Neolitska Umetnost Na Teritorijata Na Republika Makedonija

Andrej emrov, Peter Turk (ur. / eds.
a M Neolithic Art in the Republic of Macedonia
Andrej emrov, Peter Turk (ur. / eds.)
Neolitskata umetnost na Makedonij Neolithic art in the Region of the Republic of Macedonia
Ljubljana 2009
Index
izlo`ba The Exhibition Meri Anicin Pejoska
Neolitskata umetnost na Makedonij Neolithic Art in the Republic of Macedonia Dragia Zdravkovski Dragia Zdravkovski
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/ Catalogue of objects
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Formi na kerami~ki sadovi / Forms of pottery Antropomorfna plastika / Anthropomorphic sculpture Zoomorfna plastika / Zoomorphic sculpture Kultni rtvenici / Cult altars / Stamps Dragia Zdravkovski Dragia Zdravkovski Elena Stojanova Kanzurova Elena Stojanova Kanzurova
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The Exhibition
izlo`ba The Exhibition Meri Anicin Pejoska
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Ni pretstavuva osoben ~est i zadovolstvo da ja prifatime pokanata na na{ite kolegi i prijateli od Narodniot muzej na Slovenija, od Qubqana, za nastapot na na{ata izlo`ba Neolitskata umetnost na Makedonij. Ovaa aktivnost ja potvrduva na{ata dolgogodi{na sorabotka, bazirana, pred se, na individualni kolegijalni odnosi, koi vo kontinuitet gi gradat i odruvaat institucionalnite i me|udavni relacii, bez ogled na aktuelnite politi~ki promeni. U{te pove}e, postavkata na ovaa na{a izlo`ba ja naglasuva na{ata zalo`ba za prodlabo~uvawe na ovie relacii i intenzivirawe na na{ata sorabotka. Vo toj kontekst, posebno go cenime naporot na Narodniot muzej na Slovenija za vonredniot termin {to ni go ovozmoì za prezentirawe na del od bogatoto arheolo{ko bogatstvo na Makedonija, tokmu za vreme na pretsedatelstvuvaweto na Slovenija so Evropskata unija, i so toa silno gi poda na{ite napori za za~uvuvawe na na{iot nacionalen i kulturen identitet, koj be{e zagrozen od apsurdnite pritisoci, kako rezultat aktuelnata konstelacija na politi~ka mo}. Osobeno zadovolstvo mi e {to vo ovaa prilika prezentirame zna~aen del od bogatata neolitska kultura od Makedonija, kako svedo{tvo na dlabokite koreni i kontinuitetot na na{eto kulturno ìveewe. Ovaa izlo`ba na akedonskiot neolit, ne samo {to pridonesuva za dooblikuvawe na slikata za ìvotot vo neolitot vo Evropa, tuku, so komparacija so ostanatite zemji, }e ovozmoì da se razotkrie vistinata za ìvotot vo zorata na civilizacijata. Vo taa smisla, sakam da ja poso~am poznatata izreka na velikanot od makedonskata istorija, Goce Del~ev : Jas go gledam svetot kako pole za kulturen natprevar me|u narodite.
Meri Anicin Pejoska
The Exhibition
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It was our great pleasure and honour to accept the invitation of our colleagues and friends from the National Museum of Slovenia in Ljubljana for the loan of our exhibition "The Neolithic Art from Macedonia". This event reaffirms our long-lasting cooperation based, above all, on strong personal relations, which have been cherished and maintained for many years, thus fostering and continuing the institutional cooperation, regardless of the actual political changes. Moreover, the displaying of this exhibition emphasizes our determination for enhancing these relations and establishing more extensive cooperation. In that sense, we highly appreciate the initiative of the National Museum of Slovenia in Ljubljana for making efforts to schedule this presentation of part of the Macedonian archaeological heritage precisely during the Slovenian presidency with the European Union, thus supporting strongly our efforts for preserving our national and cultural identity, which has been threatened by the absurd pressures from the position of the current constellation of political power. I would like to reiterate my pleasure for the occasion of presenting a significant part of the abundant Neolithic culture in Macedonia as testimony of the continuity and the deep roots of our cultural existence. This presentation of the Macedonian Neolithic could contribute to elucidating the still incomplete picture of the Neolithic in Europe, so that the truth would be revealed about the life at the dawn of the civilization by joining and comparison of the accomplishments and observations obtained in other countries. In that spirit, I would like to point out the renowned sentence of our great historic figure Goce Delcev: I see the world as a field for cultural understanding between peoples. Meri Anicin Pejoska Director of the Museum of Macedonia
Dragia Zdravkovski
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a M Neolithic Art in the Republic of Macedonia Dragia Zdravkovski Dragia Zdravkovski
e ( 1960.) Archaeological excavations of Slovenian and Macedonian archaeologists at Anzabegovo (May 1960).
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Voved Izlo`bata Neolitska umetnost vo Republika Makedonija prezentira mal del od artefaktite {to se nao|aat vo muzeite. Neolitot s u{te malku istraèn period od preistoriskoto minato. Rezultatite so koi denes raspolaga arheolo{kata nauka ukaùvaat na negovoto golemo zna~ewe. Izborot na predmetite e napraven so cel na publikata da se prezentira edna pocelosna slika za po~etocite na civilizacijata vo Republika Makedonija. Poslednata izlo`ba Prazgodovina Makedonii vo Narodniot muzej vo Qubqana bila vo 1979 godina. Izlo`bata ja posvetuvame na prof. Josip Koro{ec, prviot istraùva~ na lokalitetot Anzabegovo. Prirodno - geografski osvrt Republika Makedonija se nao|a vo centralniot del na Balkanskiot Poluostrov, na negovata prirodna transverzala, Vardarsko-moravskata dolina, koja go povrzuva Egejot so Panonija. Geografskata mestopolo`ba ja odreduva i nejzinata uloga niz istorijata, od neolit do denes. Makedonija go zazema centralniot del na Balkanskiot Poluostrov, pome|u Egejskoto More na jug do [ar Planina na sever. Dinarskite planini na zapad i Rodopskite lanini na istok. Makedonija, so ogled na nejzinata geografska polo`ba, nao|aj}i se na glavnite pati{ta, odigrala zna~ajna uloga vo razvojot na Evropa. Situirana na rabot na dvete zna~ajni kulturi, egejsko-anadolskata i srednoevropskata, sozdavala specifi~na vnatrebalkanska kultura, koja gi prifa}ala i nadvore{nite vlijanija. Najstarite izvori {to se odnesuvaat na ìvotot vo Makedonija poteknuvaat od raniot neolit, najmladata epoha na kamenoto vreme, periodot na primitivno zemjodelstvo i sto~arstvo1. Vo istoriska smisla, Makedonija e region na Balkanskiot Poluostrov, denes podelen pome|u Republika Makedonija, Grcija i Bugarija. Nejzinite granici, od istok, se rekata Mesta (Nestos) vo Bugarija i zapadnite padini na Rodopskite Planini, od sever - venecot na planinite [iroka, Skopska Crna Gora i [ar Planina, od zapad - planinata Korab i Ohridsko i Prespansko Ezero, od jugozapad - planinata Pindos, a od jug rekata Bistrica (Haliakmon), planinata Olimp i Solunskiot Zaliv so poluostrovot Halkidik2. Definicijata na poimot Makedonija, vo geografsko-istoriska smisla, se teritoriite me|u rekite Vardar i Bistrica (Aksios i Haliakmon) i nivnite pritoki3.
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Teritorijata na Republika Makedonija gi opfa}a oblastite okolu rekata Vardar i nejzinite pritoki. Rekite Vardar i Strumica, preku Struma, gi nosat vodite vo Egejskoto More. Rekata Crn Drim istekuva od Ohridskoto Ezero i se vleva vo Jadranskoto More. Morfologijata na Republika Makedonija se sredno visoki planini i kotlini, so re~ni dolini me|u niv. Najgolemi kotlini se Pelagonija, Polog, Skopsko-kumanovskata kotlina, dolinata na rekata Bregalnica so Ov~e Pole, Povardarjeto i Strumi~koto Pole. Tie se me|usebno prirodno povrzani, so lesna komunikacija. Poniskite delovi od kotlinite, vo minatoto bile ispolneti so mo~uri{ta, isu{eni vo HH vek. Ohridskoto, Prespanskoto i Dojranskoto Ezero se najgolemite prirodni ezera. Neolitskata kultura e dominantno zemjodelska civilizacija, zavisna od prirodnite i geomorfolo{kite uslovi na terenot. Pejzaòt vo Makedonija, vo VII - V-to iljadaletie , e identi~en na celata teritorija. Terenite na Pelagonija, pokraj Crna Reka i nejziniot lak, se pokrieni so golemi mo~uri{ta, plitki ezera i bari obrasteni so trska, {evar i treva. Sli~ni se pejzaìte vo Polog, Skopsko i Strumi~ko. Ovie mo~uri{ta se prirodni akumulatori na toplinska energija, koi gi pravele zimite poblagi. Prirodnata baza za egzistencija na neolitskata civilizacija vo Makedonija e ista. Neolitskiot ~ovek bil orientiran kon prirodnite resursi. Mo~uri{tata obezbeduvale dovolno riba, {kolki, barski ptici i drugi ìvotni. Vo periodite koga ètvata bila siroma{na, tie ja nadopolnuvale hranata. Neolitskiot ~ovek od okolinata se snabduval so kamen, kremen i drvo. Na rabovite na kotlinite, okolu mo~uri{tata, gi gradel naselbite od tipot tumbi. Najpoznati arheolo{ki lokaliteti vo Pelagonija se Tumba s.Porodin, Velu{ka Tumba, Tumba s.Dobromiri, Tumba s.Mogila, Golemata i Malata Trnska Tumba, Vrbjanska ûka s.Slavej i u{te 70 drugi. Vo Polog, i Skopsko-Kumanovsko najpoznati se lokalitetite: Tumba s.D. Pal~i{te, Tumba s.Sten~e, Tumba s.Brvenica, Tumba Maxari Skopje i drugi. Vtoriot tip naselbi se na re~nite terasi. Takvi se Barutnica s. Anzabegovo, Vr{nik s.Tarinci, Rug Bair s.Gorubinci, Alin Dol s.Nemawici, Slatina s.Zelenikovo, Cerje s.Govrlevo, Mramori s.â{ka i drugi. Vo Arheolo{kata karta na Republika Makedonija se registrirani 200 neolitski lokaliteti. Vo neolitot, klimata vo Makedonija bila vrne`liva, so blagi zimi. Toa, zaedno so prirodno-geografskite uslovi, mu ovozmoìlo na neolitskiot ~ovek relativno miren i spokoen ìvot.
Tetovo
Skopje
Veles
tip
Prilep
Ohrid Bitola
Thessaloniki
Pravec na neolitizacija
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Neolitizacija na Republika Makedonija Neolitskata kultura vo Republika Makedonija, reprezentirana vo Velu{ko-porodinskata i Anzabegovo-vr{ni~kata kulturna grupa pripa|a na Balkanko-anadolskiot kulturen kompleks. Taa nastanala vrz {irokata kulturna baza od procesot na primarnata neolitizacija, so dominantno u~estvo na monohromnata polirana i slikanata keramika. Toj proces se odvival vo periodot od 6.400 do 6.100 god. pr.n.e. Dosega{nite istraùvawa na neolitot vo Make-
Osnovni karakteristiki na neolitot vo Republika Makedonija Vo arheolo{kata nauka, generalno, definirani se dve kulturni grupi koi egzistirale vo Makedonija: vo Pelagonija Velu{ko-porodinskata, a vo Severna Makedonija, Anzabegovo-vr{ni~kata. Pokraj niv, vo naukata se vovedeni i drugi, no tie ne se dovolno potvrdeni i valorizirani. Za da ja prezentirame i pokaème umetnosta na neolitot, }e gi potencirame najmarkantnite artefakti koi se otkrieni vo najnovite arheolo{ki istraùvawa. Ovie dve grupi imaat specifiki, no i mnogu zaedni~ki elementi. Sekoga{, koga toa }e bide neophodno, nekoi karakteristi~ni elementi }e gi potencirame kako specifika na ednata ili drugata grupa. Granicata na Velu{ko-porodinskata i Anzabegovovr{ni~kata grupa e interesna. Vo najstarata faza, vtorata grupa bila ograni~ena na edna teritorija, so centar vo Skopsko, Ov~e Pole, dolinite na sredna Bregalnica i Lakavica. Vo ovaa faza, Polog i delovi od Skopsko se direktno pod kulturno vlijanie na Velu{ko-porodinskata grupa. Vo sredniot neolit, Anzabegovo-vr{ni~kta grupa se pro{iruva na celiot Gornovardarski region, Kumanovsko Pole, dolinite i poliwata okolu rekite P~iwa, Kriva Reka, Bregalnica, Lakavica, Strumica i Vardar do Demir Kapija. Vo docniot neolit, teritorijata zna~ajno ne se namaluva, no se namaluvaat prirodnite resursi i doa|a do napu{tawe na nekoi naselbi i koncentracija na ìvotot samo na mal broj. Teritorijata na Velu{ko-porodinskata grupa se namaluva i taa se ograni~uva samo na Pelagonija. Neolitot vo Republika Makedonija egzistiral i se razvival nad dve iljadi godini, niz tri fazi: star, sreden i docen neolit. Anzabegovo-vr{ni~ka kulturna grupa Najstarite fazi na Anzabegovo-vr{ni~kata kulturna grupa, Anza-Vr{nik I a-c, pripa|aat na stariot neolit, karakteristi~en so beloslikanite ornamenti na crvena osnova. Taa faza egzistira vo periodot me|u 6.300/6.100 5.800 god. pr.n.e. Glavna karakteristika na beloslikanata keramika se floralnite ornamenti i formiraniot floralen stil vo umetnosta na grupata. Belite floralni ornamenti i venec na plodorodieto, odnosno maslina, se edni od najstarite artefakti od neolit. Ornament na maslinovo gran~e ima i sadot so forma na lejka od Anzabegovo. Ovoj sloj e konstatiran na pogolem broj lokaliteti: Velu{ka Tumba7, Tumba Pal~i{te8, Tumba Sten~e, ûbuk ~e{ma9, Cerje-Govrlevo10 i drugi. Keramikata od najstariot sloj vo
donija ne otkrija postoewe na predkerami~ki arheolo{ki tragi. Ovie grupi se rezultat na migracija od jug, odnosno od Tesalija. Pravecot na dvièwe na nositelite e preku Egejska Makedonija do Pelagonija. Tuka za najstari naselbi se smetaat Golemata Trnska Tumba i Pe{terica. Ponatamu, neolitot se {iri na sever, preku Pe{terica, kon dolinata na rekata Babuna i Azot kon Skopskata kotlina. Vo Skopsko, najstara naselba e Govrlevo od kade grupata se {iri po celata kotlina i na istok vo Ov~e Pole, na sever kon Kumanovsko ole, a preku Pre{evskata vododelnica na sever, po dolinata na Morava. Od Ov~e Pole na istok, po dolinata na Bregalnica, se {iri kon Sredna Struma. Po dolinata na rekata Lakavica, odi na jug kon Strumi~ko Pole. Vo Polog grupata e rezultat na direktnite kontakti so Pelagonija, bidej}i formite na keramikata i ukrasuvaweto na najstariot sloj od Tumba Sten~e se identi~ni so Velu{ko-porodinskata grupa. Vo ovaa najrana faza kontaktite na naselbite od Polog so Pelagonija se evidentni i realni. No, vo slednata etapa, vo sredniot neolit, naselbite od Polog, direktno, hronolo{ki i kulturno, komuniciraat so istovremenite od Skopsko. Hronolo{ki ramki i datirawe Vo arheolo{kite istraùvawa se sobrani primeroci od materijal na koj e izvr{eno analiza so radioaktiven jaglen S-14 i termoluminiscencija. Spored rezultatite, Anzabegovo I e datirano vo period od 6.100 do 5.800 god. pr.n.e Anzabegovo II - 5.800; Anzabegovo III - 5.300 i Anzabegovo IV, vo periodot od 5.200 do 5.000 god. pr.n.e.4 Analiziraniot materijal od vtoriot i tretiot sloj na Govrlevo, gi dadoa datite 5.800 i 5.300 godini pr.n.e5. Najnovi datumi se od eneolitskata naselba Pilavo vo s.Buril~evo, za postarata faza 4.540-4.330, a za pomladata 3.750 god. pr.n.e.6
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Dolno Konjare Mrevci Dolno Palite Madari Dolno Sedlarce Skopje Rug Bair Govrlevo Stene Vrnik Mamutevo Barutnica Anzabegovo Zubovce Zelenikovo Damjan Peterica aka Radin dol Vrbjani Ustie
Karamani
Angelci
Crniani
Anzabegovo, spored op{tite karakteristiki na formite i ornamentikata, ima vidlivi vrski so Anadolija. Vrskite so Tesalija, fazite na naselbite od Protosesklo, Presesklo i klasi~no Sesklo se poevidentni. Vo ponatamo{nata evolucija, vo tekot na celiot sreden neolit, grupata Anzabegovo -Vr{nik se razviva na ovaa avtohtona baza na teritorija koja e mnogu namalena, no so evidentni sli~nosti i razliki so severnata Star~eva~ka grupa. Vo Anzabegovovr{ni~kata grupa lajt-motiv ili konstanta e lentata so floralni ornamenti (vegetativni), {to otsustvuva vo takva forma vo Star~evo, iako postoi i ponatamu evoluira, kako spiraloid ili girlandoid stil11. Vo Star~evo primaren e konstruktivno-geometriskiot stil, koj spored D.Srejovi} vle~e direktni koreni od graviranite vise~ki triagolnici na koskite i skiptarite od Lepenski Vir. Neolitskata kultura vo Republika Makedonija, najgolem procut doìveala vo periodot na sredniot ili razvien neolit. Toj se karakterizira po crvenata fina keramika so temnite braon ornamenti na crvena osnova. Taa trae me|u 5.800 i 5.300 god. pr.n.e. (Anzabegovo- Vr{nik II-III). Konstatiran e vo razvienite fazi na site lokaliteti: Anzabegovo, Tumba Maxari, Zelenikovo, Govrlevo, Rug Bair, Vr{nik12, Mramori13. Vo Velu{ko-porodinskata kulturna grupa e mnogu retka braon slikana keramika. Karakteristi~na e pojavata na spiralata so braon/temnokafeava boja na pehari so mala prstenesta noga. Isto taka, karakteristi~ni se kafeavo slikanite vertikalni alternirani debeli i tenki linii, ~estopati so vertikalni spirali me|u niv. Floralniot stil vo ukrasuvaweto na keramikata prodolùva so novi estetski invencii. Kako moden trend na vremeto (Anzabegovo-Vr{nik III) se pojavuva i noviot konstruktivno-geometriski stil, donesen od sever, kako star~evski element. Umetni~kite pretstavi na kultot na Golemata majka dominiraat vo kultnata plastika. Krajot na sredniot/razvien neolit vo Makedonija, zavr{uva so pojavata na t.n. vin~anska docnoneolitska keramika14. Stratigrafskite podatoci ovozmoùvaat determinirawe na posledniot sloj od Anzabegovo-Vr{nik IV, kako docnoneolitski. Negovite glavni karakteristiki se crnata mazneta i kanelirana keramika, bikonusna profilacija, dralkite so jadec. Stratigrafski, ovaa keramika se nao|a vo sloj {to e mnogu podloèn na devastirawe. Naodite vo Anzabegovo, Rug Bair i Alin Dol vo Ov~e Pole i posledniot sloj, definiran kako Zelenikovo II, posledniot sloj od Tumba Pal~i{te i Govrlevo, pripa|a na Anzabegovo-Vr{nik IV, odnosno na docniot neolit. Toj e sinhron so soodvetnata Vin~a-Tordo{ I faza na sever. Istovremeno, ovie elementi se karakteristi~ni i za kulturata Paradimi vo Severna
Mogila Trn orev Rid
Veluina
Porodin
Najpoznati neolitski naoali{ta
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Grcija. Isto~no od planinata Pangej, Dramskoto Pole do Termajskiot Zaliv se formira docnoneolitskata kulturnata grupa Topolnica-Akropotamos. Velu{ko-porodinska kulturna grupa Grupata egzistirala niz ~etiri interni fazi I-IV, vo periodot od krajot na VII do krajot na Vot milennium pr.n.e., koga docniot neolit potpolno zgasnuva. Identi~no kako i vo Severna Makedonija, i vo Pelagonija dominiraat naselbite od tipot tumbi. Naselbite na re~ni terasi se malubrojni: Pe{terica15, Vlaku vo s.@ivojno i Bela Crkva kaj s.Brod16. Ku}ite se gradeni na potpolno identi~en na~in od pleter, cepeni gredi i ponekoga{ na podot imalo supstrukcija od kolci, kako izolacija od vlagata. Modelite na ku}ite izraboteni od keramika najdobro gi ilustriraat objektite za ìveewe. Vo Tumba Porodin e otkriena edna trapezoidna ku} a od docniot neolit. Grupata egzistirala vo Pelagonija, vo priroden ambient i uslovi potpolno identi~ni so pejzaòt okolu naselbite od Anzabegovo-vr{ni~kata grupa. Velu{ko-orodinskata grupa e postara od Anzabegovovr{ni~kata i se razvivala pod direktno vlijanie na raniot neolit od Tesalija. Pelagonija imala izvonredni uslovi za zemjodelstvo i sto~arstvo i grupata egzistirala spokojno, vo relativna blagostojba. Keramikata na grupata pokaùva edinstvo vo site fazi i generalno gi ima istite karakteristiki. Vo stariot neolit dominira crvenata gruba barbotinkeramika so od prsti, arkadniot-organiziran barbotin, plasti~ni lenti so vtisnuvawa od prsti, kaj golemite sadovi-pitosi ili grnci, ~inii i crepni. Impresotehnikata e na sadovi so pomali dimenzii. Toa se ukrasi so vdlabnatinki, otpe~atoci od nokti, {tipnuvawa vo vid na ìten klas i zrna p~enica, prisutni i vo keramikata na grupata17 Anzabegovo-Vr{nik. Ubavata keramika e monohromna ili slikana. Toa se ~inii so polutop~esta forma, ~inii so profiliran vrat, amfori, kapaci, pehar na prazna mala konusna noga. Keramikata e so dobra faktura, dobro mazneta, so visok sjaj. Ornamentite se aglesti, pravilni triagolnici, klepsidri, skalesti lenti slikani so bela boja.
