner and built on a clay pedestal ;
- a simple, oval fireplace, emplacement on the
southern side; in her right was a cavity filled with ashes, and in her left was
a clay pedestal for weights (phase III Sălcuţa);
- a room with two fireplaces, one simple and the
other one with chime; betweenthem was a distance of 2, 20 m; (Ostrovul
Corbului, phase III);
- a clay-bed covered by a stoned door-matt,
emplacement on the southern wall(Almăjel, phase II, Drăgăneşti - Olt, phase
III);
- a possible oval cave for provisions witch coming
down on steps, emplacement onthe northern wall (Ostrovul Corbului, phase III);
We can’t exclude the possibility of some ritual
laying downs, point illustrated by some discoveries from Ostrovul Corbului (residence
L 2), and a child skeleton from Curmătura oven.
Some residences of Sălcuţa culture had a porch on
the entrance; this tradition it is similar to Vădastra culture. About the type
of the residences, the model and the
way of construction, the biggest resemblace are
with Gumelniţa culture.
The populations spred
in Oltenia, Banat, North - West of Bulgaria,
who had acces to the Egee or Adriatic See, the communities also known as Sălcuţa – Bubanj -Krivodol, are present in many
settlements and discoveries.
Until now ,very little informations regarding the burials rituales
practiced by Sălcuţa populations are known.
The number of the cemeteries and of the burials is very little: Gârleşti-Gheceşti (district Dolj), Ostrovul
Corbului - points “ Botul Piscului ” and “ Botul Cliuciului ” -
district Mehedinţi, few graves discovered in Gumelniţa - Sălcuţa settlement
from Drăgăneşti - Olt (district Olt), also a child grave discovered in a
bred-oven at Curmătura(district Dolj), and the other, a female grave found at Lepensky
Vir(Serbia).
Recent invetigations, from the south
area of Lîga settlement, in Bulgaria,
brought out seven graves.
Most graves had the bodies
rested in flexed position, on the left
side, with a slight deviation of orientation. (SSE, ENE and ESE); similar
graves were discoverd in the Boian - Gumelniţa cultural complex in Muntenia,
and on. the south of Danube.
Four dead body from Gârleşti
cemetery rested in flexed position on
the right side; in Gumelniţa graves from Vidra, Cernavoda, Grădiştea Ulmilor,
Dridu, Kubrat and Russe, this orientation
is very rare.
The graves inventaries are rather
poor: ceramics, copper pieces, remain of animals origin, shells necklaces -
Zebrina Detrina or Cardium type, weights.
Particular situations are known: skeleton placed on a layer of shards (Lîga),
body lay in a pone position on the face( Lepensky Vir), dead body being placed
in a bred-oven.
The presently informations do not
allow any conclusive generalisation
concerning the rites of Sălcuţa populations.
Discovered in well established or accidentally stratigraphic
conditions, the objects involved produce the premisses of reopening the
discusses regarding copper’s metallurgy as part of the eneolithic culture
Sălcuţa.
The Sălcuţa communities seem to use different types of tools of
copper from the most simple-rolls,
fishing lines - to the most complicated - chisells, flat axes, axes with two
crossed arms. There must be mentioned,the fact that this tehniques varieted in
the proccesing of copper, being used not only the simple - hammer wrought at
hot and cold - but also the complicated - the reduction of copper ore, then its
casting in monovalvular and bivalvular ingot moult through the ,, lost wax ,,
proceding.
The attention of the Sălcuţa communities straightened on realising
some deceration pieces such as: different sorts of hair needles-with volute,
with square section, with circle section, with rhombic plate at the end of the
rings, little pearls of copper and even a razor blad discovered in
Şimian(Mehedinţi district).
On almost unknown problem is that of
raw material resources from Oltenia and the method of ores’ extraction of the
processing place of complicated pieces, but also the attendance in Oltenia of some
kind of axes of copper witch have enough frequence in Mureş Inferior Reservoirs
(Bazinul Mureşului Inferior).
The most used copper lodes are in copper mine (Baia de Aramă and Baia de Fier), the
abstracts of some pieces of copper from
the cultural area Sălcuţa, being confirmed the fact that there
where used two kinds of
mines, one with trails of Ag., sometimes
Ag. and Fe., and the second with tiny trails of Ni.
