Representation of Dance in the Figural Art of the Early Neolithic Koros Culture

Makkay, János

doi:10.55201/wdit6200

Cited by 3 publications

(4 citation statements)

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“…The ambiguity is not due to the artist's failure, but to his/her intent to model an animal whose supernatural nature is expressed by its hybrid body. The occurrence of interspecies entities in Early Neolithic imagery is confirmed by closer analogies at Endrőd 39 229 and at Donja Branjevina itself. 230 The significance of the male red deer is confirmed by its appearance in the Neolithic rock art of the Italian Alps with people riding on them.…”

Section: F Symbol Of Status Wealth and Prestige For The Related Hunti...mentioning

confidence: 67%

“…218 Figurines depicting red deer with imposing antlers have been discovered in the Starčevo sites of Banja 219 and Donja Branjevina. 220 Figurines that likely represent a red deer have also been unearthed from the Körös sites of Endrőd 3/45, 221 Endrőd 39, 222 Miske-Becsali I-II, 223 and Maroslele-Pana settlement. 224 Stag vessels are known from the Near Eastern Neolithic.…”

Section: F Symbol Of Status Wealth and Prestige For The Related Hunti...mentioning

confidence: 99%

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Mother Ranaldi: a post-paleolithic goddess gives birth flanked by supernatural stags

Merlini¹

2021

Acta Terrae Septemcastrensis

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Birth was one of the most magical, miraculous, and blessed events of post-paleolithic spirituality. The Mesolithic - Early Neolithic rock art paintings of the Ranaldi Shelter (Southern Italy) give distinct visual evidence to a universal subject: the woman during childbirth and the wild animal which, given the context data, is the adult male red deer. The pivotal personage of the drama, Mother Ranaldi, shares her iconographic canon with the Goddess of Childbirth in prehistoric art. She is a majestic, naked, corpulent and fertile anthropomorph who is delivering a new life between her generous thighs. The depiction of the newborn’s head emerging from the vagina emphasizes her female power to procreate. Mother Ranaldi is birthing flanked by two adult stags which she touches with her sacred hands. They are not ordinary animals. Their supernatural nature is described by three features: exaggerated unnatural antlers, clear epiphanic seasonal nature, and bicephalism. They were symbol of worship to the Goddess of Generation, acting as her paredri (supporting, assisting partners). Ranaldi Shelter was used during the seasonal relocation of cervids, which in spring moved from the plains to the summer mountainous ranges. Then, the red paintings had not only a sacred value. Having totemic nature, they carried out a territorial function by contributing to organize and mark the territory, possibly associated with appropriate rituals.

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Section: F Symbol Of Status Wealth and Prestige For The Related Hunti...mentioning

confidence: 67%

Section: F Symbol Of Status Wealth and Prestige For The Related Hunti...mentioning

confidence: 99%

Mother Ranaldi: a post-paleolithic goddess gives birth flanked by supernatural stags

Merlini¹

2021

Acta Terrae Septemcastrensis

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“…Since then, the number of sites and assemblages has multiplied, hence the editorial board of the 2012 British Archaeological Reports (BAR) volume could offer a significantly more complex synthesis of this culture and its owner society (Anders & Siklósi, 2012). Nevertheless, the assemblages investigated so far are moderate or the editors did not aim for an exhaustive publication, except for a few inventories from the region of the Körös rivers (Oross, 2007;Makkay & Starnini, 2008). Besides the thoroughly reported Ecsegfalva, János Makkay and Elisabetta Starnini published assemblages of six sites from the territory of Szarvas and Endrőd.…”

Section: Dynamics Of Changes In Neolithic Ceramic Forms and Decorationmentioning

confidence: 99%

Öcsöd-Kováshalom and the Neolithic Ceramic Technological Tradition in Hungary

András

2024

From Tea Leaves to Leaf-Shaped Tools. Studies in Honour of Zsolt Mester on His Sixtieth Birthday

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The Early and Late Neolithic artefact assemblages of Öcsöd-Kováshalom represent 700 years of nearly continuous local development during the Neolithic period. This study focuses on the temporal dynamics of ceramic transformations, that occurred in different paces concerning the forms, forming techniques and decoration of vessels. Decoration, as a device of social communication, displayed great variability in space and time. Vessel forms, constrained partly by function, rather responded to periodically occurring regional trends. The technological system had been following new claims and challenges only partially; it preserved archaic elements that eventually contributed to the formation of the Late Neolithic Tisza Culture. The character of the examined ceramic material prohibits us from reconstructing entire chaînes opératoires. The samples offer a set of identified technological markers, that refer to several characteristics of the manufacturing process within the technological system, represented by the artefacts.

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Section: Dynamics Of Changes In Neolithic Ceramic Forms and Decorationmentioning

confidence: 99%

From tea leaves to leaf-shaped tools. Studies in honour of Zsolt Mester on his sixtieth birthday

2023

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Another consequence of your arrival was that spectacular piles of rocks appeared in various corners of the institute, the beauty of which arouses the interest and admiration of any student or researcher dealing with a later era, even when simply trying to get across them. I am happy to support your proposal to create a lithic collection that will facilitate teaching and research.However, what captures all of us the most is the way you see and present people behind the objects and phenomena, who created and developed their tools and transformed their environment, who continuously fought for their survival. Based on the Palaeolithic archaeological record, which can only be appreciated by the initiated today, you get to know and explain the lifeways of the people who once lived, their adaptation to the environment, their battles with rival communities or even their cooperation, and last but not least, their beliefs that elevate people above the ordinary, material world. In recent years, many of us have been able to enjoy your various lectures on human evolution and struggles for survival.In addition to piles of rocks, domestic and foreign researchers, there are groups of interested and engrossed students surrounding your table and studying the lithic blades, waste, and other worked stone and bone tools for hours. The multitude of enthusiastic students shows the true meaning and appreciation of your work.Dear Zsolt! I congratulate you on your achievements so far and behalf of the staff of the Institute of Archaeological Sciences of the ELTE Eötvös Loránd University, Faculty of Humanities, I wish you a lot of joy, perseverance and all the best for your further successful teaching and research work.

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Representation of Dance in the Figural Art of the Early Neolithic Koros Culture

Cited by 3 publications

References 0 publications

Mother Ranaldi: a post-paleolithic goddess gives birth flanked by supernatural stags

Mother Ranaldi: a post-paleolithic goddess gives birth flanked by supernatural stags

Öcsöd-Kováshalom and the Neolithic Ceramic Technological Tradition in Hungary

From tea leaves to leaf-shaped tools. Studies in honour of Zsolt Mester on his sixtieth birthday

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