prodolùvaat ornamentite od sredniot neolit: to~ki, polumese~inki, triagolnici, razvle~eni agli. Kultnata plastika vo Velu{ko -porodinskata grupa e raznovidna. Antropomorfnata plastika e bogata i raznovidna. Neolitskiot umetnik sekoga{ go predizvikuvalo ~ove~koto telo. Toa, naj~esto, se ènski statuetki od stolboviden i kru{kest tip. Prvite se mnogu ednostavni, so kosa, nos i primarni i sekundarni seksualni karakteristiki. Kosata e svitkana vo kok. Vtorite se so naglasena steatopigija, malo telo i ~esto {ematizirana glava ili bez nea. Naj~esto se vo polusvitkana polo`ba, so racete na stomakot i mal plasti~en disk na pubusot. Zoomorfnata plastika se pretstavi na govedo/bik, elen, ovca i drugo. Nekoga{ toa se stilizirani skulpturi bez detali ili realisti~no prikaàni, so golema plasti~nost. Interesni se `rtvenicite so elenski protomi i eden primerok so pretstava na èlka. Zadnite noze se izvajani, so po dve mali zadebeluvawa, plasti~no prikaàni, kako da se spu{teni, odnosno asociraat na debela koà, sobrana i nate`nata. Recipientot ima zaoblena forma, so izrazeno vovle~en venec. Glavite se na visoki vratovi so grklan, mali usti i roèsti zadebeluvawa na zadniot del. Tie se prikaàni kako da izniknuvaat od recipientot, odnosno kako da se istegnuvaat. Pome|u glavite se nao|a mala pe~ka. Sli~na pe~ka ima `rtvenikot, osnova na ku}a, od Tumba Porodin. Ovoj detaq dozvoluva, so golema sigurnost, da pomislime deka ovie dva `rtvenika, najdeni vo ista ku}a, gi izrabotil eden majstor. Drug primerok na èlka e od Vrbjanska ûka. Vo Pelagonija se najdeni i ubavo izvajani glavi od eleni so rogovi i kozorozi. Osobeno interesni se i modelite na ku}i so pokriv na dve vodi i antropomorfen cilinder na pokrivot, kako oxak, od tipot na Golemata majka. Isto taka, modelite-`rtvenici bez pokriv, samo so triagolno prikaàni bo~ni yidovi, so otvori postaveni na visoki nazabeni postamenti (dali se raboti za palafiti?). Ova ukaùva na faktot deka neolitskiot ~ovek od Pelagonija neguval golem kult kon ku}ata i doma{noto ogni{te. Osnovi na ku}i ima i vo Anzabegovovr{ni~kata grupa. Model na stilizirana ku}a, sli~na so modelite od Pelagonija, e modelot -`rtvenikot od Vr{nik, isto taka, od docen neolit18. Floralen stil vo slikanata keramika Fenomenot na floralnite ornamenti vo ukrasuvaweto na kerami~kite sadovi i nivnite formi, definiran kako
Vo sredniot neolit prodolùvaat grubite sadovi, dekorirani so neorganiziran barbotin i impreso-ubodi. Se pojavuva finata keramika so boja na cveklo (vinski talog) slikana so bela boja, ornamenti vo forma na bukvata Z, sigmi, skalesti lenti i sl. Vo docniot neolit prodolùva da egzistira grubata keramika, a s pove}e dominira sivata i kafeavata boja. Kaj finata
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floralen stil, bil zabeleàn u{te vo prvite istraùvawa vo 1960 god. na Anzabegovo od Josip Koro{ec. Podocne`nite istraùvawa samo ja potvrdija ovaa teza. Nie go akcentirame kako mnogu vaèn element na Anzabegovo-vr{ni~kata kulturna grupa. Od najstarite fazi, pa niz sredniot neolit i vo docniot neolit, ornamentot na venec od lisja e prisuten vo celiot korpus na keramografijata. Toj stil e folklorniot fenomen", imanenten na lu|eto vo ramkite na grupata Anzabegovo-Vr{nik. Zaedno so nego odi i lejkata (tikvata!), kako osnova i inspiracija za izrabotka na sadovite-amfori. Tie se najubavite i najimpresivnite formi na sadovi koi se sretnuvaat na naselbite od na{ite grupi. Trite amfori najdeni vo ku}a 1 i 3 od Tumba Maxari se prvite artefakti na tloto na Makedonija, za koi so sigurnost moè da se kaè deka se izraboteni od eden majstorkerami~ar. Nekoi od peharite od ku}a 1 vo Tumba Maxari, isto taka, se delo na negovata raka. Vo slikanata keramika i keramikata so impreso-ornamenti, floralnite ornamenti se konstanta vo dekoracijata na Anzabegovo-vr{ni~kata kulturna grupa, vo site fazi. Vo stariot neolit, toa se realisti~no naslikani mali listovi od maslinka, so bela boja. Postaveni se so svoite koreni vo dvojna niza, svrteni kon dnoto na sadot vo vertikalna niza. Venecot na plodorodnosta, ili girland, e slikan na amfori i pehari, so kafeava boja, na crvena ili posvetla oker osnova. Peharite se sadovi koi poteknuvaat od prosta polutop~esta forma so vovle~en venec, malku naglasen stomak i mala prstenesta noga. Vo po~etokot ne se dekorirani so slikawe. Ponatamu, taa se razviva vo yvon~esta forma, so blaga Yprofilacija, luksuzno dekorirana vrz engoba so vertikalni linii, triagolnici i sl. Kon krajot na sredniot neolit dobiva barokna Y-profilacija so zadebelen venec, odli~no izmazneta, do visok sjaj povr{ina, ukraseni so spirali ili vertikalni linii, vise~ki triagolnici ili kombinacii od dvete. Vo docniot neolit ovaa forma na sadovi dobiva ostra Y-profilacija, so turban-kaneluri na ramoto i siva sjajna metalna boja, postaveni na povisoka prazna noga. Venecot na plodorodnosta e naslikan na mnogu kerami~ki sadovi: na malata i golemite amfori od Tumba Maxari, peharot od Rug Bair, fragmenti od pehari od Anzabegovo, Tumba Mr{evci i drugi. Toj e omilen ornament niz celiot neolit. Se slika so namera da dominira, bidej}i e zatvoren i definiran mikrokosmos. Toa e apstrakna geometriska pretstava na floralnite elementi, slikani na keramikata. Neolitskata kultura go koristi i vo docniot neolit, koga doa|a negoviot kraj. Poslednata pretstava, vreàni
rombovi, e na statuetkata od Usta na Drim vo Struga. Vo eneolitot, na steatopignite figurini, rombovite ve}e se sekundarni ili tercijalni ornamenti. Tie se dale~no eho na floralniot stil vo umetnosta vo Makedonija. Moèbi e preterano ako se kaè deka toj e del od folklorot i e nositel na zaedni~kite kulturni i umetni~ki elementi na grupata, koi go obedinuvaat etnosot {to egzistiral na teritorija na Severna Makedonija i Pelagonija, vo periodot me|u 6.300 i 4.200 god. pr.n.e. Kultot na Golemata majka Najmarkantna pojava vo neolitot na Makedonija se `rtvenicite od tipot Golemata majka. Najstara forma na praidejata za Golemata majka e `rtvenikot od Tumba Sten~e. Napraven e od eden ~etvrtest postament-ku}a, so po dva ~etiriagolni i dva otvori vo forma na bukvata M, postaveni na sprotivnite strani. Toj zboruva za starite koreni na po~ituvawe na kultot na Golemata majka u{te od stariot, vo kontinuitet niz celiot sreden neolit i za povrzanosta me|u Anzabegovo-vr{ni~kata i Velu{ko-porodinskata kulturna grupa. Prv celosno so~uvan e otkrien vo ku}a 1 vo 1981 god. vo Tumba Maxari19. Ovoj primerok, so svoite impresivni dimenzii od 0,39 m visina, klasi~nata smirena poza na izniknuvawe od ku}ata i, voedno, bdeewe nad nejziniot mir i ogni{te, ja pravi ovaa terakotna pretstava ekskluzivna. Filosofskata ideja za praroditelkata, od koja zapo~nuva s, e prikaàna kako eden cilinder so osnovnite antropomorfni karakteristiki: o~i, nos, ~esto nema usta, retko prikaàni gradi i papok, race so belezici {to cvrsto stojat na ku}ata-odnosno ja drat (prikaàna kako nepravilna kockesta forma), so razni formi na otvori za prozorci. Nekoi primeroci, na dnoto na osnovata na ku}ata, imaat dupka koja vertikalno komunicira so otvorot vo sredinata na cilinderot. Moèbi toa e komunikacijata na zemjata i neboto. Primerokot od Cerje, Govrlevo, e vo poodminat graviditet. Eden primerok od Tumba Maxari, visok 31,5 sm. nema race, no ku}ata e osobeno markantna vo odnos na cilinderot i liceto. Zatoa ni se ~ini deka kaj ovoj primerok dominira ku}ata nad antroposot. Na ova asociraat i pove}eto otvori na yidovite. Klasi~en primerok e od Tumba Porodin, so model na ku}a. Takvi se modelite od Dobromiri, Velu{ka Tumba i dr. Posebno ubav e primerokot od Tumba Maxari so umetni~ki izvajana kosa, spletena vo dvojna pletenka i fatena so igla. Na ~eloto se naslikani ne`ni krkmi so crvena boja, nosot e mal, o~ite-samo vreàni. Umetnikot mnogu
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vnimanie posvetuval na frizurite, izvajani kako afro, drugi samo naglaseni so vreùvawe itn. Voop{to, frizurite zboruvaat za izvonredno bogatata moda na neolitskata èna. Site poznati primeroci imaat razli~en tretman na o~ite. Primerokot od Tumba Pal~i{te se razlikuva od site poznati, kaj koi o~ite se samo vreàni ili blago naglaseni. Ovoj primerok ima impresivni o~i. Zenicata e plasti~no izvajana, stavena vo ubavo bademesto oko, ~ii kapaci zavr{uvaat vo dolga plasti~na linija, koja ostava vpe~atok na linija od {minka. Nekoi primeroci imaat vreàni o~i, nekoi podotvoreni, treti otvoreni, nekoi so spu{teni gorni kapaci. Ustata kaj nekoi e vreàna poslabo, kaj drugi poizrazena, kaj eden primerok od Tumba Maxari taa e vo pla~. Na primerokot od Tumba Mogila, so izrazena gracilnost i elegancija, ustata e sobrana i zaedno so srame`liviot pogled asocira primo bachio. Licata na cilindrite od Pelagonija imaat triagolna forma i asociraat na maski. Cilindrite se modelirani od nepre~istena zemja okolu drvo, od koe e ostanat otpe~atok vo pozitiv. Denes znaeme deka cilindrite i Golemata majka ne bile izrabotuvani in usum mortuorum, odnosno nemale funerarna funkcija. Za toa najdobro zboruva Golemata majka od Govrlevo, prikaàna so nabreknati gradi i poodminat graviditet. Najverojatno se povrzani so kultot na plodnosta. So svojata ednostavnost, posebno mesto ima eden primerok na glava na èna, markantno izvajana, vo prirodna golemina. Liceto e ramno, so vreàni i plasti~no izvedeni o~i i nos, ustata ja nema. Frizurata e so plasti~ni dlaboki brazdi - pletenki sobrani na ednata strana vo kok, otkriena na Tumba Maxari. Moèbi e del od nekoja monumentalna skulptura na Golemata majka? Kultna plastika Osobeno interesna kategorija vo neolitskata umetnost e antropomorfnata i zoomorfnata kultna plastika. Kaj prvata naj~esto se pretstavuva ènata. Vo srednoneolitskite fazi ènskite figurini se steatopigni (ili kru{kesti idoli, kako {to gi narekuvaat), izvajani od dve identi~ni polovini, a potoa spoeni. Glavata obi~no nedostiga. Polovite organi se naglaseni so eden vreàn triagolnik. Vo Tumba Maxari e najden eden primerok, izvajan vo bel kamen, so naglasena steatopigija, gradite se mali, vratot-tenok, racetetordirani, a glavata nedostiga. Od ovoj lokalitet e i malata glava od belutrak, so naglasen nos. Prirodnata forma na kamenot e maksimalno iskoristena. Izrabotena e dobro, so golemo ~uvstvo za forma, so golem nos, a na ~eloto ima mala
te{ko zabele`liva traga od crvena boja. Na prv pogled, samo formalno, mnogu potsetuva na podocne`nite kikladski idoli. Vo docniot neolit statuetkite se poisten~eni i se prikaàni i sekundarnite polovi karaktertistiki. Isto taka, toga{ s po~esta e pojavata i na ma{kata pretstava. Formite se poizdolèni, so naglaseni polovi karakteristiki i sivo pe~eni. Od figurinite mnogu ~esto se praveni samo glavi so osnovnite karakteristiki - nos, o~i i ponekoga{ usta. Naj~esto frizurata e vnimatelno umetni~ki pretstavena. Zoomorfnata plastika e raznovidna i tainstvena. Neolitskiot ~ovek, svrten kon obezbeduvaweto hrana, svojata blagosostojba ja dolèl na poljodelstvoto i na sto~arstvoto. Znaej}i go toa, neolitskiot ~ovek nekoi ìvotni po~ituval i vo tekot na dolgite mileniumi od paleolitot i neolitot, sozdadeni se kultovi kon niv. Najgolem kult e sozdaden kon bikot. Eden primerok od Tumba Maxari e so ~ove~ki lik i potsetuva na anti~kite kentauri. Nekoi istraùva~i smetaat deka vo recipientite se ~uvalo zrna ìto za seme za slednata seidba20. Od Tumba Maxari e kerami~ka pretstava na glava na oven (bik)-bukranion21. So prirodni dimenzii, so inkrustrirana bela posna boja (moèbi pepel?) vo nozdrite, so otvori vo koi bile vsadeni prirodni rogovi, taa zboruva za kultot kon ovenot-bikot. Kako i drugite vajarski dela, ukaùva na visokite umetni~ki i estetski dostreli na kerami~aritevajari od Tumba. Bidej}i zadniot del e potpolno mazen, najverojatno bila aplicirana na fasadata na nekoja ku}a. Treta kategorija kultni predmeti se `rtvenicite, ~esto zastapeni na site arheolo{ki lokalitetite. Osnovnata forma na `rtvenik e masi~ka so recipient i postament na koj stoi. Toa moè da bide malo ~ini~e, so dnoto postaveno na masi~ka, so ~etiri noze, so razli~na viso~ina. Moè da bide i plitok recipient, vklopen vo masata, so blago profiliran venec. Postarite, po forma se triagolni, so vdlabnat kruèn recipient. Ovoj tip `rtvenici ima vertikalni ~etiriagolni ili kru`ni noze, ~esto me|usebno povrzani so niza od vreàni triagolnici. Nekoi primeroci imaat nazabeni arki, osobeno od Velu{ko-porodinskata grupa. Poseben tip `rtvenici se od tipot osnova na ku}a so ~etiriagolna forma, podlabok recipient i so plasti~no nazna~eno ogni{te. Zastapeni se niz celiot neolit. Na izlo`bata se prezentiraat dela na neolitskiot majstorumetnik, so umetni~ki vrednosti koi dozvoluvaat likovnostilski opredelbi. Vo ovoj mig naukata sistematizirala i definirala samo dva: floralnite ornamenti vo ukrasu-
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vaweto na keramikata i kultot na Golemata majka. Ovoj kult e ra{iren na celata teritorija na Makedonija. Na teritorijata na Velu{ko-porodinskata grupa taa e osnovnoto veruvawe od najstarite fazi. Zatoa vo skulpturata e tolku markantno i ~esto izrabotuvana. Vakvi idoli ili `rtvenici na Kosovo i Pomoravje se javuvaat duri vo docniot neolit. Pritisnati od pomobilnite i povitalnite nositeli na metalot, nositelite na kulturata Vin~a, poleka se {irat na site strani, pa i na jug. Istovremeno, vo Severna Grcija se slu~uvaat sli~ni procesi, kako i vo Panonija. Tie se rezultat i pod vlijanie na golemite neolitski centri za opsidijan i sol od Anadolija. Taka, na nekoi naselbi na ostrovite se formiraat golemi trgovski emporiumi koi trguvaat so Grcija i Trakija. Takov e slu~ajot so Hios, Salijagos, Severnite Sporadi i dr. Tie kontakti postoele u{te od raniot neolit i nikoga{ ne prestanale. Po tie pati{ta se prenesuvaat i metalite. Glavnite ekonomski i kulturni vrski na naselbite od Anzabegovo-vr{ni~kata grupa, po~nuvaj}i od formiraweto, sekoga{ bila Pelagonija. Vo neolitskata kultura i vo umetnosta vo Republika Makedonija, dominira kultot na Golemata majka. Toj gi spojuva dvete makedonski grupi i go izdvojuva neolitot na Makedonija od sosednite oblasti, osobeno Star~evo, dolinata na Struma i Nea Nikomedija (Sesklo- Dimini) i Va{temiPodgorie. Umetni~ki i vajarski dela so vakva koncepcija i ekspresivnost se karakteristika samo za makedonskiot neolit. Vo Velu{ko-porodinskata grupa, kaj Golemata majka dominira ku}ata, zna~i semejstvoto, kako osnovna kletka na op{testveniot i ekonomskiot ìvot. Vo krugot na semejstvoto, koe ìvee na edno mesto, vo svoja ku}a-dom, se odviva ìvotot. Griàta za potomstvoto, nivnoto vospituvawe na osnovnite ìvotni normi, znaewa i iskustvo se crpat od toj izvor. Vo Anzabegovo-vr{ni~kata grupa dominira ~ovekot/ antroposot. Vo repertoarot na antropomorfnata plastika nema golemi razliki me|u dvete grupi. Vo zoomorfnata plastika vo Pelagonija dominira èlkata, bikot, elenot i dr. Vo Anzabegovo-vr{ni~kata grupa èlkata i elenot otsustvuvat, a bikot i pticata se prisutni. Vo `rtvenicite, kultni masi~ki, zasega ne moè da se kaè za nekoi golemi razliki. Neolitskata umetnost od Republika Makedonija pretstavuva najvisok kulturen i socioekonomski fenomen vo mladoto kameno vreme na Centralen Balkan. Taa e formirana i ìveela na pitoma teritorija, koja mu dozvolila na neolitskiot ~ovek lesno da ja osvoi. Toj bil ispolnet od nea i od nejzinite prirodni manifestacii - plitki ezera i mo~uri{ta, niski ridovi obrasnati so pitomi {umi. Site izgrevi i zalezi na sonceto go ra|ale i go hranele ovoj pe-
jza`. Vo nego mirno i spokojno se odvival ìvotot so site nebidnini. Neolitskiot ~ovek ja sakal makedonskata zemja i dolgo ìveel na nea. Od ra|aweto bil vrzan za nea so cvrsta papo~na vrvca. Nikoga{ ne ja napu{til, ostanal na nea, prisuten e niz arheologijata do den-dene{en, nadgraduvj}i gi svoite ìvotni iskustva. Toj ostavil mnogubrojni tragi i informacii, koi ~estopati za nas se nerazbirlivi i nejasni. Na poleto na umetnosta ostanale sovr{eni kerami~ki sadovi koi i denes imaat moderni formi i ìvi ukrasi. Vo niv se za~etocite na nekakov vid poraki so razni {ari i crti~ki, naredeni vo odreden ritam i so nejasna simbolika i so nerazbirliva harmonija. Prou~uvaweto na ovaa etapa od ~ovekovata evolucija i po~etok, i razvoj na sedentarizmot e osnovata na civilizacijata. Koi se pri~inite za zamirawe na ìvotot na naselbite od docniot neolit, zasega e te{ko da se pretpostavi. Istoriski, neolitskata civilizacija ne moèla da go nadìvee svojot ekstenziven na~in na stopanisuvawe. Otkritieto na metalot i dominiraweto na sto~areweto, kako osnovna ekonomska baza, gi diktira i kulturnite dvièwa. Toa sistematski, od koren, gi menuva site socioekonomski odnosi vo op{testvoto. Mirniot ìvot na naselbite prestanuva, doa|aat novi populacii so drugi znaewa i iskustvo. Krajot ne se slu~il odedna{, tuku bil proces {to trael dolgo. Moèbi gasneweto na neolitskata zemjodelska civilizacija traela niz celiot docen neolit. Neolitskata umetnost sozdavana vo Velu{ko-porodinskata i Anzabegovo-vr{ni~kata kulturna grupa, vo periodot na raniot neolit, 6.300- 5.800 god. pr.n.e., potoa sredniot 5.800 -5.300 i docniot 5.300-4.200 god. pr.n.e. e najvisokata univerzalna kulturna manifestacija na teritorijata na Republika Makedonija. Nejziniot specifi~en kulturen profil vo skulpturata, `rtvenicite i kultot kon Golemata majka, a vo slikanata keramika, floralniot stil, maslinovo gran~e, kako venec na plodorodieto, s u{te se nau~en predizvik i enigma.