The deposits exploitations of copper from Oltenia, in eneolithic, is
not an unpublished matter, this practice being enough spread as the old mines
from small Asia shows (Veshnoveh, Kuhestan E Quam), Serbia South - East (Touve
region), South East Europe (Stara Zagora), Central Europe (Mitterbeg, Beischofs
ofen Austria’s Alps ), Occidental Europe (Mount Gabriel, West County Cork - Ireland).
Those places that can be
added the exploitations from Rudna Glava, Saska Reka, and reported to the
seatings with more levels in Greece (Sitagroi, Dikhili Tash) and Bulgaria
(Karanovo, Ezero) shows that in the Carpathian – Balkan region,
the development of gold and copper treatment precedes early Aegean bronze.
Since the first information about copper dates since Catal Hüyük (mil VIII
b.C.), since the beginning of mil. V b.C., we can speak about the copper
metallurgy as a developed branch. (Discoveries – Hacilar, Can Hasan,
Beycesultan)
The appearance of eneolythical in
Carpathian – Balkan region and its development is a phenomenon that needs to be
understood as a conjugation of a local evolution, with new southern impulses
leading to profound cultural transformations. The main innovation within
ceramic’s field – graphite painting and
the means of obtaining are closely related to copper metallurgy. Sălcuţa – Bubanj – Krivodol eneolythical complex perfectly affiliates
itself with the period. Its evolution is not much different than the near ones;
in exchange, its role as a receptor and transmitter of some cultural influences
on wide spaces is decisive. They will adapt to the realities of the time,
perpetuating traditions and accepting changes.
The
Carpathian – Balkan area will make its mark as an independent centre along with
Anatolia and Greece.
Practically the intense activity from the late eneolythic predict the strong
development of bronze metallurgy from the Carpathian – Danube Pontic space,
where the copper area from Transilvania will distinguish itself as a first rang
centre.
Shaping out of clay and bones has numerous analogies
in the Gumelniţa B 1(ANDREESCU, 2002, p.22/ 4 - 6, 9; p. 22/1 - 2, p.19/ 1, 3 -
4, 6 - 7, 10 - 12; p.23/ 1 - 3; p.23/4; pl.20 - 21/ 2 - 8, 1 - 5, 7 - 9,
6,10,12; p. 20/1; p.18/7 - 8; p. 29/1,4 - 6, 8; p. 25/2 - 3; p. 31/2 - 4; p.45/4,
7 – 8) environment:
- clay statues without
a modeled head (Căscioarele, Vidra, Teiu).
- clay statues
with head modeled as a "bird's beak" (Vidra, Teiu, Vităneşti, Căscioarele).
- clay statues
that have the inferior half chopped (Căscioarele, Blejeşti, Gumelniţa).
- clay statues
that have small balls in their womb, that represent the fetus (Geangoieşti).
- clay statues
that have decorated legs (Căscioarele, Vităneşti, Teiu).
- clay statues
with welded legs, separated with an incision (Vităneşti).
- clay statues
that have crossings all over the vertical axe of the body (Vităneşti, Căscioarele).
- clay statues
with their arms spreaded - Sultana, Garagău, Gumelniţa, Alexandria ,, Gorgan ,,(MIREA, PATRASCU, 25/1
- 2).
- clay statues
that have a cylindrical ending in the upper part (Popeşti, Căscioarele).
- clay statues
shaped as sitting (Căscioarele, Sultana, Potcoava).
- clay statues,
of prismatic shape, that have a slight modeling on their head (Vităneşti, Căscioarele,
Alexandria
" Gorgan ") (MIREA, PĂTRAŞCU, 2006, 25/3 – 4).
Some shapes are even rarer. Only the upper side of the body has been
kept, which is vertically crossed by a perforation that doesn't have the same
thickness and which probably served for bonding a "ritual umbrella".(BERCIU,
1953, 590).
The shape of this type of idol is oriented towards the modeling of
east Mediterranean area. It also has analogies in Gumelniţa culture concerning the presence of the
vertical perforation through the head.
