Page 28 - Studia Universitatis Hereditati, vol 9(1) (2021)
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dia universitatis her editati, letnik 9 (2021), številk a 1 / volume 9 (2021), number 1 28ornamentation of the (visible parts of the) bot-Mesolithic populations and iii) gradually
toms, especially the higher ones, is nowhere to be formed autochtonous cultural characteris-
hereditatifound in Macedonia. Also painting of the plates tics as they moved from the point of origin,
(both on the inside and outside), which is espe- regardless of whether those were Thessalian
cially common in western Bulgaria, is very rare or Anatolian settlements.
in North Macedonia.
Later, probably in the following Neolith-
The precise conceiving and employement of ic phases [in North Macedonia], a more in-
the painted compositions, as well as the ac- tense communication among these regions
tive using of the iconography in the accentu- commenced, which resulted in occurrence
ation of the local identities clearly indicates of similarities in the painted patterns, alter-
the mental capacity of the Neolithic popula- nately in each region. Such visual communi-
tions which settled Macedonia and the Bal- cation culminated in the Middle Neolithic
kan Peninsula in general. This potential for when within what is now considered Amz-
detailed organizing of a micro space (a ves- abegovo-Vršnik group, identical motives
sel), but also a larger cultural environment (a and composition units could be identified,
settlement), points to the complex charac- equally in the regions of Ovče Pole, Skopje
ter of the visual culture applied in the sym- and Polog. In the same period the commu-
bolic communication. Hence, it can be con- nities from Pelagonia continued using the
sidered that the painted compositions did ‘old’ visual elements on the vessels, which
not content geometrical principles only for shows that the Early Neolithic traditions
the simple enhancement of the vessels, but have much longer continuance in this re-
also because of the implementation of more gion, partly entering what could condition-
complex and essential concepts of the Ne- ally be referred Middle Neolithic. (Nau-
olithic communities. The employment of mov 2009d, 23)
symmetry within the imagery media is often
in relation with the metaphorical transposi- Of special interest is one unusual variant of
tion of the permanent values of one culture jars with a horizontally elongated form, an al-
and its essential living processes. most imperceptible rim (which seems more like
an opening in the body than a rim), and a round-
In this context it can be considered that the ed bottom (Fig. 6: 3–6). Such variants of jars are
Neolithic painted compositions were close- very rare in Balkan’s EN (and MN) even for
ly related to the processes that consolidate well-studied collections. Within this study five
the unity of the communities and made pos- specimens are analyzed: Vrbjanska Čuka-Slavej,
sible the maintenance of their continuity. Čuka-Topolčani and Veluška Tumba-Porodin
(Naumov 2009d, 125) from Velušina-Porodin Culture; Rakitovo (Kar-
anovo culture) (Nikolov 1996a, 1); and Čavdar
One could conclude that every closed geo- from the culture of Western Bulgarian Painted
graphical space (valley or plain) enabled suit- Pottery Neolithic (Todorova and Vaysov 1993,
able conditions for isolated, independent 20, 293, 97–99). The specimen from Vrbjanska
existence of the communities, which suc- Čuka-Slavej (Fig. 6: 3) is unique due to its perfo-
ceeded to develop specific visual character- rated (horizontal) handles, but given its slight-
istics in each region for a really short time. It ly carinated form it is analogous with the jar
points to the fact that the communities in- of Veluška Tumba-Porodin (Fig. 6: 5). The jars
habiting these regions: i) have already had from Čuka-Topolčani (Fig. 6: 4), from Rakito-
developed authentic visual features, pri- vo (Fig. 6: 6) and Čavdar are characterized by a
or to settling there, ii) developed new local well rounded form. That these vessels probably
visual identities contacting with the native bear more than only utilitarian purpose, can be
toms, especially the higher ones, is nowhere to be formed autochtonous cultural characteris-
hereditatifound in Macedonia. Also painting of the plates tics as they moved from the point of origin,
(both on the inside and outside), which is espe- regardless of whether those were Thessalian
cially common in western Bulgaria, is very rare or Anatolian settlements.
in North Macedonia.
Later, probably in the following Neolith-
The precise conceiving and employement of ic phases [in North Macedonia], a more in-
the painted compositions, as well as the ac- tense communication among these regions
tive using of the iconography in the accentu- commenced, which resulted in occurrence
ation of the local identities clearly indicates of similarities in the painted patterns, alter-
the mental capacity of the Neolithic popula- nately in each region. Such visual communi-
tions which settled Macedonia and the Bal- cation culminated in the Middle Neolithic
kan Peninsula in general. This potential for when within what is now considered Amz-
detailed organizing of a micro space (a ves- abegovo-Vršnik group, identical motives
sel), but also a larger cultural environment (a and composition units could be identified,
settlement), points to the complex charac- equally in the regions of Ovče Pole, Skopje
ter of the visual culture applied in the sym- and Polog. In the same period the commu-
bolic communication. Hence, it can be con- nities from Pelagonia continued using the
sidered that the painted compositions did ‘old’ visual elements on the vessels, which
not content geometrical principles only for shows that the Early Neolithic traditions
the simple enhancement of the vessels, but have much longer continuance in this re-
also because of the implementation of more gion, partly entering what could condition-
complex and essential concepts of the Ne- ally be referred Middle Neolithic. (Nau-
olithic communities. The employment of mov 2009d, 23)
symmetry within the imagery media is often
in relation with the metaphorical transposi- Of special interest is one unusual variant of
tion of the permanent values of one culture jars with a horizontally elongated form, an al-
and its essential living processes. most imperceptible rim (which seems more like
an opening in the body than a rim), and a round-
In this context it can be considered that the ed bottom (Fig. 6: 3–6). Such variants of jars are
Neolithic painted compositions were close- very rare in Balkan’s EN (and MN) even for
ly related to the processes that consolidate well-studied collections. Within this study five
the unity of the communities and made pos- specimens are analyzed: Vrbjanska Čuka-Slavej,
sible the maintenance of their continuity. Čuka-Topolčani and Veluška Tumba-Porodin
(Naumov 2009d, 125) from Velušina-Porodin Culture; Rakitovo (Kar-
anovo culture) (Nikolov 1996a, 1); and Čavdar
One could conclude that every closed geo- from the culture of Western Bulgarian Painted
graphical space (valley or plain) enabled suit- Pottery Neolithic (Todorova and Vaysov 1993,
able conditions for isolated, independent 20, 293, 97–99). The specimen from Vrbjanska
existence of the communities, which suc- Čuka-Slavej (Fig. 6: 3) is unique due to its perfo-
ceeded to develop specific visual character- rated (horizontal) handles, but given its slight-
istics in each region for a really short time. It ly carinated form it is analogous with the jar
points to the fact that the communities in- of Veluška Tumba-Porodin (Fig. 6: 5). The jars
habiting these regions: i) have already had from Čuka-Topolčani (Fig. 6: 4), from Rakito-
developed authentic visual features, pri- vo (Fig. 6: 6) and Čavdar are characterized by a
or to settling there, ii) developed new local well rounded form. That these vessels probably
visual identities contacting with the native bear more than only utilitarian purpose, can be