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1. I. Stawowy-Kawka, Historia Macedonii. Wroclaw-Warszawa-Krakow 2000, 5. 2. A. Siemaszco, Sztuka ikony. Krakow 2000, 13. 3. N.G.L. Hammond, A History of Macedonia, vol.1. Oxford 1972, 3. 4. M. Gimbutas, Neolithic Macedonia. Los Angeles 1976, 29. 5
Zdravkovski D., 1993 Neolitska
naselba ûbuk ~e{ma- s.Niku{tak, Kumanovo, Maced.acta archaeol.13, Skopje, 17-30 10
Simoska D .- Sanev V. 1976, Praistorija vo Centralna Pelagonija, Bitola, 11 17
16
Ibid.13
Bilbija M. Cerje-neolitsko naselje, AP 26, Ljubljana 1988, 35-36 11. S. Dimitrijevi, Praistorija jugoslavenskih zemalja, II Neolit. Sarajevo 1979, 246. 12
Ibid.96
18
Sanev V.1981 Neolitsko svetili{te od Tumba vo s.Maxari, Skopje (folder od izlo`bata) 20
19
Gara{anin M., Problemi nl z 1989, 28-29
Informacijata e dobiena od blagodarime. 6
C z , Maced. acta archaeol. 10,
S. Vetni, Starevo altars from settlements in the Velika Morava River Basin, Glasnik srbskog arheolokog drutva 15-16, 2001, 12 21
M.Bilbija, za {to najsrde~no mu
istraùva~ot I.Koli{trkoska - Nasteva, za {to srde~no blagodarame. 7
Informacijata e dobiena od
Jov~evska T. 1993, Ku}ata od horizont
13
V. Sanev, Terakotna glava na oven od arheolo{kata zbirka na Muzejot na Makedonija, Maced.acta archaeol.15,Skopje 1999, 15-24
I vo neolitskata naselba Mramor kaj 31-41
â{ka, Maced.acta archaeol. 13, Skopje,
Simoska D.- Sanev V., v Cln lg, , 1976, 31-33
D. Mitrevski, Prehistory in the Republic of Macedonia, The Balkans in prehistory, Athens 2001, 88 15
14
Saroski S.-Zdravkovski D., l~, P 28, Ljubljana 1987, 43
Kitanoski B., Simoska D., Todorovi} J. 1983 Naselbata Pe{terica i problemot naraniot neolit vo Pelagonija, Maced.acta archaeol.6, Skopje, 9-20
Dragia Zdravkovski
Neolithic Art in the Republic of Macedonia
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Introduction The exhibition Neolithic art in the Republic of Macedonia presents a small portion of artefacts found in museums. The Neolithic period is still one of the less explored periods of our prehistoric past. However, the results currently available to archaeologists demonstrate its enormous significance. The selection of exhibits was made with a view to presenting the audience with a more comprehensive image of the beginnings of civilization in the Republic of Macedonia. The last exhibition entitled Prazgodovina Makedonije (Prehistory of Macedonia) was presented in the National Museum in Ljubljana back in 1979. We wish to dedicate this exhibition to Prof. Josip Koroec, the first explorer of the Anzabegovo site.
Natural and geographic features The Republic of Macedonia is situated in the central part of the Balkan Peninsula, in its natural direction, namely the Vardar and Morava valley that connects the Aegean and Pannonia. This geographic location has determined its role throughout history, since the Neolithic period up until today. Macedonia is spread in the Central part of the Balkan Peninsula, between the Aegean Sea in the south and ar Mountain in the north, the Dinara Mountains in the west and the Rodopi in the east. Having in mind its geographic position, at the very crossroads of the most important routes, Macedonia played a significant role in the development of Europe. Situated at the edge of two important cultures, the Aegean-Anadolic and the Central European, it created a specific inner Balkan culture, accepting external influences as well. The oldest sources regarding life in Macedonia date back to the Early Neolithic period, the earliest era of the Late Stone Age, the period of primitive agriculture and cattle-breeding...1 From a historical point of view, Macedonia is a region in the Balkan Peninsula, divided today among the Republic of Macedonia, Greece and Bulgaria. Its boundaries in the East are the river Mesta (Nestos) in Bulgaria and the western slopes of the Rodopi mountains, in the north the mountain chain of iroka, Skopska Crna Gora and ar mountains, in the west the Korab mountain and the lakes of Ohrid and Prespa, Mount Pindos in the south-west, and its southern boundaries the river Bistrica (Haliakmon), Mount Olympus and the gulf of Thessaloniki with the Halkidiki peninsula.2 The definition of the term Macedonia in a geographic and historical perspective would be the territory between the rivers Vardar and Bistrica (Aksios and Haliakmon), and their tributaries.3
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The territory of the Republic of Macedonia covers the areas around the river Vardar and its tributaries. The rivers Vardar and Strumica end in the Aegean Sea via the river Struma. The river Crn Drim flows from Ohrid Lake and out into the Adriatic Sea. As for the morphology of the Republic of Macedonia, it features medium-high mountains and ravines intersected by river valleys. The biggest valleys are Pelagonija, Polog, Skopje and Kumanovo, the Bregalnica river valley with Ove Pole, Povardarje and the valley of Strumica. These are all interconnected, enabling easy communication. The lower parts of the valleys were actually swamps, which dried during the 20th century. The lakes of Ohrid, Prespa and Dojran are the biggest natural lakes. Neolithic culture features a predominantly agricultural civilization, depending on the natural and geomorphologic conditions on the field. The landscape in Macedonia during the 7th-5th millennium BC was identical throughout the entire territory. The areas in Pelagonija, following the river Crna and its curves, were covered in large swamps, shallow lakes and marsh, weed and grass. The landscape in the region of Polog, Skopje and Strumica was similar. These swamps were natural accumulators of heat energy and thus made winters much milder. The natural base for the existence of the Neolithic civilization in Macedonia was identical. Neolithic man was oriented towards natural resources. The swamps provided enough fish, shells, birds and other animals, and in times of poor harvest, they provided food supplements. Neolithic man found stones, rocks and wood from his surroundings. The peripheral areas of the valleys and the areas around the swamps were the usual locations for the construction of so-called tumba (i.e. tumulus) settlements. The most renowned archaeological sites in Pelagonia are the Porodin Tumba, Veluka Tumba, Dobromiri Tumba, Mogila Tumba, the Big and Small Trnska Tumba, Vrbjanska uka near the village of Slavej, and 70 others. In the area of Polog and the Skopje-Kumanovo region, the following sites are noted: Tumba Palite, Tumba Stene, Tumba Brvenica, and Tumba Madjari Skopje. The second type of settlement is situated on river terraces. Settlements of this type are Barutnica near the village of Anzabegovo, Vrnik v. Tarinci, Rug Bair v. Gorubinci, Alin Dol v. Nemanjici, Slatina v. Zelenikovo, Cerje v. Govrlevo, and Mramori v. aka. The archaeological map of the Republic of Macedonia features 200 registered Neolithic sites. In the Neolithic period, the climate in Macedonia was precipitatious with mild winters. This, along with the natural and geographic conditions, enabled Neolithic man to lead a relatively calm and tranquil life.
Tetovo
Skopje
Veles
tip
Prilep
Ohrid Bitola
Thessaloniki
Directions of neolithization
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Neolithization of the Republic of Macedonia Neolithic culture in the Republic of Macedonia, as represented in the Veluina-Porodin and Anzabegovo-Vrnik cultural group, belongs to the Balkan-Anatolian culture complex. It derived on a broad cultural basis from the process of primary neolithization through the predominant participation of monochrome polished and painted pottery. This process took place in the period from 6,400 to 6,100 BC. The research made thus far in the area of Neolithic in Macedonia has not discovered the existence of prepottery archaeological findings. These groups are a result of the migration from the south, i.e. from Thessaly. The direction of movement was through the Aegean part of Macedonia towards Pelagonia, and the oldest settlements of this kind are the Big Trnska Tumba and Peterica. The Neolithic continues to spread north through Peterica towards the Babuna river valley and Azot in the valley of Skopje. The oldest settlement in the Skopje region is Govrlevo, where the group starts to spread throughout the entire valley and towards the east in Ove Pole, in the north towards the Kumanovo region, and via the Preshevo watershed up north to the Morava river valley. From Ove Pole in the east down the Bregalnica river valley, the group spreads towards the Middle Struma region, and goes south down the river Lakavica towards the Strumica region. In Polog, the group is a result of the direct contacts with Pelagonia since the forms of pottery and decorations in the oldest layer of Tumba Stene are identical with those from the Veluina-Porodin group. In this earliest phase, the contacts between Polog and Pelagonija are evident and real. But in the following phase, Middle Neolithic, the settlements in Polog established direct chronological and historical communication with their counterparts in the Skopje region.
Basis features of the Neolithic period in the Republic of Macedonia The Neolithic period in the Republic of Macedonia existed and developed in a period of over two thousand years from the second half of the 7th millennium BC to the second half of the 5th millennium BC, in three phases, namely: Old, Middle and Late Neolithic. In general, archaeology defines two major cultural groups which existed in the Republic of Macedonia: the VeluinaPorodin in Pelagonija, and the Anzabegovo-Vrnik in Northern Macedonia. Science also mentions other groups besides the above stated, but their existence has still not been confirmed or valued. In order to present and demonstrate Neolithic art, we will emphasize the most remarkable artefacts discovered in the latest archaeological researches. These two groups have their own specificities, yet many common elements as well. Whenever necessary, some characteristic elements will be noted as a specificity of one group or the other. The boundary of the Veluina-Porodin and the AnzabegovoVrnik group is an interesting one. In the oldest phase, the second group was limited to the territory whose centre was the Skopje region, Ove Pole, the valleys of Bregalnica and rivers of Lakavica. In this phase, Polog and parts of the Skopje region were under the direct cultural influence of the Veluina-Porodin group. During the Middle Neolithic period, the AnzabegovoVrnik group began spreading throughout the entire Upper Vardar region, the Kumanovo region and the valleys and fields down the rivers Pinja, Kriva Reka, Bregalnica, Lakavica, Strumica and Vardar up to Demir Kapija. The size of this territory was not reduced during the Late Neolithic period, but the natural resources were, which led to the abandonment of some settlements and concentration of life in a limited number of settlements. The territory of the Veluina-Porodin group was reduced and limited to Pelagonija only.
Chronological framework and dates During the archeological explorations, the findings assembled were analyzed with C-14 radioactive coal and thermoluminiscence. According to the results obtained, Anzabegovo I dates between 6,100 and 5,800 BC; Anzabegovo II 5,800; Anzabegovo III 5,300 and Anzabegovo IV from 5,200 to 5,000 BC.4 The analyzed materials from the second and third stratum of Govrlevo can be qualified as dating back from 5,800 and 5,300 BC.5 The newest dates are those of the Eneolithic settlement of Pilavo in the village of Burilevo, dating back to 4,540-4,330 BC for the older, and 3,750 BC for the younger phase.6
Anzabegovo-Vrnik cultural group The oldest phases of the Anzabegovo-Vrnik cultural group, AnzaVrnik I a-c, belong to the Old Neolithic period featuring white ornaments painted on a red background. This phase existed in the period between 6,300-6,100 and 5,800 BC. The main characteristic of white painted pottery is floral ornaments and the created floral style in the overall art of the group. White floral ornaments and the wreath of fertility, i.e. an olive tree, are the oldest Neolithic representations. Ornaments representing an olive branch are also featured on the gourd-shaped vessel discovered in Anzabegovo. This stratum was revealed at many sites: Veluka Tumba,7
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Dolno Konjare Mrevci Dolno Palite Madjari Dolno Sedlarce Skopje Rug Bair Govrlevo Stene Vrnik Mamutevo Barutnica Anzabegovo Zubovce Zelenikovo Damjan Peterica aka Radin dol Vrbjani Ustie
Karamani
Angelci
Crniani
Tumba Palite,8 Tumba Stene, ubuk esma,9 Cerje-Govrlevo10 and others. The pottery from the oldest layer in Anzabegovo, according to the general features of forms and ornaments, demonstrates visible similarities with the Anatolian type. The connections with Thessaly, settlement phases from Protosesclo, Presesclo and Classical Sesclo, become more evident. Further in the evolution, during the entire Middle Neolithic period, the Anzabegovo ties with the Northern Starevo group in Serbia. The leit-motive or the constant when it comes to the AnzabegovoVrnik group is the floral ornaments (vegetative), absent in this form in the Starevo group, although persisting and evolving in the spiraloid or girlandoid style.11 In Starevo, the primary style is constructive and geometrical, whose origin, according to D. Srejovi, can be directly derived from the engraved hanging triangles on the bones and sceptres from Lepenski Vir. The biggest blossom of Neolithic culture in the Republic of Macedonia took place during the Middle or developed Neolithic. It is characterized with fine red pottery and dark brown ornaments on a red background. This phase lasts between 5,800 and 5,300 BC (Anzabegovo-Vrnik II-III). This was established in the developed phases at all sites: Anzabegovo, Tumba Madjari, Zelenikovo, Govrlevo, Rug Bair, Vrnik,12 and Mramori.13 In the VeluinaPorodin group, brown painted pottery is very rare. What is also characteristic is the appearance of a brown or dark brown spiral on cups with a small ring similar to a leg. Another distinguishable feature is the brown painted vertical and alternated thick and thin lines, often with vertical spirals between them. The floral style in pottery decoration continues with new aesthetic inventions. As a fashion trend of that period (Anzabegovo-Vrnik III), a new constructive geometric style appears, brought from the north as a Starchevo element. Artistic representations of the Magna Mater cult are predominant in cult sculpture. The end of the middle/developed Neolithic period in Macedonia was marked by the appearance of the so-called Vina Late Neolithic pottery.14 The stratigraphic data available determine the last layer of Anzabegovo-Vrnik IV as Late Neolithic. Its major features are black polished and cannelured pottery, biconical profilation and handles. From a stratigraphic point of view, this pottery was found in a layer, which is highly susceptible to destruction. The findings in Anzabegovo, Rug Bair and Alin Dol in Ove Pole and the last layer defined as Zelenikovo II, as well as the last layer in Tumba Palite and Govrlevo, also belong to Anzabegovo-Vrnik IV, i.e. to the Late Neolithic period. This corresponds to the Vina-Tordo I phase in the North. At the same time, these elements are characteristic for the Paradimi culture in Northern Greece. East of Mount Pangei and Drama field up to the gulf of Thermai, a late Neolithic cultural group was formed under the name of Topolnica-Akropothamos.