The bone modeling is also present in Gumelniţa
culture(ANDREESCU, 2002 a, p.46/ 1 - 6; p.47/ 4, 8 - 9; p.48/ 2 - 3, 5, 7, 9; p.49/1
- 2, 5,8, p.45/ 4, 7 - 8; p.43, 41/2, 6), in all the evolutive phases the items
from Sălcuţa being more close to analogies such as:
- figures with
quadrilateral head, with perforations grouped in three on both sides of the
head (eyes are perfored) hands are marked with perforations, the inferior side
is incised (the triangle of fertility, the legs and the hips) - Olteniţa,
Potcoava, Vidra, Sultana, Vităneşti, Căscioarele.
-the prismatic figures with head as a "bird's beak" - Căscioarele,
Alexandria,
Măriuţa.
For the Săcluţa area from Banat, at the level of the evolutive phase II b, two
modeled items made of clay have been found (the upper part), that has binding
holes for the head, fall within the range of flat head and arms crossed.
Such representations are inherited from Gumelniţa culture, from the Boian culture as a result of direct
descent based Vinča fund(BERCIU, 1961,
71. In order to solve the ilustrative issue, there is also VL. DUMITRESCU, 1974, 225).
A similar figure was found to Poroschia, Gumelniţa area, which,
through the holes in what marks the shoulders and eyes, is identical to that of the Valea Anilor. Such
representations have analogues in the environment and the evolutionary
phases Cucuteni AB
and B.
The modeling of the Sălcuţa eneolithic cultures is not that
different of that of Gumelnita (VOINEA, 2006, 51),(whos
representations keep the Boian
traditions, with morphological differences). For each anatomical part there are
some prefered motifs:
- Shoulders -
concentric circles.
- Abdomen –
spiral.
- The thighs,
buttocks and thighs - bands and angles.
- Pubic region -
the triangle.
More statigraphic sequences from Oltenia attest the presence of the
gumelnitean populations in the area.
In some of his studies(NICA, 35 – 47, IDEM, 1994, 41 - 59) M. Nica is
speaking about a Boian V - Gumelniţa I statigraphic sequence, accentuated in
several settlements from the left and the right side of the Olt. Fărcaşu de Sus(NICA,
1985, 35 – 37. The situation is presented from the school and church
point of view), Resca " Cetate " (Olt county), Dăneasa, Zănoaga (Dolj
county) - to the left of Olt, Dobreşti " Valea Sărtăluiului " Cârcea
" Viaduct " (in the valley of
Jiu)(NICA, 1985, 42) and Hotărani (Olt county)(NICA, 1971, 5 – 32).
Another statigraphic settlement from around Olt river, present at
Romula, Dealul Morii(NICA, 1985, 39), is pointing at the Vinča, Dudeşti,
Gumelniţa and Sălcuţa cultural succession, sequence confirmed by the researches
made at Drăgăneşti - Olt " Corboaica ", where we can observe the
Gumelniţa B 1 and Sălcuţa cultures.( The lower and middle layers of the vessels
are small and medium with black, gray or brown luster. Concerning the
processing technique, we find analogies in Sultana, Tangâru Gumelniţa, Căscioarele.
Ceramics presenting plant debris is of tradition Boian V - Gumelniţa 1 (A 1)
tradition. In the upper levels the vessel surfaces are neat, and as forms we
meet bowls, vessels, vases with piriform short lip, pots with curved body,
Askoi, cups common to both populations Sălcuţa and Gumelniţa).
In a less detailed presentation of the ceramics, the Gumelniţa
character can be noticed, and the resembling goes as far as identical to a part
of the ceramic belonging to Sălcuţa culture.
The bowl with its edge
bolded to the inside (Sălcuţa I phase) has
analogies into the first phase of the Gumelniţa complex - Karanovo VI (A 1 / I)(VOINEA,
2006, 36, Pl.2 / 1 - 6; Pl. 25). The differences consist in the fact that the edge is bolded more
or less prominent, sometimes having the aspect of a sill (Trestenic). It has a
wide spread (can not be found in Varna
region) and can be found in all Sălcuta's evolutive phases. A shape like this
can also be met in Gumelniţa A 2 / Karanovo VI phase II (Ovocarovo, Hârşova,
Tangâru, Medgidia, Karanovo VI). And Ostrovul Corbului, phase Sălcuţa III.