Mogila Trn Gjorev Rid
Veluina
Porodin
The most important neolithic sites
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Veluina-Porodin cultural group This group existed in four internal phases I-IV, from the end of the 7th until the end of the 5th millennium BC, when Late Neolithic disappears completely. Just as in Northern Macedonia and in Pelagonija, settlements of the tumba type are most common. Settlements on river terraces are fewer: Peterica,15 Vlaku in the village of ivojno, and Bela Crkva near the village of Brod.16 Houses were built in the exact same manner, with the use of reed, beams and sometimes with a sub-construction of piles below the floor to serve as insulation from humidity. The mock houses made of pottery provide the best illustration for these residential facilities. A trapezoid house from the Late Neolithic period was discovered in Tumba Porodin. The group existed in Pelagonija, in natural surroundings and conditions completely identical to the landscape around the settlements from the Anzabegovo-Vrnik group. The Veluina-Porodin group is older than the AnzabegovoVrnik one and was developed under the direct influence of the Early Neolithic period in Thessaly. Pelagonija offered excellent conditions for agriculture and cattle-breeding, enabling the group to exist in relative well-being. The pottery manufactured by the group demonstrates unity in all phases and generally shows the same features. The Old Neolithic period features the predominance of rough red barbotine pottery with finger traces, arcade (organized barbotine, plastic stripes with fingerprints in larger vessels) pythos, pots, plates and cups. The Impresso technique is used in small-sized vessels. These are mainly ornaments with impressions, nail prints, pitches in the form of a wheat ear and wheat grains, also present in AnzabegovoVrnik group pottery.17 Fine pottery is either monochrome or painted. These are bowls with semi-globular, profiled neck vessels, amphorae, covers, and cups with small conical legs. The facture of the pottery is good, being well polished and shiny. The ornaments are angular with triangles, clepsydrae, and cascade stripes painted in white. The Middle Neolithic period continues to feature rough vessels decorated with unorganized barbotine and impresso pricks. Fine pottery in crimson red also appears, painted with white coloured ornaments in the form of the letter Z, sigmas, and cascade stripes. During the Late Neolithic rough pottery continues to exist, with the predominance of grey and brown. Fine pottery features ornaments from the Middle Neolithic: dots, crescents, triangles, and elongated angles.
Cult sculpture in the Veluina-Porodin group is diverse. Anthropomorphic sculpture is also rich and diverse. The Neolithic artist was always intrigued by the human body. The most common presentations are those of female sculptures of the pillar-like and steatopygic type. The first ones are very simple, with hair, nose and primary and secondary sexual features. The hair is gathered in a bun. The second type features an emphasized steatopygia, small body and often a schematized or no head. The most frequent position is half bent, with arms placed on the belly and a small plastic disc on the pubis. Zoomorphic sculpture features presentations of an ox or bull, deer, sheep and other animal. Sometimes these are mere stylized sculptures without any details, on the one hand, or realistically presented ones with great plasticity, on the other. What is also interesting are the sacrificial altars with deer protoma and one sample representing a turtle. The two back legs are sculpted with two small thickenings presented plastically as being lowered, i.e. reminiscent of layers of thick and layered skin. The recipient has a curved form with an accentuated in-drawn wreath. The heads have tall necks with a throat, small mouths and thickenings on the back side. These are presented as if emerging or stretching out from the recipient. A small furnace is placed between the heads. A similar furnace is found in the altar foundation of a house in Tumba Porodin. This particular detail allows us to assume with great certainty that these two altars, discovered in the same house, were in fact made by one and the same person. Another sample of a turtle is the one found in Vrbjanska uka. Well sculpted heads of dears with horns and an ibex were also discovered in Pelagonija. What is of particular interest are the models of houses featuring a two feet roof with anthropomorphic cylinders on top (used as chimneys) of the Great Mother type, as are the altars without roofs, only with triangular lateral walls set upon tall serrated pedestals (are these in fact palaphites?). The aforementioned points to the fact that Neolithic man from Pelagonija worshipped the house and household/fireplace. Such foundations of houses are also found in the Anzabegovo-Vrnik group. A model of a stylized house, similar to the Pelagonija models, is the altar from Vrnik, also dating back from the Late Neolithic.18
Floral style in painted pottery The phenomenon of floral ornaments in the decoration of pottery vessels and their forms, defined as the floral style, was noticed in the very first excavations performed in 1960 in Anzabegovo by
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Josip Koroec. Later excavations only confirmed this hypothesis. We wish to emphasize this as a very important element of the Anzabegovo-Vrnik cultural group. Beginning from the earliest phases, throughout the Middle Neolithic, and up to the Late Neolithic, the ornament representing a wreath of leaves is present in the entire ceramographic corpus. This style is in fact the folklore phenomenon imminent to the people within the Anzabegovo-Vrnik group. This goes along with the gourd (pumpkin) as a basis and inspiration for the manufacture of vessels amphorae. These are the most beautiful and impressive forms of vessel found in the settlements of our groups. The three amphorae discovered in houses 1 and 3 in Tumba Madjari are the first artefacts on the territory of the Republic of Macedonia for which it can be said with great certainty that they were in fact made by one master. Some of the cups from house 1 in Tumba Madjari were also the work of this craftsman. When it comes to painted pottery and impresso decorated pottery, floral ornaments are constantly present in all phases of the Anzabegovo-Vrnik cultural group. In the Old Neolithic, these are realistically painted white olive leaves. They are placed with their roots in a double row, facing the bottom of the vessel in a vertical row. The fertility wreath or garland is painted in brown over a red or light ochre background on amphorae and cups. Cups are vessels deriving from a simple semi-globular shape with an indrawn wreath, slightly accentuated belly and a small ring-like leg. At the beginning, they were not decorated with painting. They further developed into bell-shaped vessels with a soft S profile luxuriously decorated over an enrobe with vertical lines and triangles. By the end of the Middle Neolithic period, it acquires a baroque-like S profile with a thickened wreath and well polished gloss finish decorated with spirals and vertical lines, hanging triangles or combinations of the two. In the late Neolithic period, this shape of vessel acquires a sharp S profile, with turban cannelures on the shoulder and a shiny grey metallic colour, placed upon a taller hollow leg. The garland is painted on many pottery vessels: the small and big amphora from Tumba Madjari, the cup from Rug Bair, fragments from cups found in Anzabegovo, Tumba Mrevci, etc. It is the favourite ornament throughout the entire Neolithic and is painted with the intention to dominate, since it represents a closed and defined micro-universe. It is an abstract geometric representation of floral elements painted on pottery. Its usage is present in the Neolithic culture, and the Late Neolithic period marks its end. The last presentation of engraved rhombuses is featured on the figurine from the river Drim estuary in Struga. In the Eneolithic, the steatopygic figurines have secondary rhombuses or tertiary ornaments. These are the distant echoes of the floral style in the
art of Macedonia. It would perhaps be exaggerated to say that it is part of the folklore and is the bearer of common cultural and artistic elements of the group, which reunites the ethnos that existed on the territory of Northern Macedonia and Pelagonija in the period between 6,300 and 4,200 BC.
The Great Mother Cult The most astonishing phenomenon in the Neolithic period in Macedonia are the altars of the Great Mother type. The oldest form of primaeval idea for the Great Mother is the altar discovered in Tumba Stene. It is made from a rectangular pedestal a house, with 2 rectangular openings and 2 openings in the form of the letter M, set on opposite sides. It speaks of the ancient cult of the Great Mother, beginning from the Old Neolithic, throughout the entire Middle Neolithic and the connection between the Anzabegovo-Vrnik and VeluinaPorodin cultural group. The first entirely preserved one was discovered in house 1 in 1981 in Tumba Madjari.19 This sample, with its impressive dimensions of 0.39m in height, classic calm pose of emerging from the house and at the same time protecting its peace and household, makes this terracotta presentation exclusive. The philosophical idea for the primaeval mother, from whom everything begins, is presented as a cylinder with basic anthropomorphic features: Eyes, nose, often without a mouth, rarely presented with breasts and a belly-button, hands with bracelets firmly placed upon the house as if holding it (presented in an irregular cubic shape), with various forms of window openings. On the bottom of the foundation of the house, some samples have a hole vertically communicating with the opening in the middle of the cylinder. This might be a communication between the Earth and the Sky. The sample from Cerje-Govrlevo is in advanced gravidity. One of the samples from Tumba Madjari is 31.5 cm tall, without hands, but the house is especially prominent as opposed to the cylinder and face. Therefore we believe that in this sample the house dominates the anthropos. This is also implied by the greater number of openings in the walls. A classic example of this kind is from Tumba Porodin with a model of a house. Such are the models from Dobromiri and Veluka Tumba, for example. Especially remarkable is the sample from Tumba Madjari, with the artistically sculpted hair styled in double braids and gathered with a hairpin. Gentle bangs are painted in red on the forehead; the nose is small, whereas the eyes are presented with a simple incision. The artist paid particular attention to hairstyles some of them are in the
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African style, some are only marked by incisions, etc. In general, hairstyles speak of the extraordinary rich fashion of the Neolithic woman. All known samples demonstrate different treatment of the eyes. Thus, the sample from Tumba Palite differs from all the other known samples whose eyes are either incised or slightly accentuated. This particular sample has impressive eyes. The iris is plastically sculpted and placed in a beautiful almond-like eye whose eyelids finish with a long plastic line, leaving the impression of make-up. Some samples have incised eyes, others half-open, some wide open, and others with lowered upper eyelids. In certain samples, the mouth is flippingly incised, whereas in others it is more emphasized in one sample found in Tumba Madjari, it expresses crying. The Tumba Mogila sample features a particular grace and elegance the mouth is closed, and along with the shy look it is reminiscent of a primo baccio. The faces featured on Pelagonija cylinders have a triangular shape reminiscent of masks. The cylinders are shaped from unrefined earth around wood, whose remains are visible in the positive aspect. Today we know that the cylinders and the Great Mother were not made in usum mortuorum, i.e. did not have a funerary function. This is best proven by the Great Mother from Govrlevo, presented with full breasts and an advanced stage of gravidity. They were most probably related to the cult of fertility. Thanks to its simplicity, a special place may be given to the head of a woman, remarkably sculpted in its natural size. The face is flat, with incised and plastically shaped eyes and nose, and no mouth. The hairstyle features deep plastic tailings or braids gathered on one side in a bun, discovered in Tumba Madjari. Is this perhaps part of a monumental Great Mother sculpture?
At first sight, just formally, it is very much reminiscent of the later Cycladic idols. In the Late Neolithic, the figurines are thinner and feature secondary sexual characteristics as well. The appearance of male presentations is much more frequent in this period. The shapes are elongated and have emphasized sexual characteristics, with grey baking. Very often, the figurines were only presented as heads with the basic features nose, eyes and sometimes a mouth. The hairstyle is often very carefully and artistically presented. The zoomorphic sculpture is diverse and intriguing. Neolithic man was focused on providing food, and thus owed his well-being to agriculture and cattle-breeding. With this in mind, Neolithic man respected certain animals and created cults dedicated to them throughout the Paleolithic and Neolithic eras. The biggest cult created was that of the bull. One sample discovered in Tumba Madjari has a human face and is reminiscent of ancient centaurs. Some researchers believe that the recipients were used for storing wheat and seeds for the next sowing.20 A ceramic depiction of a ram (bull) head bukranion was discovered in Tumba Madjari.21 With its natural size, incrusted white lean paint (perhaps ash?) in the nostrils, and openings intended for incorporating natural horns, it speaks of the cult of the ram or bull. Just as the other sculptures, it points to the high artistic and aesthetic achievements of pottery makers and sculptors from Tumba. Since the back side is completely smooth, it was probably applied to the facade of a house. The third category of cult objects are altars, often present at all archaeological sites. The basic form of an altar is a table with a recipient and a pedestal. It can be a small plate with the bottom set upon a table with four legs of different height. It can also be a shallow recipient incorporated in the table, with a slightly profiled wreath. The older ones are triangular with a hollowed round recipient. These types of altars have vertical rectangular or round legs, often interconnected with a set of encarved triangles. Some samples have serrated arcs, especially those of the Veluina-Porodin group. A special type of altar represents a foundation of a house with a rectangular shape, a deeper recipient and a plastically defined fireplace. These are present throughout the Neolithic. The exhibition presents the works of Neolithic masters whose artistic values enable their artistic and stylistic classification. At present, science has systematized and identified only two: Floral ornaments in the decoration of pottery and the Great Mother cult. This cult is spread on the entire territory of Macedonia. It has been a fundamental belief on the territory of the Veluina-
Cult sculpture One of the particularly interesting categories in Neolithic art is anthropomorphic and zoomorphic cult sculpture. The most common representations in the first category are those of a woman. In the middle Neolithic stage, female figurines are steatopygic (or pear-like idols, as they are often called), sculpted from two identical halves, which are merged afterwards. The head is usually missing. The groins are emphasized with a single incised triangle. In Tumba Madjari, a sample sculpted in white stone with an emphasized steatopygia, small breasts, thin neck and torsive arms, the head is missing. The small white stone head with an accentuated nose was also discovered at the same site. The natural shape of the stone was used to the maximum. The figurine is well sculpted, with an excellent sense of shape, a large nose and a small, barely visible trace of red on the forehead.
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Dragia Zdravkovski
Porodin group since its earliest phases. That is the reason behind the frequency and remarkable facture of the sculpture. This type of idol or altar does not appear until the late Neolithic in Kosovo and Morava River basin. Pressured by the more mobile and energetic craftsmen in metal, the bearers of Vina culture began to spread in all directions, and thus to the south. At the same time, similar processes to those in Pannonia appear in northern Greece. These are the result of the influence of great Neolithic centres for obsidian and salt in Anatoly. Thus, in some settlements on the islands, big trade emporia trading with Greece and Thrace were created. Such is the case with Chios, Saliagos, the northern Sporades islands and others. These contacts were established in the Early Neolithic period and never ceased, and were the routes for transportation of metals as well. The main economic and cultural connections of the AnzabegovoVrnik settlements, ever since their creation, were always with Pelagonia. Neolithic culture and art in the Republic of Macedonia is dominated by the Great Mother cult. It connects the two Macedonian groups and distinguishes the Neolithic in Macedonia from the other neighbouring areas, especially Starevo, the valley of Struma and Nea Nikomedia (Sesclo and Dimini) as well as Vashtemi and Podgorie. Art and sculpture works with such a concept and expression are a feature only of Macedonian Neolithic. In the Veluina-Porodin group as regards the Great Mother cult, predominance is given to the house, i.e. the basic cell of social and economic life. The family circle, living in one place and in its own house or home, is where life takes place. Taking care of the offspring, their education and fundamental standards of living, knowledge and experiences are drawn from this source. The man anthropos is predominant in the Anzabegovo-Vrnik group. There are no significant differences between the anthropomorphic sculptures of the two groups. In Pelagonija zoomorphic sculpture, predominance is given to the turtle, bull, deer, etc. Turtle and deer are absent in the Anzabegovo-Vrnik group, whereas the bull and bird are often present. Considerable differences cannot yet be noted in altars or cult tables. Neolithic art in the Republic of Macedonia represents the highest cultural, social and economic phenomenon during the Late Stone Age in the Central Balkans. It was established and existed on a relatively tame territory, which was rather easy for Neolithic man to conquer. He was overwhelmed by it and its natural manifestations shallow lakes and swamps, low hills and woods. The landscape was born and fed by all the sunrises and sunsets. Life and all its ups and downs was taking place in peace and calm. Neolithic man loved Macedonian land and stayed there for a long time. He was connected to it with a strong umbilical
cord. He never deserted it, and remained present throughout archaeology until this day, upgrading his life experiences. He left numerous traces and information, often incomprehensible and unclear to us. In the field of art, what remained are perfect pottery vessels, whose shape and decoration seem modern and picturesque even nowadays. They provide certain messages with various decorations and lines assembled in a certain rhythm, with unclear symbolism and an incomprehensible harmony. The study of this stage of human evolution and the beginning and end of sedentiarism represents the basis of civilization. So far, it is difficult to assume what were the reasons for the disappearance of life in the Late Neolithic settlements. From a historical perspective, the Neolithic civilization was unable to survive its extensive economy and trade. The discovery of metal and predominance of cattle-breeding as a fundamental economic basis dictates cultural movements. It systematically and profoundly changes all social and economic relations in society. The peaceful life in settlements is disturbed by the appearance of new populations with different knowledge and experiences. The end did not happen at once, but was a long-lasting process. It is possible that the disappearance of Neolithic agricultural civilization lasted throughout the entire late Neolithic period. Neolithic art created in the Veluina-Porodin and AnzabegovoVrnik cultural group in the Early Neolithic period, 6,300-5,800 BC, afterwards in the Middle 5,800-5,300 and Late Neolithic period 5,300-4,200 BC, is the highest universal cultural manifestation on the territory of the Republic of Macedonia. Its specific cultural profile in sculpture, altars and the Great Mother cult, as well as the floral style in painted pottery and the olive branch as a symbol of fertility, are still a major scientific challenge and enigma.
50
1. I. Stawowy-Kawka, Historia Macedonii. Wroclaw-Warszawa-Krakow 2000, 5. 2. A. Siemaszco, Sztuka ikony. Krakow 2000, 13. 3. N.G.L. Hammond, A History of Macedonia, vol.1. Oxford 1972, 3. 4. M. Gimbutas, Neolithic Macedonia. Los Angeles 1976, 29. 5. Information courtesy of M. Bilbija. 6. Information courtesy of researcher Mrs. I. Kolitrovska Nasteva. 7. D. Simoska, V. Sanev, Prehistory in central Pelagonia. Bitola 1976, 31-33.
9. D. Zdravkovski, Neolithic settlement ubuk ema s. Nikutak, Kumanovo. Macedoniae acta archaeologica 13, 1993, 17-30. Ibid., 13. 10. M. Bilbija, Cerje, Neolithic settlement. Arheoloki pregled 26, 1985, 35-36. 11. S. Dimitrijevi, Praistorija jugoslavenskih zemalja, II Neolit. Sarajevo 1979, 246. 12. M. Garaanin, Problemi neolita i eneolita Centralnog Balkana u vezi sa rezultatima istraivanja u Makedoniji. Macedoniae acta archaeologica 10, 1989, 28-29. 13. T. Jovevska, The house from horizon I in the neolithic settlement Mramor near aka. Macedoniae acta archaeologica 13, 1993, 31-41. 14. Ibid., 96.
16. D. Simoska, V. Sanev, Prehistory in central Pelagonia. Bitola 1976, 11. 17.
18.
19. V. Sanev, Neolithic altar from Tumba Madjari. Skopje 1981 (exhibition folder). 20. S. Vetni, Starevo altars from settlements in the Velika Morava River basin. Glasnik srbskog arheolokog drutva 1516, 2001, 12. 21. V. Sanev, Teracotta ram head from the archaeological collection of the Museum of Macedonia. Macedoniae acta archaeologica 15, 1999, 15-24.
8. S. Saroski, D. Zdravkovski, Tumba Palite. Arheoloki pregled 28, 1987, 43.
D. Mitrevski, Prehistory in the Republic of Macedonia, The Balkans in prehistory, Athens 2001, 88. 15. B. Kitanoski, D. Simoska, J. Todorovi, Peterica settlement and the issue of early Neolithic in Pelagonia. Macedoniae acta archaeologica 6, 1983, 9-20.