Bowls with narrowed neck
and the ones with "shoulder" from the
phases Sălcuţa II a, II b, II c have their correspondent in Gumelniţa complex -
Karanovo VI (A 1 / I) among the bowls with splayed edges and sharp shoulder(VOINEA,
2006, 36, Pl. 4 / 5, 7;
Pl. 29 / 6) (Tangâru). Their presence is quite
spreaded, and in Varna
region elegant shapes can be found. For the Gumelniţa A 2 / Karanovo VI phase
II, these shape are more rare, the quality of the material is superior and the
pots are painted with graphite sometimes (Ovcarovo). In Oltenia they can be
found at Sălcuţa, Ostrovul Corbului (phase III), Almăjel (phase II).
Tronconical bowl, with
straight walls, slightly curved or concave which
appears in phase Sălcuţa III is present in Gumelniţa complex - Karanovo VI (A 1
/ I) - Ovarcovo, Tangâru. Also found at Almăjel - phase II - and Ostrovul
Corbului, phase Sălcuţa III.
Bowl with tall edge, in fair angle or rounded, from Ostrovul
Corbului is present in Gumelniţa complex - Karanovo VI (A 1 / I) - Ovcarovo,
Trestenic, Tangâru (A 1), Năvodari (A 2) and continues the Karanovo V - Marica
tradition. The spreading area is wide:
Northern Trace, nort - east Bulgaria, Muntenia and Dobrogea.
The bowl with short,
straight or slightly splaied edge (Ostrovul
Corbului III) finds its analogies in the zone of the Pontic seashores : Medgidia, Hârşova, Trestentic (Gumelniţa A
1), Năvodari (A 2).(VOINEA, 2006, 37, Pl. 5 – 6)
Cups with leg, tronconic,
without a shaped edge in Sălcuţa, from phases I, II
b, II c, can be found in the Gumelniţa - Karanovo VI (A 1 / I) complex, Varna
region and they remind of the old Hamangia - Sava customs. Its presence in
Gumelniţa A 2 / Karanovo VI phase II is more rare (VOINEA, 2006, 42, Pl. 29 / 7; Pl. 34) (Blejeşti, Hârşova).
Bowls with edge inclined
inside, from phase III, Ostrovul Corbului and Almăjel,
phase II, are a common form and often met in Gumelniţa - Karanovo VI (A 1 / I).
The quality of the material is rough, the surface is neglected and decorated
with slips (Tangâru).
The bowls with sharp,
rounded shoulder and edge inclined inside, from
Almăjel, phase II and Ostrovul Corbului phase III, have analogies in Gumelniţa
phase A 2 / Karanovo VI phase II (Hârşova, Goljamo Delcevo, Varna, Pietrele).(VOINEA,
2006, 37 - 42, Pl.10; Pl.34
/ 1 - 7, 9 – 10).
The goblets, with arched
crowned body, skewed shoulder and straight edge or curved body, that have been found in Sălcuţa, phase I and Ostrovul Corbului,
appears in Gumelniţa - Karanovo VI (A1 / I) complex. Its shape is simple,
tronconic, and slightly arched walls. Sometimes it presents sharp shoulder, but
also with decorated upper part.
The vessel with curved
body or the bowl, from phase II c Sălcuţa, is a
common form, widely spreaded, and can also be met in Gumelniţa - Karanovo VI(A1
/ I) area, in simple forms or short neck and decorated with slips or dimpled girdles (Trestenic, Ovacarovo, Lişcoteanca)(VOINEA,
2006, 38, Pl. 9 / 1 -
5, 7. Pl.11 / 1 - 2; Pl. 34 / 9, 10, 13; Pl. 36 / 2, 3, 5). In Gumelniţa A 2 / Karanovo VI phase II, the tendency to almost
spherical shapes can be noticed, with a very small opening diamenter (Pietrele,
Blejeşti, Cuneşti, Hârşova).
Bitronconical vessel, with
edge inclined to the inside (Sălcuţa, II c and III),
appears in Gumelniţa - Karanovo VI (A 1 / I) environment without neck, with
sharp shoulder (Trestenic, Hârşova) or rounded (Ovacarovo) and ones with the
edge shaped as a short neck.
The vessel with spherical
body from Sălcuţa phase II c and Almăjel phase II
is called bitronconic with curved shoulder and short neck pot (Trestenic) in
Gumelniţa area (A 1).(VOINEA, 38, Pl.12 / 1 - 6; Pl.12 / 7 - 9; Pl.13 / 1 – 2).
The hemispherical vessel (Sălcuţa, phase II) is specific to Gumelniţa A 2 / Karanovo VI
phase II and it belongs to the rough ceramics cathegory (Goljamo Delcevo,
Medgidia, Karanovo).(VOINEA, 42, Pl. 30 / 7 - 11, Pl. 35 / 4 - 5 ; Pl.39 / 5).
The pear-shaped vessel, Sălcuţa, phases II c, III, turns to a simple shape and wide or
shaped shoulder in Gumelniţa - Karanovo VI (A 1 / I) complex. Their material is
delicate. Present at: Căscioarele, Hârşova, Jilava. This type of bowl can also
be seen at Gumelniţa A 2 - Karanovo VI phase II level (L 12 housing from Hârşova)
where it is covered in engobe, and has two handlers under its neck.
The vessel
cover, from phase I Sălcuţa, has
analogies in the seashore zone, in discoid shaped items, without a handler,
with one or more perforations. The hemispherical cover, with tall, straight
edge (Hârşova), decorated with excisions and kennels is of old Boian -
Polijanica tradition and they also appear in Gumelniţa - Karanovo VI (A 1 / I).(VOINEA, 2006, 39, p.19 / 2; p. 84
/ 5).
The
"cap-like" vessel cover,
which appears in Sălcuţa II b phase, can be found in Dobrogea, Northern Thrace,
the seashore zones (Hârşova, Drama, Goljamo
Delcevo, Varna) at Gumelniţa A 2 / Karanovo VI phase II level.(VOINEA, 2006, 44, p. 40 /
11 – 15).
The storage vessels, that appear in Sălcuţa phase II c, can be found in the Gumelniţa -
Karanovo VI (A 1 / I) area, with tronconical or hemispheric shape, rough
materials and having two or four handlers, but also in Gumelniţa A 2 / Karanovo
VI phase II. In this phase there can be noticed the "silled" vessels
(Ovacarovo), these having correlation also in Sălcuţa culture.
Bitronconical vessels,
with tall neck, tronconic, are a Gumelniţa
creation. Their upper side is painted with graphite, and the shoulder decorated
with impressions and incisions. The curved vessel, found at Sălcuţa, phase III,
finds its analogies, being a common model that will develop after in Gumelniţa
A 2.
The miniature vessel, that appears in phases I, II a, III at Sălcuţa, has
correspondences in Gumelniţa A 2 / Karanovo VI phase II and belongs to the
rough ceramics (Varna, Cuneşti, Goljamo Delcevo).(VOINEA, 43, p.35 / 2, 6 - 7; p.36 / 1, 4, 7
- 8, 10).
The vessel with
"draining tube", that can be met in
phases I, II c from Sălcuţa, phase III from Ostrovul Corbului and Almăjel, is
spreaded in all the Gumelniţa / Karanovo VI regions, in all the evolution
periods (Lişcoteanca, Drama, Cuneşti, Căscioarele).(VOINEA, 2006, 45, p. 45 / 1 - 3, 89 / 3).
Amphora, that appears quite frequent at Ostrovul Corbului, in the evolutive
phase III, is also met in phase Gumelniţa B 1.(VOINEA, 43, p.83,/ 85/9). In Varna region, it is
absent.
Colanders, from phases II c, III in Sălcuţa and Drăgăneşti - Olt, are also
present in the cultural environment Gumelniţa A 2 / Karanovo VI phase II (VOINEA,
2006, 44, p.45 / 6 – 8) (Hârşova, Pietrele), and have previously
been attested in the Boian – Spanţov environment also, at Vistireasa
settlement.(MIREA, PĂTRAŞCU, 2006, fig. 17 /
3).