Elena Stojanova Kanzurova
Dragia Zdravkovski
Katalog Catalogue of objects Elena Stojanova Kanzurova Dragia Zdravkovski Elena Stojanova Kanzurova Dragia Zdravkovski
Elena Stojanova Kanzurova
Dragia Zdravkovski
55
Formi na kerami~ki sadovi Forms of pottery . / No. 1 . / No. 2 . / No. 3 . / No. 4 . / No. 5 . / No. 6 . / No. 7 . / No. 8 . / No. 9 . / No. 10 . / No. 11 . / No. 12 . / No. 13 . / No. 14 . / No. 15 . / No. 16 . / No. 17 . / No. 18 . / No. 19 . / No. 20 . / No. 21 . / No. 22 . / No. 23 . / No. 24 . / No. 25 . / No. 26 . / No. 27 . / No. 28 . / No. 29 . / No. 30 . / No. 31 . / No. 32 . / No. 33 . / No. 34 . / No. 35
Antropomorfna plastika Anthropomorphic sculpture . / No. 36 . / No. 37 . / No. 38 . / No. 39 . / No. 40 . / No. 41 . / No. 42 . / No. 43 . / No. 44 . / No. 45 . / No. 46 . / No. 47 . / No. 48 . / No. 49 . / No. 50 . / No. 51 . / No. 52 . / No. 53 . / No. 54 . / No. 55 . / No. 56 . / No. 57 . / No. 58 . / No. 59 . / No. 60 Zoomorfna plastika Zoomorphic sculpture . / No. 61 . / No. 62 . / No. 63 . / No. 64 . / No. 65 . / No. 66 . / No. 67 . / No. 68
Kultni rtvenici Cult altars . / No. 69 . / No. 70 . / No. 71 . / No. 72 . / No. 73 . / No. 74 . / No. 75 . / No. 76 . / No. 77 . / No. 78 . / No. 79 . / No. 80 Stamps . / No. 81 . / No. 82
Catalogue of objects
Forms of pottery
57
Formi na kerami~ki sadovi Forms of pottery . / No. 1 . / No. 2 . / No. 3 . / No. 4 . / No. 5 . / No. 6 . / No. 7 . / No. 8 . / No. 9 . / No. 10 . / No. 11 . / No. 12 . / No. 13 . / No. 14 . / No. 15 . / No. 16 . / No. 17 . / No. 18 . / No. 19 . / No. 20 . / No. 21 . / No. 22 . / No. 23 . / No. 24 . / No. 25 . / No. 26 . / No. 27 . / No. 28 . / No. 29 . / No. 30 . / No. 31 . / No. 32 . / No. 33 . / No. 34 . / No. 35
58
a M
60
a M Neolithic art in the Region of the Republic of Macedonia
. 1 No. 1
- Bowl
61
Amzabegovo, Ov~e Pole Visina: 10, 2 sm Inv.br. 930; istraùvawe 1969/70 Anzabegovo - Vr{nik I Naroden muzej - [tip Anzabegovo, Ove Pole Height: 10,2cm Inv. No. 930, excavations 1969/70 Anzabegovo-Vrnik I National museum tip
Sad - panica Mal polutop~est sad so vertikalni tenki yidovi, ramen obo, dno so ~etiri kusi noze. Na stomakot, naslikani so bela boja, se nao|aat dva stilizirani golemi cveta, postaveni na sprotivnite strani. Me|u niv se dve vertikalni lenti so floralen ornament, listovi od maslinka, postaveni vo poliwata me|u cvetovite. Osnovata e crvena. Faktura: dobra, boja: crvena. Bowl Small semi-globular vessel with thin vertical walls, flat brim, four - legged bottom. The belly features two stylized and white coloured big flowers set at two opposite sides. Between them are two vertical stripes with floral ornaments - olive leaves, set in the areas between the flowers. Red background. Good facture, red colour.
62
. 2 No. 2
- Bowl
63
Alin Dol, Nemawici, Ov~e Pole Visina: 10 sm Inv.br.bb. Otkrien 1994 Anzabegovo - Vr{nik I Naroden muzej - Sv. Nikole Alin Dol, Nemanjici, Ove Pole Height: 10cm Inv. No. bb, discovered in 1994 Anzabegovo-Vrnik I National museum Sv. Nikole
Sad - panica Malo polutop~esto sat~e so tenki yidovi, ramen obod i dno so ~etiri kusi noze. Na stomakot, so bela boja, naslikan e apstrakten floralen ornament, cvet, na sjajna crvena osnova. Faktura: dobra, boja: crvena. Bowl Small semi-globular vessel featuring thin walls, flat brim, fourlegged bottom. The belly features a painting of an abstract floral ornament - flower in white colour on a shiny red background. Good facture, red colour.
64
. 3 No. 3
- Small vessel bowl
65
Amzabegovo, Ov~e Pole Visina: 12 sm Inv.br. F 1069. Otkrien 1969/70 Anzabegovo - Vr{nik I Naroden muzej - [tip Anzabegovo, Ove Pole Height: 12cm Inv. No. F 1069, discovered 1969/70 Anzabegovo-Vrnik I National museum tip
Sat~e - panica Mal polutop~est sad so tenki vertikalni yidovi, ramen obod i dno so ~etiri kusi noze. Od obodot do dnoto, so bela boja, naslikani se tenki paralelni branovidni lenti so ostri linii. Faktura: dobra, boja: crvena. Small vessel bowl Small semi globular vessel with thin vertical walls, flat brim and a four-legged bottom. Thin wave like parallel lines painted with white colour from the brim to the bottom. Good facture, red colour.
66
. 4 No. 4
Plate
67
Tumba Sten~e, Polog Ku}a 1 Visina: 9 sm In.br. 556; istraùvawe 2000 Anzabegovo - Vr{nik I Muzej na Makedonija Skopje Tumba Stene, Polog House 1 Height: 9cm Inv. No. 556, excavation 2000 Anzabegovo-Vrnik I Museum of Macedonia Skopje
Panica Polutop~esta panica so naglasen stomak, kus vrat, so slabo razgrlena usta i nenaglaseno dno. Povr{inata sjajno mazneta. Faktura: dobra, boja: svetlo crvena. Plate Semi-globular plate with an emphasized belly, short neck with a slightly opened mouth, unemphasized bottom. Polished and shiny surface. Good facture, bright red colour.
68
. 5 No. 5
Vessel - gourd
69
Anzabegovo, Ov~e Pole Visina: 20 sm Inv.br. 37. Otkrien 1960 Anzabegovo - Vr{nik I Naroden muzej - [tip Anzabegovo, Ove Pole Height: 20cm Inv. No. 37, discovered 1960 Anzabegovo-Vrnik I National museum tip
Sad Top~est sad so forma na lejka. Ramen obod, blago razgrlen kus vrat i me{est stomak, so nenaglaseno ramno dno. Ukrasen e so dve vertikalni nizi od listovi (nerazvieni pupki na vrba, a vo postarata literatura tie se smetani za kapki voda) i apstraktni floralni ornamenti naslikani so bela boja. Faktura: dobra, sjajna temnocrvena povr{ina. Vessel - gourd Globular gourd shaped vessel. Flat brim and slightly opened short neck, tubby belly with unnaccentuated flat bottom. Decorated with two vertical rows of leaves (undeveloped willow buds? In the older literature, these were considered as raindrops) and abstract floral ornaments painted with white colour. Good facture, shiny dark red background.
70
. 6 No. 6
- Vessel - gourd
71
Tumba Sten~e, Polog Visina: 27 sm Inv.br. 527; istraùvawe 2000 Anzabegovo - Vr{nik I Muzej na Makedonija Skopje Tumba Stene, Polog Height: 27cm Inv. No. 527, excavation 2000 Anzabegovo-Vrnik I Museum of Macedonia Skopje
Sad - lejka Sad so top~est stomak, visok vrat i ramen obod. Potsetuva na lejka. Na stomakot se nao|aat tri mali bradavici, dnoto e ramno, nenaglaseno. Faktura: relativno dobra, boja: kafeava. Vessel - gourd Globular vessel with a flat brim and high neck. Reminiscent of a gourd. Three small nipples are featured on the belly, whereas the bottom is flat and unaccentuated. Medium facture, brown colour.
72
. 7 No. 7
Pot
73
Tumba, s. Velu{ina - Pelagonija Visina: 9 sm Inv. br.295; istraùvawa 1979 Velu{ina - Porodin I Zavod i Muzej - Bitola Tumba, village of Veluina Pelagonija Height: 9cm Inv. No. 295, excavation 1979 Veluina-Porodin I Institute and Museum Bitola
Sad So blaga Y - profilacija, spleskan stomak i mali zadebeluvawa na ramoto. Dnoto e ramno. Na vratot e dekoriran so beli {rafirani linii, a na stomakot se nao|aat aglesti ornamenti. Faktura: dobra, boja: sjajno mazneta, crvena. Pot Soft S-profile, flat belly, with small thickenings on the shoulder. Flat bottom. Decorated with white stripes on the neck, and angular ornaments on the belly. Good facture, shiny and polished surface, red colour.
74
. 8 No. 8
Four legged vessel
75
Tumba, s. Velu{ina - Pelagonija Visina: 15,5 sm Inv. br.294; istraùvawa 1979 Velu{ina - Porodin I Zavod i Muzej - Bitola Tumba, village of Veluina Pelagonija Height: 15,5cm Inv. No. 294, excavation 1979 Veluina-Porodin I Institute and Museum Bitola.
Sad na ~etiri noze Top~est stomak, postaven na ~etiri noze, so kruèn presek. Ustata e blago razgrlena, a dnoto e ispaknato. Dekoriran e so sedum nizi so E-ornamenti (epsilon) so bela boja. Na nozete se naslikani triagolni ornamenti. Faktura: dobra, boja: sjajno mazneta, crvena. Four legged vessel Globular belly, set on four legs, with a circular cross-section. Slightly opened mouth. Prominent bottom. Decorated with seven rows of E ornaments in white colour. The legs feature triangular ornaments. Good facture, shiny and polished surface, red colour.
76
. 9 No. 9
Bowl
77
Tumba s. Velu{ina - Pelagonija Visina: 14,5 sm Inv. br.222; istraùvawa 1976?; Velu{ina - Porodin II, Zavod i Muzej Bitola Tumba, village of Veluina Pelagonija Height: 14,5cm Inv. No. 222, excavations 1976 Veluina-Porodin II Institute and Museum Bitola
înija So blaga Y-profilacija, naglaseno ramo so ~etiri zadebeluvawa, spleskan stomak i ramno nenaglaseno dno. Dekorirana e so beli sigmi, vo pet reda. Faktura: dobra, boja: sjajno mazneta, crvena. Bowl Soft S-profile, emphasized shoulder with four thickenings, flat belly, flat unaccentuated bottom. Decorated with white sigmas in five rows. Good facture, shiny and polished surface, red colour.
78
. 10 No. 10
Plate
79
Tumba s. Porodin - Pelagonija Visina: 9 sm, dijametar 26 sm Istraùvawa 1976? Velu{ina - Porodin II Zavod i Muzej Bitola Tumba, village of Porodin Pelagonija Height: 9cm, diameter: 26cm Inv. No. 207, excavations 1976 Veluina-Porodin II Institute and Museum Bitola
înija Polutop~esta, so nenaglaseno dno. Od vnatre e dekorirana so spu{teni triagolnici, a me|u niv se nao|aat sigma lunuli, naslikani so bela boja. Od nadvore{nata strana, pod venecot, lunulite se obratno postaveni. Faktura: dobra, boja: sjajno mazneta, temnocrvena. Plate Semi-globular, with unemphasized bottom. Soft S-profile, emphasized shoulder with four thickenings, flat belly, flat unemphasized bottom. Decorated with three downcast triangular ornaments in four rows on the inside, with three sigma lunulas painted with white colour among them. On the outside under the wreath, the lunulas are set backwards. Good facture, shiny and polished surface, crimson red colour.
80
. 11 No. 11
Plate
81
Tumba s. Velu{ina - Pelagonija Visina: 9 sm Istraùvawa 1976? Velu{ina - Porodin II Zavod i Muzej - Bitola Tumba, village of Veluina Pelagonija Height: 7cm Inv. No. 491, excavations 1976 Veluina-Porodin II Institute and Museum Bitola
înija Dlaboka bikonusna ~inija, dekorirana so aglesti ornamenti svrteni nadolu, a me|u niv polumese~inki, naslikani so bela boja. Faktura: dobra, boja: sjajno mazneta, crvena. Plate Soft S-profile, slightly opened wreath, sharp emphasized shoulder with four thickenings, flat belly, and flat unemphasized bottom. Good facture, shiny and polished surface, red colour.
82
. 12 No. 12
Globular vessel
83
Velu{ka Tumba, Porodin - Pelagonija Visina: 52 sm Velu{ina - Porodin II Zavod i Muzej Bitola Veluka Tumba, Porodin Pelagonija Height: 52cm Veluina-Porodin II Institute and Museum Bitola
Top~est sad Golem sad so top~est stomak, visok konusen vrat i ramen obod. Na stomakot, so bela boja, naslikani se razvle~eni agli so geometriski ornamenti, triagolnici i rombovi. Dnoto e ramno. Faktura: dobra, boja: crvena. Globular vessel Large vessel with a globular belly, tall conical neck and flat rim. Various elongated angles with geometric ornaments, triangles and rhombuses are painted with white colour on the belly. Good facture, red colour.
84
. 13 No. 13
Oval pot
85
Vrbjanska ûka, s. Slavej - Pelagonija Najden pod pe~kata vo ku}a 1. Visina: 14 sm Inv. br.323; istraùvawa 1982 Velu{ina - Porodin III Zavod i Muzej - Prilep Vrbjanska uka, village of Slavej Pelagonija Discovered under the furnace in House 1 Height: 14cm Inv. No. 323, excavations 1982 Veluina-Porodin III Institute and Museum Prilep
Sad Jajceviden sad bez vrat, ramno ramo, odvoeno od stomakot so ostar profil {to zavr{uva jazi~esto, so dup~e. Dnoto e ramno. Dekoriran e so beli spoeni triagolni ornamenti. Faktura: dobra, boja: sjajno mazneta, crvena. Oval pot Oval vessel without the neck, flat shoulder separated from the belly, with a sharp profile ending with a small hole. Flat bottom. Decorated with white connected triangular ornaments. Good facture, shiny and polished surface, red colour.
86
. 14 No. 14
Pot
87
Tumba Maxari, Skopska kotlina Kv. G- 4 Visina: 12,7 sm Inv.br.155; istraùvawe 1982 Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Quad. G4 Height: 12,7cm Inv. No.155, excavation 1982 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Grne Grne so top~esta forma - stomak, mal vrat, grubo zamaznet, ramen obod. Dnoto e ramno, nenaglaseno. Stomakot e dekoriran so impreso-bockawa so nokti, vo vertikalni nizi {to po~nuvaat od ramoto do dnoto. Faktura: gruba, boja: crvenokafeava. Pot Globular shaped pot - belly, small roughly polished neck and flat brim. Flat, unaccentuated bottom. The belly is decorated with impressions of nails in vertical lines, starting from the shoulder to the bottom. Rough facture, reddish brown colour.
88
. 15 No. 15
Pyxis
89
Tumba Maxari, Skopska kotlina Kv K 5, pod pe~ka 1 od zap.strana vo ku}a 1 Visina: 0,8 sm, dijametar 0,7 sm Inv.br.93; iskopuvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje
Piksida Sat~e-piksida so pravilna kru`na forma, ramno ramo, nizok vertikalen vrat, perforiran so osum pravilni dup~iwa. Na teloto, vo pozitiv, se nao|aat ~etiri spirali vo niza, izvedeni vo kopani~ewe. Identi~ni se nao|aat na amforite i peharite, naslikani so temnokafeava boja. Na dnoto e vreàn ornament od linii vo forma na krst. Sluèl kako pintadera. Faktura: relativno dobra, boja: kafeav-ocrvena. Pyxis Round shaped pyxis vessel with a flat shoulder, short vertical neck, perforated with 8 small holes. The positive aspect features four spirals in a row shaped with the wood-carving (engraving) technique. Identical features are found in amphorae and cups painted with dark brown colour. An ornament consisting of lines in the form of a cross is encarved at the bottom. It served as a pintadera. Medium facture, brown reddish colour.
Tumba Madjari, Skopje valley Quad. K5, under Furnace 1 in the western part of House 1 Height: 0,8cm, diameter: 0,7cm Inv. No. 93, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
90
. 16 No. 16
Askos
91
Tumba Maxari, Skopska kotlina Kv.K4. Visina: 46,2 sm Inv. br.71; istraùvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Quad. K4 Height: 46,2cm Inv. No. 71, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Askos Askos so visok vrat, malku razgrlena usta, so kru`na forma. Na ednata strana, stomakot e pro{iren - ekcentri~en i ukrasen so barbotin - povlekuvawa od prsti. Na gornata strana se nao|a vertikalna lentesta dralka. Na drugata strana, vo linijata na zavr{uvawe na stomakot, se nao|aat po dve horizontalni lentesti drlki, edna pod druga, vo korenot povrzani so plasti~ni rebra. Me|u niv, flankirano, leì jaè za nosewe. Od korenite na ` po~nuvaat plasti~ni lenti, {to zavr{uvaat kako noga od ptica. Dnoto e ramno. Faktura: gruba, boja: kafeavosiva. Askos Askos featuring a tall neck slightly opened round shaped mouth. On one side, the belly is expanded - excentric and decorated with barbotine finger trailing. On the upper side, there is a vertical ribbon like holder. On the other side, in line with the belly, there are two horizontal ribbon-like holders one blows the other, connected at the bottom with plastic ribs. Between them is a flanked carrying rope. Plastic stripes begin at the root of the handles, finishing as a bird leg. Flat bottom. Rough facture, brown - grey colour.
92
. 17 No. 17
Askos
93
Tumba Maxari, Skopska kotlina Kp.K 3- K 4. Visina: 46,2 sm Inv. br.74; istraùvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Section K3K4 Height: 46,2cm Inv. No. 74, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Askos Askos so visok vrat, malku razgrlena usta so kru`na forma. Na ednata strana, stomakot e pro{iren - ekcentri~en i zamaznet. Na gornata strana se nao|a vertikalna lentesta dralka. Na stranata {to leì na grbot, pri nosewe, se nao|aat dve horizontalni lentesti dralki, edna pod druga, povrzani so plasti~ni rebra. Me|u niv leì jaèto za nosewe. Od korenite na dralkite po~nuvaat plasti~ni lenti, {to zavr{uvaat kako noga od ptica. Dnoto e ramno. Faktura: gruba, boja: svetlokafeava. Askos Askos featuring a tall neck slightly opened round shaped mouth. On one side, the belly is expanded excentric and polished. On the upper side, there is a vertical ribbon-like handle. The backside when carried features two horizontal ribbon-like handles one below the other, connected with plastic ribs. Between them is the carrying rope. Plastic stripes begin at the root of the handles, finishing as a bird leg. Flat bottom. Rough facture, light brown colour.
94
. 18 No. 18
Askos
95
Tumba Maxari, Skopska kotlina Kp. F2-F3. Visina: 20,5 sm Inv. br.174; istraùvawe 1983 Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Section F2F3 Height: 20,5cm Inv. No. 174, excavation 1983 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Askos Askos so visok, blago zafrlen, vrat i usta so kru`na forma. Stomakot, na ednata strana, e pro{iren - ekcentri~en i zamaznet. Na gornata strana se nao|a vertikalna lentesta dralka. Na stranata za nosewe se nao|aat dve horizontalni lentesti dralki, edna pod druga, povrzani so plasti~ni rebra. Me|u niv leì jaèto. Dnoto e ramno. Faktura: gruba, boja: kafeavo-crvena. Askos Askos with a tall slightly tilted neck, and round shaped mouth. On one side, the belly is expanded excentric and polished. On the upper side, there is a vertical ribbon-like handle. The carrying side features two horizontal ribbon-like handles one below the other, connected with plastic ribs. Between them lies the rope. Flat bottom. Rough facture, reddish brown colour.
96
. 19 No. 19
Oval pot
97
Tumba s. Velu{ina - Pelagonija Visina: 16,5; {iro~ina: 35 sm Inv. br.310; istraùvawa 1988 Velu{ina - Porodin I Zavod i Muzej - Bitola Tumba, village of Veluina Pelagonija Height: 16,5, Width: 35cm Inv. No. 310, excavations 1988 Veluina-Porodin I Institute and Museum Bitola
Stomak od amfora Jajceviden stomak bez vrat, ramno ramo, spleskan stomak so ~etiri zadebeluvawa. Dekorirana e so beli geometriski polumese~inki, kru`ni ornamenti i strelki vo kru`nite poliwa. Dnoto e ramno, so tragi od gorewe. Faktura: dobra, boja: sjajno mazneta, crvena. Oval pot Oval belly without the neck, flat shoulder, flat belly with four thickenings. Decorated with white geometric crescents, circular ornaments and rows in circular fields. Flat bottom, with traces of burning. Good facture, shiny and polished surface, red colour.