The askos vessel, found in level II a from Sălcuţa, but also at Cerăt, has analogies
in Gumelniţa / Karanovo VI. For phase A 2, similar forms can be seen at Căscioarele
and Carcaliu, their frequence growing in phase B 1, on both sides of the Danube
.(Căscioarele, Jilava, Sultana, Vidra, Ciolăneştii din Deal, Russe, Hotnica,
Banjata, Asmak, Stara Zagora, Dolnoslav,
Meckur). (VOINEA, 2006,
46, p. 97). S. M. Bâlcu mentioned that the bellows type
shapes (tesalic origin), with higher handle and neck like a beak might build
the askoi Marica prototype and later askoi Sălcuţa.(BÂLCU & ANDREESCU,
2004, p.171). Most of the ceramics shapes presented can also be found in Câmpia Munteniei,
in Gumelniţa B1 area, in the Alexandria
" Gorgan " and " Movila de la Podul Nanovului "
settlements.(MIREA, PĂTRAŞCU, 2006, p.11 – 15).
The analysis of the decorative motifs must be made having in mind
their position on the vessel's surface.
Combining more techniques in order to decorate just one vessel can
also be noticed in Gumelniţa culture:
Incision/bolding, painting with graphite/bolding, scratches / incision
/ raw paintings. The technique is also positive - motif that is directly
represented in the negative technique - a spared motif in the bottom.
For plain or cylindrical surfaces there was used the delimited
register by horizontal lines or stripes.
Vessels covered in decoration on the most part of it, represent a
particularity in Gumelniţa culture, but on the other side, in the settlements
of the eneolithic culture Sălcuţa, and rarely in those of the Bubanj culture
(North - East Serbia), the grooved and incised motif, in arcade style is met
more often.(TASIČ , 1995, p.136).
The incised lines motifs,
that are spreaded all over the vessel's surface, represent a continuity of the Boian
V - Gumelniţa A 1 level, where they appear on ewes and large vessel covers,
unorganized (as simple stripes, groups of three or four vertical and oblique
stripes, angled wide stripes, and roes). The horizontal lines can delimit the
register ( the opening of on the edge or neck and the neck on the shoulder or
body). The line stripes indicate the metopes, the inner ones cover the edge. On
the circular surfaces the decoration in splited into four sectors, and lines or
line stripes are used. In the middle level, corresponding to phase Gumelniţa B 1, the bithronconical vessels are
ornamented on their shoulder with labyrinthic, spiral or line motifs and resemble
the ones from Căscioarele, Gumelniţa, Sălcuţa and Verbicioara.
The zigzag incised lines are also present at Sărata Monteoru, and the impressions carved with the nail or the finger remind of old Criş traditions and are frequent in the
gumelnitian settlements and type Sălcuţa.
The impressions, done with a blunt tip
are of Gumelniţa tradition (appear at the end of phase A 2). The same for the
ones created with "a shell".
Are disposed in register on the shoulder
of the bowls, in the exterior of the vessel covers, on the pear-shaped vessels
and on amphoras.(VOINEA, 2006, 54, p. 48 / 8, p. 50 / 2, p. 68 / 1 - 6, 8; p. 69, 76, 81 / 7, 93 / 4).
This " in parenthesis "
decor appears in combination with other decorative techniques and is considered
to be one of the most successful. It continues also in phase Gumelniţa B 1. The
ones that have been done with the finger,
oval shaped, can be met on the provision vessels of the phase Gumelniţa B 1.
The notches, that decorate the edge of the bowls, the sharp shoulder, appear
mostly in association with the relief, and are rarely seen in phase A 2
Gumelniţa (Cuneşti, Medgidia).(VOINEA, 2006, 54, p. 49 / 5, p.70 / 1, 74, 75,
77 / 3, 81 / 2, 84 / 3).
The relief,(VOINEA, 2006, p. 54, p. 78 / 3, 80 / 6, 81 / 4, 5, 8, 10, 82 / 2 - 4, 84 / 7, 9 - 10; p. 61 / 6 - 7, 12, 85 /
4 - 5; p. 61 / 8 - 11, 62, 63; p.64, 67, 81 /11; p.48 / 4, 63
/ 5, 6) as cufflinks (Sultana,
Năvodari, Hârşova, Medgidia, Căscioarele), frills
(Tangâru, Hârşova), alveolic girdles
(Goljamo Delcevo, Căscioarele) is often met in Gumelniţa ceramics, especially
on the common use ceramics. The girdles decorate here the vessel covers, while
the frills and kennels appear on bowls, bithronconical vessels disposed on the
line on maximum roundness and having the shape of a torques.
The slips, mainly used as a method of treating the surfaces of the common use
vessels, disposed in stripes. It appears on ewers (phase Gumelniţa A 2), in two registers separated by an
alveolic girdle or in four prominent handlers disposed on the line of maximum
roundness. In combination with frills it can be met on the inferior side of the
vessels.
The pointed
motifs, (VOINEA, 2006, 56, pl.9 / 4,
8 - 9, 16/6) disposed in a row (Lişcoteanca, Durankulac), made with a blunt tip
appear in Gumelniţa A 1. The same for the conical projections (Trestenic).
The angled motif appears as "in parenthesis decor" shape, in phase
Gumelniţa A 2.
The triangle is often used, and it appears alone or repeated in phases A 1 - A 2
Gumelniţa, shaped as wolves teeth. It decorates the wide shoulder of the bowls,
the lower edge of the vessels and cups.
The square rarely appears, on the shoulder of the chess board shaped vessels,
painted or incised.
The curved lines motifs are quite rare. The most often met is the S - shaped one, frequent
in Gumelniţa culture, on circular and graphite made surfaces.
The motif of the spiral is of Gumelniţa origin, in this culture appearing more frequent
with stripes and dots. On circular surfaces (vessel covers, bowls), the spiral
becomes a central element. It all fits inside the registers, metopes or circle
segments marked by lines or stripes. It develops in Northern
Thrace, where it takes old Marica III - IV traditions. It appears
on the shoulder of the bowls, and the binding is one of the most harmonious
forms of treating. It is associated with the
feminine symbolism.
The semicircle is represented by the "in parenthesis" decor, at the
level of phase Gumelniţa B 1 and it appears as parallel stripes disposed in
opposition.
The raw painting, with red or white, after the burning it has analogies in phases
Gumelniţa A 1 - A 2.
The graphite ceramics, consistently present in the area of Gumelniţa culture, is quite
rare in the space of Sălcuţa - Bubanj - Krivodol complex. The wolf teeth motif,
painted with graphite on the neck of a cup that belongs to Gumelniţa culture is
identical with the incisions, in the same shape, from Ostrovul Corbului(ŞIMON,
1989, fig. 19 / 7 c.) and Hissar (next to Suva Reca - Metohoia).(TASIČ, 1995, p.132,
fig.18 / 3). Also, the chess board decor, combined with the linear one, is
specific for Gumelniţa.
For the graphite painting, the most interesting analogies can be
found in the gumelnitian cultural environment from the settlements at Vităneşti(ANDREESCU,
MIREA, XII, 2003, 71 - 87) (Teleorman) - the last level of inhabiting –
Geangoieşti(OLTEANU, 2002, 124), Tangâru(BERCIU, 1961, 264), but also in the
level that belongs to Gumelniţa culture from Drăgăneşti - Olt "Corboaica"(NICA et ali, 2004,
45, 1, 41 – 60). Mostly, the painted vessels from the cultural complex Săcluţa
- Bubanj - Krivodol are very rare. The good and fine ceramics is painted in
proportion of 1 - 3 %.
An important role in the development of the graphit decor has been
played by the Neolithic communities from Eastern Macedonia and Egeic Thrace.
Initially attested at Sitagroi, than at Otzaki - Dimini, the graphite ceramics
are spreaded on the Egeic Thrace's direction, Bulgaria
(Karanovo V, Marica) and Southern România
(Boian). Extracted from mountains Rodopi and Balcani, the graphite has a wide
circulation, being found in settlements such as Janka, Kodjadermen, and Varna, Devnia necropolis. In Gumelniţa culture, it appears
on shapes such as the bowls, small or
large vessel covers, bithronconical vessels (also in Sălcuţa) ; is combined
with incised decor, in relief or impressions and is exposed on the superior
side of the vessels (Tangâru).(VOINEA, 2006, 53).