98
. 20 No. 20
Globular vessel
99
Velu{ka Tumba s. Porodin Pelagonija Jama 17 Visina: 20 sm Istraùvawa 1988 Velu{ina - Porodin II Zavod i Muzej - Bitola Veluka Tumba, village of Porodin Pelagonija Pit 17 Height: 20cm Inv. No. bb, excavations 1988 Veluina-Porodin II Institute and Museum Bitola
Amfora Amfora so visok vrat, malku razgrlen venec, nisko ramo, spleskan stomak, so ~etiri zadebeluvawa. Dekorirana e so ~etiri reda lunuli na ramoto i tri reda okolu zadebeluvawata. Dnoto e ramno. Faktura: dobra, boja: sjajno mazneta, crvena. Globular vessel Tall neck vessel, with a slightly opened wreath, low shoulder, flat belly with four thickenings. Decorated with four rows of lunulas on the shoulder and three more around the thickenings. Flat bottom. Good facture, shiny and polished surface, red colour.
100
. 21 No. 21
Globular vessel
101
Tumba Maxari, Skopska kotlina Kv. J 5, ku}a 1, vo blizina na pe~ka 1 Visina: 15 sm Inv. br. 77; iskopuvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Quad. J5, house 1, near furnace 1 Height: 15cm Inv. No. 77, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Amfora Mala amfora so visok konusoviden vrat i blago spleskan stomak, so ~etiri vertikalni tunelesti dralki. Dnoto e ramno. Ukrasena e so temnokafeavi slikani ormanenti, vrz crvenikava osnova. Na vratot se nao|a niza od spirali. Korenot na vratot e naglasen so tenka linija od koja se spu{taat ~etiri vertikalni lenti, ispolneti so listovi od maslinka. Okolu dralkite se naslikani dva koncentri~ni kruga. Faktura: dobra, boja: crvenikava, so engoba. Globular vessel Small vessel featuring a tall conical neck and slightly flattened belly with four vertical tunnel-like handles, and flat bottom. Decorated with dark brown painted ornaments on red background. A set of spirals is visible on the neck. The root of the neck is emphasized with a thin line dividing into four vertical ribbons filled with olive leaves. Good facture, reddish colour with engoba.
102
. 22 No. 22
Globular vessel
103
Tumba Maxari, Skopska kotlina Kp. J 5- K 5, ku}a 1, vo blizina na pe~ka 1 Visina: 37 sm Inv. br. 79, iskopuvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section J5K5, house 1, near furnace 1 Height: 37cm Inv. No. 79, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Amfora Amfora so visok konusoviden vrat i blago spleskan stomak, so tri elipsovidni vdlabnatinki. Dnoto e ramno. Ukrasena e so temnokafeavi slikani ornamenti, vrz oker osnova. Na vratot, pod ustata, naslikana e niza od rombovi. Korenot na vratot e naglasen so ista niza, no vo centarot na rombovite se staveni to~ki. Od korenot na vratot, po ramoto i stomakot, se spu{taat ~etiri vertikalni lenti, ispolneti so listovi od maslinka. Od niv, dve se oboeni, a dve se so mreà. Okolu dralkite se naslikani po tri srpesti linii, {to odat od polovinata na ramoto do polovinata na stomakot. Faktura: dobra, boja: svetlooker, so engoba. Globular vessel Small vessel featuring a tall conical neck and slightly flattened belly with three oval impressions and flat bottom. Decorated with dark brown painted ornaments on ochre background. On the neck, below the mouth is a set of rhombuses. The root of the neck is emphasized with an identical set, but with dots in the centre of the rhombuses. Four vertical ribbons filled with olive leaves begin at the root of the neck, down the shoulder, to the belly. Two of them are coloured, whereas the other two are webbed. Around the handles, there are three crescent-shaped lines going from the middle of the shoulder to the middle of the belly. Good facture, light ochre colour, with engoba.
104
. 23 No. 23
Globular vessel
105
Tumba Maxari, Skopska kotlina Kp. G 2- H 2 , ku}a 3 Visina: 23,5 sm Inv. br. 185; iskopuvawe 1983 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section G2-X2, house 3 Height: 23,5cm Inv. No. 185, excavation 1983 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Amfora Stomak na amfora, nedostiga vratot. Stomakot e blago spleskan, so tri elipsovidni vdlabnatinki. Dnoto e ramno, malku naglaseno. Ukrasena e so temnokafeavi slikani ormanenti, vrz crvena osnova. Od korenot na vratot, po ramoto i stomakot, se spu{taat ~etiri vertikalni lenti, ispolneti so floralen ornament-listovi od maslinka. Od niv, dve se oboeni, a dve se ispolneti so mreà. Okolu dralkite se naslikani po dve srpesti linii, koi{to po~nuvaat nad ramoto i odat do polovina na stomakot. Faktura: dobra, boja: svetlocrvena so engoba. Globular vessel Vessel belly, neck missing. The belly is relatively flattened, with three oval impressions, flat bottom, slightly emphasized. Decorated with dark brown painted ornaments on red background. From the root of the neck down the shoulder and towards the belly are four vertical stripes filled with floral ornaments olive leaves. Two of them are coloured, and two are webbed. Around the handles, there are two crescent shaped lines beginning above the shoulder and up to the middle of the belly. Good facture, bright red colour with engoba.
106
. 24 No. 24
Vessel fragment
107
Tumba Dolno Pal~i{te, Polog Sonda 2 Visina: 6,5 sm Inv.br.368; istraùvawa 1988 Anzabegovo - Vr{nik IV Muzej na Makedonija Skopje Tumba Dolno Palite, Polog Trial trench 2 Height: 6,5cm Inv. No. 368, excavation 1988 Anzabegovo-Vrnik IV Museum of Macedonia Skopje
Fragment od sad Fragment od sad - amfora, so ramen obod i konusovidna forma. Ukrasen e so vreàni kosi i vertikalni linii, {to formiraat poliwa so zamazneta povr{ina. Me|u niv se nao|aat tapi ubodi, ispolneti so crvena inkrustacija. Faktura: relativno dobra, boja: siva. Vessel fragment Fragment from a globular vessel, with flat brim and conical shape. Decorated with incised diagonal and vertical lines creating smooth polished fields. Among them are blunt pricks filled with red incrustations. Medium facture, grey colour.
108
. 25 No. 25
- Cup fragmented
109
Tumba Maxari, Skopska kotlina Kv 2. Visina: 9,6 sm Inv.br.190; istraùvawe 1978 Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Kv 2 Height: 9,6cm Inv. No. 190, excavation 1978 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar - fragment Fragment od stomak i obod na pehar so ramen obod, sosema blago zatvoren. Stomakot e top~est. Povr{inata e so crvena engoba. Naslikan e so temnokafeava boja. Ornamentite se floralni, lotosov cvet so lisja pod obodot. Ramoto, od stomakot na peharot, go deli edna horizontalna linija. Na nego, isto taka, se nao|aat cvetovi. Faktura: dobra, boja: crvena. Cup fragmented Fragment of a belly and brim of a cup featuring a flat brim, just slightly closed, globular belly. The surface features a red engoba. It is painted with dark brown colour. The ornaments are floral, lotus flower with leaves underneath the brim and a horizontal line separating the shoulder from the belly. It also contains flowers. Good facture, red colour.
110
. 26 No. 26
Cup
111
Tumba Maxari, Skopska kotlina Kv H 3. Visina: 11,7 sm Inv.br.150; istraùvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Quad. H3 Height: 11,7cm Inv. No. 150, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar Yvon~est pehar so ramen obod, sosema blago razgrlen. Povr{inata e so crvenooker engoba. Ostatoci od ukrasuvaweto, so "vise~ki triagolnici", naslikani se pod obodot. Od niv poa|aat tenki linii, grupirani vo lenti, slikani so kafeava boja. Pregoren e vo silen ogan. Faktura: dobra, boja: crvenosiva. Cup Bell-shaped cup with flat rim slightly opened. The surface features a red - ochre engoba. Remains of hanging triangles decoration painted under the brim. Thin lines grouped into ribbons derive from them, painted in brown colour. Burned under high temperature. Good facture, reddish grey colour. Good facture, reddish brown colour.
112
. 27 No. 27
Cup
113
Tumba Maxari, Skopska kotlina Kp K 4- K 5, ku}a 1 juèn del Visina: 18,5 sm, dijametar 19-21 sm Inv.br.90; istraùvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section K4K5, house 1, southern part Height: 18,5cm, Diameter: 1921cm Inv. No. 90, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar Yvon~est pehar so ramen obod, sosema blago razgrlen. Postaven na mala prstenesta noga, malku prazna. Stomakot e ukrasen so slikana spirala, koje e sedum pati povtorena. Praznite delovi pod ustata i me|u spiralata, se ispolneti so mreèsti ornamenti. Kon nogata se spu{taat mali lastari. Faktura: relativno dobra, boja: svetlokafeava. Cup Bell-shaped cup with a flat brim, only slightly opened. Set upon a tall ring-like leg, hollow inside. The belly is decorated with a painted spiral repeated seven times. The empty parts below the mouth and inside the spiral are filled with web ornaments. There are small sprouts towards the leg. Medium facture, light brown colour.
114
. 28 No. 28
Cup
115
Tumba Maxari, Skopska kotlina Kv N 7-Kp.G 5-G 6, ku}a 5 Visina: 17,5 sm Inv.br.432; istraùvawe1987 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Quad. N7 Section G5G6, house 5 Height: 17,5cm Inv. No. 432, excavation 1987 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar Pehar so polutop~esta forma i so blago razgrlen obod. Povr{inata e prema~kana so engoba so visok sjaj, ukrasen so vertikalni snopovi crveni linii, od ustata do nogata. Dnoto e na mala prstenesta noga. Faktura: dobra. Cup Semi-globular cup with a relatively open rim. The surface is covered with shiny engoba, decorated with vertical rays of red lines from the mouth to the leg. The bottom is placed on a small ring-like leg. Good facture.
116
. 29 No. 29
- Cup fragmented
117
Tumba Maxari, Skopska kotlina KP G 8- G 9- G7-G 8 Visina: 15 sm Inv.br.445; istraùvawe 1985 i 1989 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section G 8G 9G7G 8 Height: 15cm Inv. No. 445, excavations 1985 and 1989 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar - fragment Fragment od stomak i obod na yvon~est pehar, so ramen obod i malku naglasen vrat. Povr{inata e so oker engoba. Ukrasen e so temnokafeavi {rafirani vise~ki triagolnici, {to poa|aat od ustata do ramoto. Od niv poa|aat vertikalno ispolneti dolgi linii, site so ista debelina. Pome|u dva triagolnika se nao|a eden segment od tri linii. Faktura: dobra, boja: svetlocrvena. Cup fragmented Fragment of a belly and brim of a bell-shaped cup with a flat brim and a slightly emphasized neck. The surface features an ochre engoba. It is decorated with dark brown striped hanging triangles starting from the mouth towards the shoulder. Out of them derive vertical long lines, all of the same thickness. A segment of three lines is found between two triangles. Good facture, bright red colour.
118
. 30 No. 30
- Cup fragmented
119
Tumba Maxari, Skopska kotlina Kp E 5 - F 5 Visina: 15 sm Inv.br.304; istraùvawe 1986 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section E5F5 Height: 15cm Inv. No. 340, excavation 1986 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar fragment Fragment od stomak i obod na yvon~est pehar so ramen zaoblen obod. Povr{inata e so crveno-oker sjajna engoba. Ukrasen e so temnokafeavi {rafirani triagolnici, {to poa|aat od ustata do ramoto. Od dvata vise~ki triagolnika, poa|aat vertikalni linii, kombinirani so potenki i lenti {to poa|aat od eden triagolnik. Vnatre{nite linii se tenki. Faktura: dobra, boja: svetlocrvena. Cup fragmented Fragment of a belly and brim of a bell-shaped cup with flat rounded brim. The surface features a red and ochre shiny engoba. Decorated with dark brown striped triangles stretching from the mouth to the shoulder. Vertical lines derive from them, combined with thinner ones. This is a combination of two hanging triangles whereby one stripe derives from one triangle and is followed by a second stripe deriving from the other. Inner lines are thin. Good facture, bright red colour.
120
. 31 No. 31
Cup fragmented
121
Tumba Maxari, Skopska kotlina Kp F 7-8, ku}a 6 Visina: 16 sm Inv.br.314; istraùvawe 1989 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section F78, house 6 Height: 16cm Inv. No. 314, excavation 1989 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar Fragmentiran pehar so ramen obod, blago razgrlen, na mala prstenesta noga. Ukrasen e so izdolèni triagolnici, ispolneti so {rafirani linii so crvenokafeava boja. Kombinacijata na dekoracijata e eden triagolnik od venecot nadolu, a do nego se nao|a obratno postaven triagolnik. Faktura: dobra. Cup fragmented Fragmented cup with flat brim, slightly opened, placed on a small ring-like leg. Decorated with elongated triangles filled with stripes of reddish brown colour. The combination of this decoration features one triangle from the wreath downward, and vice-versa. Good facture.
122
. 32 No. 32
Bowl on a foot
123
Tumba Maxari, Skopska kotlina Kv 2- K 5 Visina: 14 sm, dijametar 25,6 sm Inv.br.192; istraùvawe 1978 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Quad. 2K5 Height: 14cm, Diameter: 25,6cm Inv. No. 192, excavation 1978 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Pehar Yvon~est pehar so ramen obod, sosema blago razgrlen. Postaven e na visoka prstenesta noga, odvnatre malku prazna. Prema~kan e so sjaen crven premaz. Stomakot, odnadvor e ukrasen so golema spirala, na osnovata naslikana so boja vo negativ i sedumpati povtorena. Na vnatre{nata strana se nao|aat branovidni linii (ili stilizirani floralni ornamenti). Faktura: dobra, boja: svetlocrvena. Bowl on a foot Bell-shaped bowl with a flat brim, only slightly opened. Set upon a tall ring-like foot, hollow on the inside. Covered with a shiny red varnish. The belly is decorated with a large painted spiral on the outside, in a colour identical to that of the background, repeated seven times in the negative aspect. The inner side contains wavelike lines (or stylized floral ornaments). Good facture, bright red colour.
124
. 33 No. 33
Bowl on a foot
125
Tumba Sten~e, Polog Visina: 12 sm Inv.br.509; istraùvawe 2000 Anzabegovo - Vr{nik IV Muzej na Makedonija Skopje Tumba Stene, Polog Height: 12cm Inv. No. 509, excavation 2000 Anzabegovo-Vrnik IV Museum of Macedonia Skopje
Pehar Pehar so prava usta, malku izvien rab i kus vrat. Teloto e bikonusno, ukraseno so plitki vertikalni kaneluri. Dnoto e na mala konusna noga, malku prazna. Faktura: dobra. Bowl on a foot Cup with straight mouth, slightly curved edge and short neck. Biconal belly decorated with shallow vertical cannelures. The bottom is placed on a small, relatively hollow cone like foot. Good facture.
126
. 34 No. 34
Bowl on a foot
127
Tumba Sten~e, Polog Visina: 10,5 sm Inv. br. 565; istraùvawe 2000 Anzabegovo - Vr{nik IV Muzej na Makedonija Skopje Tumba Stene, Polog Height: 10,5cm Inv. No. 565, excavation 2000 Anzabegovo-Vrnik IV Museum of Macedonia Skopje
Pehar Pehar so konusen recipient, malku naglasen vrat. Stomakot e ukrasen so kosi kaneluri, a nogata e konusna i prazna. Dnoto e na mala konusna noga, malku prazna. Faktura: dobra, so ostatoci od crven premaz. Bowl on a foot Conical recipient cup rather emphasized neck. Belly decorated with diagonal cannelures, hollow conical foot. Good facture, with remains of red varnish.
128
. 35 No. 35
Four . legged vessel
129
Vr{nik, Tarinci, Sredna Bregalnica Visina: 14 sm Inv.br.1080: istraùvawe 1960 Anzabegovo - Vr{nik IV Naroden muzej - [tip Vrnik, Tarinci, Middle Bregalnica region Height: 14cm Inv. No. 1080, excavation 1960 Anzabegovo-Vrnik IV National museum tip
Pehar Pehar so blaga bikonusna forma, ramen obod, malku naglasen i izvle~en. Dnoto e blago ispaknato, so ~etiri visoki noze. Povr{inata e sjajno mazneta i ukrasena so kosi plitki kaneluri. Faktura: dobra, boja: temnokafeava. Four - legged vessel Bowl with a soft biconical shape, flat, relatively emphasized and extracted. Relatively prominent, tall four-legged bottom. Polished surface decorated with shallow diagonal cannelures. Good facture, dark brown colour.
Anthropomorphic sculpture
131
Antropomorfna plastika Anthropomorphic sculpture . / No. 36 . / No. 37 . / No. 38 . / No. 39 . / No. 40 . / No. 41 . / No. 42 . / No. 43 . / No. 44 . / No. 45 . / No. 46 . / No. 47 . / No. 48 . / No. 49 . / No. 50 . / No. 51 . / No. 52 . / No. 53 . / No. 54 . / No. 55 . / No. 56 . / No. 57 . / No. 58 . / No. 59 . / No. 60
132
a M
134
. 36 No. 36
Figurine
135
Tumba âir, Skopska kotlina Slu~aen naod Visina: 12 sm Inv.br. 502; slu~aen naod 1999 Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba air, Skopje valley Height: 12cm Inv. No. 502, randomly discovered in 1999 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Statuetka Stolbovidna falusoidna statuetka, so malku pro{irena stopa. Nosot e plasti~no izvle~en, a ve|ite i o~ite koso vreàni. Kosata e ubavo is~e{lana, vo frizura na patec od vreàni linii. Na temeto se nao|a mala dlapka. Faktura: relativno dobra, boja: crvena. Figurine Pillar-like phallic figurine, with a relatively expanded foot. The nose is plastically shaped, eyebrows and eyes incised diagonally. The hair is well combed with a parting of incised lines. Small slip on top of the head. Medium facture, red colour.
136
. 37 No. 37
Figurine
137
Tumba Maxari, Skopska kotlina Visina: 11 sm Inv.br. 294; istraùvawe 1978 Anzabegovo - Vr{nik II Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Height: 11cm Inv. No. 294, excavations 1978 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Statuetka Falusoidna statuetka, stolbovidno modelirana, so malku pro{irena stopa. [irok, plasti~no izvle~en nos, o~ite vreàni ramno, a ve|ite sostaveni. Kosata e nazna~ena so vreàni linii, {to se spu{taat do vratot. Racete se plasti~no nazna~eni, a gradite slabo vidlivi. Faktura: relativno dobra, boja: crvena. Figurine Phallic figurine with pillar-like shape and slightly expanded foot. Wide, plastically modelled nose, straight incised eyes, and connected eyebrows. The hair is outlined with incised lines going all the way to the neck. The hands are plastically, unstressed breasts.
138
. 38 No. 38
Figurine head
139
Tumba Sten~e, Polog Ku}a 1 Visina: 6 sm Inv.br.558; istraùvawe 2000 Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba Stene, Polog House 1 Height: 6cm Inv. No. 558, excavation 2000 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Glava od statuetka Antropomorfna glava so izdolèno lice, visoko ~elo, vreàni o~i, potkr{en nos, usta kako dlapka i ostra brada. Ednoto uvo e potkr{eno. Kosata e nazna~ena so vreàni polukru`ni linii. Faktura: relativno dobra, boja: svetlokafeava, so tragi od gorewe. Figurine head Anthropomorphic head with an elongated face, high forehead, incised eyes, broken nose, hollowed mouth, and sharp chin. One of the ears is broken. The hair is outlined with incised semicircular lines. Medium facture, light brown colour with visible traces of burning.