The quite rare presence of the graphite painting is
explainable. In the gumelnitian environment, it is seen more often at the level
of phases Gumelniţa A - A 2 / Karanovo VI I - II(VOINEA, 2006, P. 46 - 48, 53,
55, 57 - 59, 63, 87, 93), because in the second phase, instead of the painting,
decorative techniques such as incision, impression, relef will be preffered.
Gumelniţa communities were present in Oltenia evolution of phase B
at 1. Civilization with a variety of forms and motifs, modes of execution and
organization of decoration, has a substantial presence in the culture Sălcuţa.
Influences and similarities are encountered in the pottery: form (bowl with thickened rim inward bowl with
curved lip inside bowls, with narrowing 'and to shoulder truncated bowl-wall,
straight, slightly curved or concave, bowl high edge, right angle or rounded
edge bowls short, straight or slightly
evasive, footed tubs, inclined inner edge bowl, bowl with sharp shoulders, cup,
bowl or jar with curved body, biconical bowl,
hemispherical bowl , pear-shaped bowl, lid, food dishes, pots, with
threshold, high-necked doubly conical flasks, conical, miniature pots, flask,
tube, drip, amphora, colanders, bowl
askos) and decoration (incised lines, the pointed motifs, angular, spiral
motif, triangle, square, why curvilinear, circle).
Can also be found in techniques:
impressions, grooves, incisions, relief (buttons, frills, girdles cellular), slips, painting, raw painting,
graphite, plastic anthropomorphic clay and bone, in rite and ritual.
Housing and settlement location go almost to identity with similar
elements from Gumelniţa. However, famous houses have been identified in Gumelniţa
environment. Housing on the pillars, housing foundation, sanctuary housing,
housing studio, are not present in Sălcuţa.
However, why in culture Sălcuţa ceramic forms have not reached high
foot fruit bowls and empty inside, shelves, pots levels, support vessels,
'tables' support vessel type, beaver,,
type vessels Lamp /,, lamps,, communicating vessels, vessels with two necks,
pots box, type vessels,, tulip, type vessels rhyton? Why raw painting, or the
graphite, is so spreaded in Gumelinţa
culture and made with perfect refinement rarely occurs in culture Sălcuţa? Were
unaware the salcuteans of gold painting?
And other motifs are missing, "leaf”, Y motif, Greek Cross,
Maltese Cross, St. Andrew's cross, diamond, vertical pole, your motif,
crescent, palmetto, clubs, X motif.
Not even sophisticated methods such as the cruciform organization
decor, mandala, three and tetraskelion, tangent, chaining, duplication are not
common.
Salcuta representations have
no parts made of marble. Anthropomorphic or zoomorphic vessels, which also
occur in Gumelniţa are true masterpieces of art, is suggested by some
anthropomorphic pottery with reliefs. Clay models representing sanctuaries are
not attested.
Processing gold, which is confirmed in Gumelniţa, in Sălcuţa
environment, has not been documented. It can be seen quite easily that in Sălcuţa environment, Gumelniţa influences
are the common elements, simple, functional that are not necessary specific to Gumelniţa
only, some of than being routed to the late Neolithic.
Culture Sălcuţa is missing those elements that give refinement and
splendor of a superior culture. (As in culture Gumelniţa). It is impossible to
believe that Sălcuţa populations were
devoid of aesthetic sense, which is also highlighted in some modelings. Rite
and ritual had not been a prime component of these human communities.
As a corollary of all these common elements, at present we cannot
dissociate the two south Carpathians Neolithic cultures: Sălcuţa and Gumelniţa,
even though there are chronological differences between the two cultural
phenomena. More over, culture Sălcuţa is of Gumelniţa origin, background
material, constructive elements of nature and spiritual approaches and illustrating
this character.
New insights, connections with neighboring areas will reveal in the
future, this view that we consider nearest to the truth.
Dr. Catalin Nicolae Patroi