140
. 39 No. 39
, Female figurine, marble
141
Tumba Maxari, Skopska kotlina Visina: 6,8 sm Inv.br. 317. Grupa Anzabegovo Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje valley House 6 Height: 6,8cm Inv. No. 317, discovered in in 1989 Anzabegovo-Vrnik II Museum of Macedonia Skopje
@enska statuetka, mermer Stilizirana ènska statuetka, izvajana od eden kamen, so naglasena steatopigija. Glavata e otkr{ena, a torzoto e triagolno, so mali gradi. Racete se spu{teni na stomakot, a pubi~niot del e slabo naglasen. Polovinata e tenka, nozete kusi i debeli, a gluteite naglaseni. Izrabotena e od bel, sitnozrnest mermer, so tragi od gorewe. Otkriena e vo ku}a 6 vo 1989 god. Female figurine, marble Stylized female figurine sculpted out of a single rock with emphasized steatopygia. The head is broken, while the torso is triangular with small breasts. The hands are placed on the belly, and the pubic area is relatively unemphasized. The waist is thin, the legs are short and stumpy, whereas the gluteuses are emphasized. White fine marble with traces of burning.
142
. 40 No. 40
, Anthropomorphic figurine, terracotta
143
Tumba Maxari, Skopska kotlina Visina: 9,5 sm Inv. br. 634, Iskopuvawe 2003 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Height: 9,5cm Inv. No. 634, excavation 2003 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfna statuetka, terakota Antropomorfna statuetka so spleskana forma. Glavata i liceto se izdolèni, so plitko vreàni o~i. Nosot e mal, ve|ite tenki, polukru`ni i plasti~no pretstaveni. Kosata e plasti~na, so afrofrizura. Temeto e produp~eno so tragi od gorewe. Faktura: dobra, boja: oker. Anthropomorphic figurine, terracotta Flat anthropomorphic figurine. Head and face are elongated with shallow incised eyes. The nose is small, whereas the eyebrows are semi-circular and plastically represented. The hair is plastically presented in Afro hairstyle. The top of the head is pierced, with visible traces of burning. Good facture, ochre colour.
144
. 41 No. 41
, Antropomorphic head, terracotta
145
Tumba Maxari, Skopska kotlina Visina: 29 sm Inv.br. 493, Grupa Anzabegovo Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Height: 29cm Inv. No. 493, randomly discovered in 1984 Anzabegovo-Vrnik III. Museum of Macedonia Skopje
Antropomorfna glava, terakota Glava e izrabotena od nepre~istena zemja, mnogu ednostavno modelirana okolu golem kolec. Liceto e spleskano, o~iteplitko vreàni, ve|ite-slabo nazna~eni, nosot-mal. Liceto e prema~kano so nekolku premazi glina i spoeno so masivniot vrat. Kosata e spletena vo prcliwa, sobrani vo kok na levata strana. Glavata e otkr{ena, najverojatno od monumentalna statua-totem. Faktura: relativno dobra, boja: bledo oker. Slu~aen naod vo 1984 god. Antropomorphic head, terracotta Head made of unrefined earth, very simply modelled around a big pile. The face is flat, the eyes are flippingly incised, the eyebrows are not emphasized, and the nose is quite small. The face is covered with several layers of clay, and connected with the massive neck. The hair is styled in braids, gathered in a bun on the left side. The head is separated probably from a monumental totem statue. Medium facture, bright ochre colour.
146
. 42 No. 42
, Female figurine, terracotta
147
Anzabegovo, Ov~e Pole Visina: 10 sm Inv. br. Bb, slu~aen naod Grupa Anzabegovo-Vr{nik IV Muzej na Makedonija - Skopje Anzabegovo, Ove Pole Height: 10cm Inv. No. bb, random finding Anzabegovo-Vrnik IV Museum of Macedonia Skopje
@enska statuetka, terakota Stolbesta ènska statuetka vo stoe~ka polo`ba, so spleskana elipsovidna forma. Liceto e prosopomorfno, so vreàni o~i, plasti~en nos i blago naglaseni ve|i. Racete se sobrani i potencirani so po dve vreàni linii. Na temeto, kosata e so cik-cak vreàni linii. Faktura: relativno dobra, boja: svetlooker. Female figurine, terracotta Pillar-like female figurine in standing position, with flat oval shape. Prosopomorphic face, with incised eyes, plastic nose and slightly emphasized eyebrows. The hands are clutched and accentuated with two incised lines. On the top of the head, the hair is presented with zigzag-incised lines. Medium facture, light ochre colour.
148
. 43 No. 43
Female figurine
149
Ustie na Drim, Ohridski basen Visina: 7,5 sm Inv. br.276; istraùvawe 1962 Velu{ina Porodin IV Muzej na Makedonija Skopje Estuary of the river Drim, Ohrid basin Height: 7,5cm Inv. No. 276, research 1962 Veluina-Porodin IV Museum of Macedonia Skopje
@enska statuetka @ena sednata vo joga-polo`ba. Top~esta, mazna glava, visok vrat i ispraveno telo. Liceto e so blago naglaseni o~i, nos i usta. Racete gi obeleùva linija na stomakot. Zadnikot e mazen i spoen so svienite noze, za da sedi. Na grbot se vreàni rombovi, eden vo drug. Faktura: relativno dobra, boja: temnosiva. Female figurine Woman seated in yoga position. Round smooth head, tall neck, and straight body. The face features relatively emphasized eyes, nose and mouth. The hands are marked by a line on the belly. The backside is smooth and connected to the clutched legs in sitting position. The back features incised rhombuses one inside the other. Medium facture, dark grey colour.
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. 44 No. 44
Stone head
151
Tumba Maxari Jama vo kocka i 2/3 - j 2/3 Visina: 4,5 sm Inv.br. 295; istraùvawe 1984 Anzabegovo - Vr{nik III IV Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Pit in quad. 2/3j2/3 Height: 4,5cm Inv. No. 295, excavation 1984 Anzabegovo-Vrnik IIIIV Museum of Macedonia Skopje
Glava Stilizirana glava so elipsovidna forma, golem nos i mal vrat. Dolnata vilica e ubavo zaoblena. Izvajana e vo belutrak. Stone head Stylized head in oval shape, large nose and small neck. The mandible is nicely rounded. Sculpted in white stone.
152
. 45 No. 45
, Figurine, teracotta
153
Tumba Maxari, Skopska kotlina Vsina: 2,7 sm Inv.br. 528 Grupa Anzabegovo - Vr{nik IV Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Height: 2,7cm Inv. No. 528, excavations 2003 Anzabegovo-Vrnik IV Museum of Macedonia Skopje
Statuetka, terakota Minijaturna ènska statuetka so stolbesto telo, prosopomorfno lice, so naglasen nos i koso vreàni o~i. Kosata e sobrana vo spleskana punxa na vratot, malku zadebelena, boja: bledooker. Istraùvawa 2003 god. Figurine, teracotta Miniature female figurine with a pillar-like body, prosopomorphic face with an emphasized nose and diagonally incised eyes. The hair features a flat bun, slightly thickened at the neck. Light ochre colour.
154
. 46 No. 46
, Anthropomorphic cylinder, terracotta
155
Tumba Sred selo, s. Mogila, Pelagonija Visina: 13,3 sm Inv.br.339 Velu{ina - Porodin II Muzej na Makedonija Skopje Tumba Sred selo, village of Mogila, Pelagonija Height: 13,3cm Inv. No. 339 Veluina-Porodin II Museum of Macedonia Skopje
Antropomorfen cilinder, terakota Prazen cilinder, del od `rtvenik na Golemata majka. Nosot e plasti~no naglasen, golem, i izleguva od linijata na ve|ite. O~ite se bademesti, so spu{ten pogled i naglaseni gorni kapaci. Ustata e sobrana i nazna~ena so edno zadebeluvawe, kako da asocira srame`liv prv bakne`. Vratot zavr{uva so plasti~en |erdan vo forma na bukvata "M". Faktura: dobra, boja: crvena. Anthropomorphic cylinder, terracotta Empty cylinder, part of the Great Mother Goddess altar. The nose is plastically emphasized, large and derives from the eyebrow line. Almond-shaped eyes with a downcast look and emphasized upper eyelid. The mouth is shrunk and defined with a thickening, reminiscent of a shy first kiss. The neckline finishes with a plastic necklace in the form of the letter "M". Good facture, red colour.
156
. 47 No. 47
157
Tumba, s. Dolno Pal~i{te, Polog Visina: 6,5 sm, [irina: 7,5 sm Inv.br.255 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba, village of Dolno Palite, Polog Height: 6,5cm, Width: 7,5cm Inv. No. 255, discovered in 1987 Group Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfen cilinder, terakota Del od lice, so plasti~no prikaàni i {iroko otvoreni bademesti o~i. Zenicite se otvoreni so pogled "nadaleku". Ve|ite, so ubav lak, poa|aat od nosot, nazna~uvaj}i ja o~nata dupka. Nosot e mal. Glavata zavr{uva so dve koso vreàni linii, koi najverojatno se del od |erdan. Kosata e plasti~no prikaàna, so vreàni, plitki cik-cak linii. Faktura: dobra, boja: crvenikava. Ima tragi od gorewe. Otkrien e vo 1987 god. Anthropomorphic cylinder, terracotta Fragment of a face, with plastically presented and wide-open almond-like eyes. Irises are open and have a distant look. Eyebrows have a nice bow, starting from the nose, and thus emphasizing the eyehole. The nose is small. The head is defined with two diagonal lines, probably part of a necklace. The hear is realistically presented, with shallow incised zigzag lines. Good facture, reddish colour. Visible traces of burning.
158
. 48 No. 48
159
Tumba âir, Skopska kotlina Visina: 15,5 sm Inv. Br. 501 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba air, Skopje valley Height: 15,5cm Inv. No. 501, discovered randomly in 1999 Group Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfen cilinder, terakota Antropomorfen cilinder, del od `rtvenik na Golemata majka, so blaga ~etvrtesta forma. Izvajan e okolu drvo, od koe se ostanati tragi vo pozitiv. Liceto e so vreàni zatvoreni o~i, mal nos, od koj zapo~nuvaat ubavi polukru`ni ve|i. Ustata e mala, plitko vreàna. Kosata e plasti~no modelirana vo afrofrizura, a temeto e produp~eno. Faktura: dobra, boja: svetlocrveno-oker. Otkrien e slu~ajno vo 1999 god. Anthropomorphic cylinder, terracotta Anthropomorphic cylinder, part of the Great Mother Goddess altar, with soft rectangular shape. Shaped around wood, whose remains are visible in the positive aspect. The face features incised closed eyes, small nose, from which nice semi-circular eyebrows derive. The mouth is small and shallow. The hair is well defined in Afro hairstyle, whereas the top of the head is pierced. Good facture, bright red and ochre colour.
160
. 49 No. 49
161
Tumba Maxari, Skopska kotlina Visina: 18 sm Inv.591 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Height: 18cm Inv. No. 591, discovered in 1985 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfen cilinder, terakota Antropomorfen cilinder, del od `rtvenik na Golemata majka, so blaga ~etvrtesta forma. Izvajan e okolu drvo. Liceto e so plitko vreàni zatvoreni o~i, spu{teni na krajot od nosot. Toj e mal i od nego zapo~nuvaat ubavi polukru`ni ve|i. Kosata e plasti~no modelirana vo dvojni pletenki, fateni so vertikalna {nola. Temeto e produp~eno, so tragi od gorewe. Faktura: relativno dobra, boja: svetlooker. Otkrien e vo 1985 god. Anthropomorphic cylinder, terracotta Anthropomorphic cylinder, part of the Great Mother Goddess altar, with soft rectangular shape. Shaped around wood. The face features shallow incised eyes, lowered by the end of the nose. The nose is small - nice semicircular eyebrows derive from it. The hair is well shaped in two braids, gathered with a vertical hairpin. The top of the head is pearced, with visible traces of burning. Medium facture, light ochre colour.
162
. 50 No. 50
, Anthropomorphic block, terracotta
163
Tumba Maxari, Skopska kotlina Visina: 14 sm Inv. br. 66 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Height: 14cm Inv. No. 66, discovered in 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfen cilinder, terakota Del od `rtvenik na Golemata majka, so blaga ~etvrtesta forma. Izvajan e okolu drvo. Liceto e so plasti~no prikaàni bademesti o~i, a ve|ite, so ubav lak, poa|aat od maliot nos, nazna~uvaj}i ja o~nata dupka. Ustata e nazna~ena so malo plasti~no kruk~e. Pod nego se nao|aat mali plasti~ni gradi. Racete se otkr{eni. Kosata e obrabotena vo afrofrizura. Na temeto ima dupka. Boja: crvenikava. Otkrien e vo 1981 god. Anthropomorphic block, terracotta Part of the Great Mother Goddess altar, with rectangular shape. Shaped around wood. The face features plastically presented almond-like eyes, eyebrows beginning from the small nose defining the eyehole with a nice bow. The mouth is defined with a small plastic circle. Underneath are small plastic breasts. Hands broken. Hair styled in Afro manner. The top of the head is pierced. Reddish colour.
164
. 51 No. 51
165
Tumba Maxari, Skopska kotlina Visina: 10,5 sm Inv.br.339, otkrien e vo 1982 god Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Height: 10,5cm Inv. No. 339, discovered in 1982 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfen cilinder, terakota Prazen cilinder, del od `rtvenik na Golemata majka. Liceto e so golem nos, vo koj zavr{uvaat polukru`ni ve|i. O~ite se bademesti i {iroko otvoreni. Na temeto ima dup~e. Kosata e spletena vo prcliwa, triagolno sobrani. Boja: bledocrvena. Anthropomorphic cylinder, terracotta Hollow cylinder, part of the Great Mother Goddess altar. The face features a large nose where two semicircular eyebrows end. Eyes are almond-like and wide open. The top of the head is pierced. The hair is styled in braids with triangular shape. Pale red colour.
166
. 52 No. 52
, Antropomorphic head, terracotta
167
Tumba Maxari, Skopska kotlina Visina: 9 sm Inv.br. 418, slu~aen naod vo 1988 god Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Height: 9cm Inv. No. 418, randomly discovered in 1988 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Antropomorfna glava, terakota Glava od `rtvenik od tipot na Golemata majka, otkr{ena vo korenot na vratot. Liceto e stilizirano, so blaga triaglesta forma. O~ite se poluotvoreni, vreàni so plasti~no naglaseni kraevi na kapacite. Ve|ite, vo blag lak, po~nuvaat od maliot nos. Pod nego, ustata e sobrana vo gr~. Kosata e so dlaboki vreàni linii, a na temeto ima dupka, so tragi od gorewe. Faktura: dobra, boja: svetlocrvena. Antropomorphic head, terracotta Head, part of the Great Mother type, separated from the root of the neck. The face is stylized, with soft triangular shape. Eyes are half-open, incised with plastically emphasized eyelids. The eyebrows begin from the small nose. Under it is the mouth, shrunk as in fright. The hair consists of deeply incised lines, whereas the top of the head is pierced with traces of burning. Good facture, bright red colour.
168
. 53 No. 53
Cylinder from the Great Mother altar,terracotta
169
Tumba Maxari, Skopska kotlina Visina: 14 sm Istraùvawe 2005 god.; inv. br. 662 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Height: 14cm Inv. No. 662, excavation 2005 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Cilindar od `rtvenik Golemata majka, terakota Cilindar od `rtvenik, od tipot na Golemata majka. Glavata i teloto se stolbesto modelirani vrz kolec, od koj ima ostatoci vo pozitiv. Liceto e ramno, ve|ite-ramni, zapo~nuvaat od nosot, a kon krajot zavr{uvat so blag lak. O~ite se poluotvoreni, plasti~no izvedeni. Vo visina na o~ite se izvedeni mali naglaseni u{i. Kosata e plasti~no prikaàna vo ubava frizura. Na temeto ima otvor. Vo nivo na gradite, racete se svitkani i potpreni so dlankite na stomakot. So~uvana e ednata dlanka so ra{ireni prsti. Gradite se prikaàni so mali plasti~ni zadebeluvawa. Prikaàn e spokoen izraz na majkata - ~uvar na mirot nad doma{noto ogni{te. Boja: svetlokafeava. Cylinder from the Great Mother altar,terracotta Sacrificial cylinder of the Great Mother type. The head and body are pillar-like, shaped around a pile whose remains are visible in the positive aspect. The face is flat, with straight eyebrows beginning from the nose and arching towards the end. Small prominent ears are placed at the same level as the eyebrows. The hair is well shaped and features a nice hairstyle. The top of the head is pierced. The arms are bent and the palms are placed against the belly. One of the palms with stretched out fingers is preserved. The breasts are expressed through small plastic thickenings. The facial expression of the Mother protector of the family fireplace is calm. Light brown colour.
170
. 54 No. 54
, The Great Mother, terracotta
171
Tumba redselo, Mr{evci, Skopska kotlina Visina: 15,7 sm Otkriena e vo 1987 god, Inv. br. 318. Grupa Anzabegovo-Vr{nik II Muzej na Makedonija Skopje Tumba Sredselo, Mrevci, Skopje valley Height: 15,7cm Inv. No. 318, discovered in 1987 Anzabegovo-Vrnik I Museum of Macedonia Skopje
Golemata majka, terakota @rtvenik od tipot na Golemata majka. Taa e prikaàna dopojasno, vrz ~etiriagolna ku}a. Glavata i teloto se stolbesto modelirani vrz kolec, od koj se ostatoci vo pozitiv. Nedostiga glavata. Vo nivo na gradite, racete se svitkani i potpreni so dlankite vrz ku}ata so ra{ireni prsti. Na desnata nadlaktica ima belezica. Ku}ata e so ~etvrtesta, zaoblena forma. Faktura: gruba, boja: svetlokafeava. The Great Mother, terracotta Altar from the Great Mother type. It is presented up to its waist on a rectangular house. The head and body are pillar-like, shaped over a pill whose remains are visible in the positive aspect. The head is missing. At the level of chest, the hands are curved and rely on the house with the fingers spread out. The right humerus features a bracelet. The house has a soft rectangular shape. Rough facture, light brown colour.
172
. 55 No. 55
173
Tumba Maxari, Skopska otlina Viina: 31,5 cm Inv. br. 592. otkriena e vo 198? god Sreden neolit. Grupa Anzabegovo Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Height: 31,5cm Inv. No. 592 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Golemata majka, terakota @rtvenik od tipot na Golemata majka. Taa e prikaàna dopojasno, vrz ~etiriagolna ku}a. Liceto e ramno, o~ite zatvoreni i kosi, plitko vreàni. Ve|ite se slabo istaknati. Nosot e ostar. Kosata e sobrana vo ubava afrofrizura. Na temeto ima dup~e so tragi od gorewe. Ku}ata e ~etvrtesta, so po ~etiri elipsovidni otvori na frontalnata i zadnata strana. Na ednata, bo~na, ima golem otvor vo forma na M. Na ~etvrtata ima dva kosi otvora. Na ~etirite agli na pokrivot ima dup~iwa za zaka~uvawe. Faktura: dobra, boja: svetlokafeava. The Great Mother, terracotta Altar from the Great Mother type. Presented up to its waist placed upon a rectangular house. The face is flat, eyes are diagonal and closed, shallowly incised. The eyebrows are not emphasized. The nose is sharp. The hair is gathered in a nice Afro hairstyle. The top of the head is pearced with traces of burning. The house is rectangular with four oval openings on the front and back side. On one lateral side there is a large opening in the form of the letter M. The fourth side features 2 diagonal openings. The four angles on the roof have holes for hanging. Good facture, light brown colour.
174
. 56 No. 56
175
\orev Rid, s. Suvodol - Pelagonija Visina: 16 sm Inv. br. 1139 Velu{ina - Porodin II Zavod i Muzej - Bitola Gjorev rid, village of Suvodol Pelagonija Height: 16cm Inv. No. 1139 Veluina-Porodin II Institute and Museum Bitola
Golemata majka, terakota Antropomorfen model na ku}a so forma na kocka. Na oxakot e pretstaveno ènsko torzo. Liceto e malo, triagolno i {ematizirano. O~ite se vreàni horizontalni linii, a me|u niv se nao|a minijaturen nos. Racete se sumarno prikaàni i plasti~no nalepeni. Pod niv po~nuvaat gradite, prikaàni so mali plasti~ni zadebeluvawa. Vlezot e prikaàn so vreàn triagolnik, koj go simbolizira pubi~niot del. Pokrivot e blago zakosen i so nekolku vertikalni nizi od plasti~ni top~esti nalepki, {to po~nuvaat od eden pojas na krajot na cilinderot. Na podot ima kruèn otvor, a na strani~nite yidovi se nao|aat po dva triagolni prozorci. Na zadniot yid ima eden pravoagolen vlez. Faktura: relativno dobra, boja: crvenokafeava, na mesta pregorena. The Great Mother, terracotta Anthropomorphic model of a house in cubic form. The chimney represents a female torso. The face is small, triangular and schematized. The eyes are presented through incised horizontal lines, with a miniature nose in between. The hands are plastically shaped and plastered to the side. The breasts begin under the hands, and are marked with small plastic thickenings. The entrance is presented with an encarved triangle that symbolizes the pubic area. The roof is slightly sloped, and has several vertical sets of plastic pellets beginning from the stripe around the cylinder. The floor features a round opening, and the lateral walls have two triangular windows each. The back wall has one rectangular entrance. Medium facture, reddish brown colour, burned at several points.
176
. 57 No. 57
177
Tumba Maxari, Skopska kotlina Kv K 4, ku}a 1 Visina: 39 sm Inv. br. 68, otkriena e vo 1981god. vo ku}a 1 Grupa Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje Tumba Madjari, Skopje valley Quad. K4, house 1 Height: 39cm Inv. No. 68, discovered in 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Golemata Majka, terakota @rtvenik od tipot na Golemata majka. Taa e prikaàna dopojasno, vrz ~etiriagolna ku}a. Glavata i teloto se stolbesto modelirani vrz kolec, od koj ima ostatoci vo pozitiv. Liceto e ramno, ve|ite-polukru`ni i zapo~nuvaat od nosot. O~ite se zatvoreni i plitko vreàni. Gradite se mali, a stomakot e so golem papok. Kosata e plasti~no prikaàna, vo ubava frizura. Na ~eloto se naslikani tri krkmi so kafeava boja. Na temeto ima dup~e. Liceto e prema~kako so nekolku premazi od glina. Vo nivo na gradite, racete se svitkani i potpreni so dlankite vrz ku}ata so ra{ireni prsti. Prikaàn e migot koga majkata se ra|a, izleguva od ku}ata i bdee vrz mirot nad doma{noto ogni{te. Na racete se nao|aat po dve masivni belezici. Ku}ata e ~etvrtesta, so po dva elipsovidni otvora na frontalnata i zadnata strana, a na bo~nite ima golemi ~etvrtesti otvori. Na ~etirite agli na pokrivot ima dup~iwa za zaka~uvawe. Boja: svetlokafeava. The Great Mother, terracotta Altar from the Great Mother type. It is presented up to its waist over a rectangular house. The head and body are pillar-like, shaped over a pile whose remains are visible in the positive aspect. The face is flat, the eyebrows begin from the nose. The eyes are closed and marked with a shallow incision. The breasts are small, and the belly features a big belly button. The hair is plastically presented with a nice haircut. Three bangs are painted with brown colour on the forehead. The top of the head is pierced. The face is covered with several layers of clay. At the level of the chest, the hands are curved and the palms rely on the house with spread out fingers. This presents the moment of birth of the Great Mother, her emerging from the house and protecting the peace of the household. The hands have two massive bracelets. The house is in rectangular form, with two oval openings on the frontal and backside, and large rectangular lateral openings. The four angles on the roof have holes for hanging. Light brown colour.
178
. 58 No. 58
179
Cerje - Govrlevo, s. Govrlevo Visina: 35 sm Inv. br.176 Anzabegovo - Vr{nik III Muzej na Grad Skopje Cerje, village of Govrlevo Height: 35cm Inv. No. 176 Anzabegovo-Vrnik III Museum of the City of Skopje
Golema majka, terakota Antropomorfna figura so glava i telo, cilindri~no modelirani na kubusno ovalen postament, so otvori od napred i nazad. Nad o~ite se naglaseni ve|i, a nosot e izvle~en. Racete se svitkani vo laktite, a so prstite se potpiraat na postamentot-ku}ata. Posebno se naglaseni dojkite i bremeniot stomak so papokot. Na zase~enoto teme ima dupka, kako i na ~etirite agli na postamentot, koj pretstavuva model na ku}a. Nadlakticite i podlakticite se ukraseni so po dva para belezici. Okolu vratot e vrzan lentest |erdan {to visi na gradite i grbot so po edna alka. Preku polovinata e vrzan kolan vo vid na plasti~ni bobinki. Frizurata e nazna~ena so plitki kosi vreùvawa. Faktura: dobra, povr{ina: sjajno mazneta, boja: sivo-oker. The Great Mother, terracotta Anthropomorphic figure with cylindrical body and head modelled around a cubic oval pedestal, with openings in the front and back. The eyebrows over the eyes are emphasized, and the nose is extended. The arms are bent at the elbows, and the fingers are placed against the pedestal - the house. The breasts and pregnant belly with the belly button are particularly emphasized. The incised top of the head is pierced, same as the four angles of the pedestal, represented as a model of a house. The lower and upper arms are decorated with two pairs of bracelets each. Around the neck, there is a ribbon-like necklace hanging over the chest and back, with one link. The waist is strapped with a type of plastic berries the hairstyle consists of shallow diagonal incisions. Good facture, shiny polished surface, grey ochre colour.
180
. 59 No. 59
181
Tumba, s. Porodin- Pelagonija Ku}a 1. Vis: 25,5 sm Inv. br. 55; istraùvawa 1953 Velu{ko - porodinska kulturna grupa - IV Zavod i Muzej - Bitola Tumba, village of Porodin Pelagonija House 1 Height: 25,5cm Inv. No. 55, excavations 1953 Veluina-Porodin IV Institute and Museum Bitola
Golemata majka, `rtvenik Antropomorfen model na ku}a so pravoagolna forma i pokriv na dve vodi. Na site yidovi se nao|aat otvori (prozorci i vrati) vo forma na bukvata T (obratno postaveni). Oxakot e vo forma na {upliv cilinder, so pretstava na glavata na Golemata majka, za{titni~ka na domot. Na pokrivot se nao|aat radijalno postaveni plasti~ni jaìwa i kamewata {to ja drat slamata od pokrivot. Na dnoto ima golem otvor za vrska so majkata - zemja. Faktura: gruba, povr{ina: mazneta, boja: temnokafeava. The Great Mother, terracotta Anthropomorphic model of a house with rectangular shape and a two feet roof. All the walls feature openings (windows and doors) in the form of the letter T (set backwards). The chimney is in the form of a hollow cylinder representing the head of the Great Mother, protector of the home. The roof features radially set plastic ropes and stones holding the hay from the roof. The bottom features a large opening serving as a connection to mother Earth. Rough facture, polished surface, dark brown colour.
182
. 60 No. 60
Anthropomorphic bowl
183
Kanli âir, dolina na Lakavica Pod polukru`nata pe~ka. Visina: 11, 5 sm; {iro~ina: 18 sm Inv.br.268; istraùvawe 1988 Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Kanli air, Lakavica river valley Under the semi-circular furnace Height: 11,5cm, Width: 18cm Inv. No. 268, excavation 1988 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Antropomorfen sad Triagolno lice na èna so plasti~ni bademesti zatvoreni o~i i dolg nos. Kosata e svitkana vo dva koka. Na gradite ima aplicirani plasti~ni gradi, stomakot e ramen, a na nego e poloèna leva raka so tri prsti. Faktura: dobra, boja: crvenokafeava. Anthropomorphic bowl Triangular face of a woman with plastic almond-like closed eyes and long nose. The hair is styled in two buns. Plastic breasts are applied on the chest, whereas the belly is flat - the left hand with three fingers is placed upon it. Good facture, reddish brown colour.
Zoomorphic sculpture
185
Zoomorfna plastika Zoomorphic sculpture . / No. 61 . / No. 62 . / No. 63 . / No. 64 . / No. 65 . / No. 66 . / No. 67 . / No. 68
186
a M
188
. 61 No. 61
Bucranion
189
Tumba Maxari ? Najdena vo Kur{umli an Visina: 33,5 sm; debelina: 24 sm Inv. br. 492. Moèbi od rekognosciraweto za avtopatot vo 1964 g. Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba Madjari? Discovered in Kurshumli Han Height: 33,5cm, Thickness: 24cm Inv. No. 492, perhaps from the recognition for the freeway in 1964 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Bukranion Skulptura na glava na ko~ od semejstvoto Ovis. Modelirana precizno, so fini linii, mucka so nazna~eni nozdri i usta. Mandibulata e otkr{ena. O~ite se ovalni, plasti~no oblikuvani, so nazna~eni zenici, a nad niv se nao|aat ve|ite. Pod muckata, na vratot, se vdlabnati nepravilni kru`ni ornamenti {to asociraat na |erdan ili resi. Pod vratot ima osum reda rebresti kaneluri. Na glavata se nao|aat dupki za vsaduvawe rogovi. Faktura: gruba, boja: terakota. Bucranion Sculpture representing a ram head. Shaped precisely, with fine lines, emphasized nostrils and mouth. The mandible is broken. The eyes are oval, plastically shaped with emphasized irises and eyebrows above them. Under the mouth, in the area of the neck, irregular circular ornaments reminiscent of necklace or fringes are encarved. Under the neck, there are eight rows of rib-like cannelures. The head features holes for introduction of horns. Rough facture, terracotta colour.
190
. 62 No. 62
Zoomorphic altar
191
Tumba Maxari, Skopska kotlina Dolìna: 12,7 sm; visina: 7,2 sm Inv. br. 178, slu~aen naod od 1982 god Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Height: 7,2cm, Length: 12,7cm Inv. No. 178, random finding 1982 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Zoomorfen `rtvenik Grubo modelirana pretstava na oven so {irok vrat, krivi debeli noze i spu{tena opa{ka. Na vratot nedostiga konusen recipient. Faktura: gruba, boja: kafeavo-crvena. Zoomorphic altar Roughly shaped representation of a ram with a wide neck, stumpy curvy legs, and downcast tail. A conical recipient is missing from the neck area. Rough facture, brown-reddish colour.
192
. 63 No. 63
Centaur?
193
Tumba Maxari, Skopska kotlina Visina: 10,3 sm; dolìna: 13 sm Inv.br.202 Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Height: 10,3cm, Length: 13cm Inv. No. 202 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Kentaur Pretstava na ìvotno so ~etiri mali noze i kusa podignata opa{ka. Glavata e so dva vertikalni {iroki roga, nazabeni strani~no. Lice na ~ovek so vreàni o~i i ve|i, dolg klunest nos, od stranite mali u{i, obeleèni so {tipnuvawe. Na sredinata na grbot e visok konusen recipient. Faktura: gruba, boja: svetlokafeava. Centaur? Presentation of an animal with four small legs and short tail up. The head features two wide vertical horns, serrated on the sides Face of a man with incised eyes and eyebrows, long beaklike nose, and lateral ears marked with pinches. In the middle of the back, there is a tall conical recipient. Rough facture, light brown colour.
194
. 64 No. 64
Zoomorphic altar
195
Tumba Maxari, Skopska kotlina Kp F 2-G3, ku}a 3. Dolìna: 13,5 sm; Visina: 7,3 sm Inv.br. 178. Istraùvawa 1985 Anzabegovo -Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Section F2G3, House 3 Length: 13,5cm, Height: 7,3cm Inv. No. 178, excavations 1985 Anzabegovo-Vrnik III Museum of Macedonia Skopje
Zoomorfen `rtvenik Ubavo modelirana pretstava na koza so kus vrat, mali noze i podignata opa{ka. Ustata e otvorena, o~ite ramno vreàni i triagolni rogovi. Na grbot se nao|a recipient - ~ini~e. Faktura: gruba, boja: kafeavo-crvena. Zoomorphic altar Well-modelled presentation of a goat with a short neck, small legs, and tail set upwards. Mouth is opened, straight incised eyes, triangular horns. The back features a recipient - bowl. Rough facture, brown reddish colour.
196
. 65 No. 65
Zoomorphic altar - turtle
197
Tumba s. Porodin - Pelagonija Visina: 17 sm Inv. br.221; istraùvawa 1953 Velu{ina Porodin Zavod i Muzej Bitola Tumba, village of Porodin Pelagonija Height: 17cm Inv. No. 221, excavations 1953 Veluina-Porodin Institute and Museum Bitola
Zoomorfen `rtvenik - èlka @rtvenik {to asocira na èlka, ìvotno {to postojano ja nosi svojata ku}a. Plitok recipient so vovle~en obod, postaven na ~etiri zgu`vani niski noze i opav~e na zadniot del. Na aglite ima dve glavi. Vo recipientot se nao|a triagolno ogni{te. Faktura: gruba, boja: kafeava. Zoomorphic altar turtle Altar reminiscent of a turtle, an animal constantly carryings its "house". Shallow recipient with an indrawn brim set upon four short legs and a small tale on the backside. Two heads featured on both angles. The recipient contains a triangular fireplace. Rough facture, brown colour.
198
. 66 No. 66
Deer head
199
Tumba s. Velu{ina - Pelagonija Visina: 10 sm Inv.br.221, istraùvawa 1976 Velu{ina Porodin III Zavod i Muzej - Bitola Tumba, village of Veluina - Pelagonija Height: 10cm Inv. No. 221b, excavations 1976 Veluina-Porodin III Institute and Museum Bitola
Glava na elen Glava na elen so zatvorena usta, plasti~ni o~i, mali u{i i spleskani rogovi. Faktura: gruba, boja: temnokafeava. Deer head Deer head with a closed mouth, plastic eyes, small ears and flat horns. Rough facture, dark brown colour.
200
. 67 No. 67
Deer head
201
Tumba s. Velu{ina - Pelagonija Visina: 10 sm Inv. br. 223 Velu{ina Porodin III Zavod i Muzej - Bitola Tumba, village of Veluina - Pelagonija Height: 10cm Inv. No. 223 Veluina-Porodin III Institute and Museum Bitola
Glava na elen Protoma od otkr{en `rtvenik, glava na elen so visok vrat, malku otvorena usta, plasti~ni o~i (zrno p~enica?), mali u{i i lopatesti rogovi. Faktura: gruba, boja: kafeava. Deer head Protoma from a broken altar, deer head featuring a small neck, slightly opened mouth, plastic eyes (wheat grain?), small ears and shovel-like horns. Rough facture, brown colour.
202
. 68 No. 68
Rhyton water bird
203
Kanli air, dolina rek Lakavice Viina: 14 cm, dolìna: 21 cm Inv.br.280, istraùvawe 1987 Anzabegovo - Vr{nik IV Muzej na Makedonija Skopje Kanli air, Lakavica river valley Height: 14cm, Length: 21cm Inv. No. 280, excavation 1987 Anzabegovo-Vrnik IV Museum of Macedonia Skopje
Riton - vodna ptica Stilizirana, ednostavno izvajana ptica so izvle~en klun, spleskano telo so elipsovidno zamazneto dno, opa{kata izlivnikot o{teteni. Povr{ina: mazneta, faktura: dobra, boja: svetlokafeava. Rhyton water bird Stylized, simply sculpted bird with an extended beak, flat body with an oval polished bottom, tail/rhyton damaged. Polished surface, good facture, light brown colour.
Cult altars
205
Kultni rtvenici Cult altars . / No. 69 . / No. 70 . / No. 71 . / No. 72 . / No. 73 . / No. 74 . / No. 75 . / No. 76 . / No. 77 . / No. 78 . / No. 79 . / No. 80
206
a M
208
. 69 No. 69
Altar
209
Tumba Sten~e, Polog Ku}a 1 Visina: 24 sm Inv.br.507; iskopuvawe 2000 Anzabegovo - Vr{nik I Muzej na Makedonija Skopje Tumba Stene, Polog House 1 Height: 24cm Inv. No. 507, excavation 2000 Anzabegovo-Vrnik I Museum of Macedonia Skopje
@rtvenik @rtvenik so forma na ~etiriagolna ku}a, so cilindri~en oxak na sredinata, malku razgrlen. Na dvete strani se nao|aat ~etiriagolni otvori, a drugite dve se vo forma na bukvata M. Faktura: relativno dobra, boja: terakota, dobro pe~ena. Altar Altar shrine in the form of a rectangular house with a cylindrical chimney in the middle, slightly opened. Two of the sides feature rectangular openings, whereas the other two are in the form of the letter "M". Medium facture, well baked terracotta colour.
210
. 70 No. 70
Altar
211
Tumba Maxari, Skopje KP G2-H2, pod pe~ka 2 Visina: 11 sm Inv.br.653; iskopuvawe 2007 Anzabegovo-Vr{nik II Muzej na Makedonija Skopje Tumba Madjari, Skopje Section G2X2, under furnace 2 Height: 11cm Inv No. 653, excavations 2007 Anzabegovo-Vrnik I Museum of Macedonia Skopje
@rtvenik @rtvenik so forma na ~etiriagolna ku}a. Zakoseni yidovi, pokriv na ~etri vodi. Na sredinata na pokrivot ima otvor za cilindar. Cilindarot ne e so~uvan. Na aglite od pokrivot ima dup~iwa, koi na krajot se stesnuvaat. Na site yidovi se nao|aat izdolèni otvori za vrata. Vo sredinata na dnoto se izvedeni, edna do druga, dva pogolemi otvora. Vo dolniot del na `rtvenikot ima tragi od gorewe. Altar Altar in the form of a rectangular house. Sloped walls, four-foot roof. The centre of the roof features an opening for a cylinder. The cylinder is not preserved. The angles of the roof have holes shrinking at their end. All walls have elongated door openings. In the middle of the bottom, there are two larger openings made one beside the other. Traces of burning are visible in the lower part of the altar.
212
. 71 No. 71
- Altar House
213
Tumba s. Topol~ani - Pelagonija Visina: 20 sm; {iro~ina: 23 h 25 sm Inv. br.1227; istraùvawa 1981 Velu{ina-Porodin III Zavod i Muzej Prilep Tumba, village of Topolani Pelagonija Height: 20cm, Width: 23 25cm Inv. No. 1227, excavations 1981 Veluina-Porodin III Institute and Museum Prilep
@rtvenik - ku}a Model na ku}a so ~etiriagolna osnova,zakoseni yidovi i pokriv na ~etiri vodi. Na sredinata na pokrivot ima otvor za antropomorfen cilinder, {to nedostiga, a na aglite ima dup~iwa. Na site yidovi se nao|aat pravoagolni otvori za vrata. Prozorcite se otvori vo forma na polumese~inki. Faktura: gruba, boja: crvena. Altar House Model of a house with rectangular foundation, slightly sloped walls, four-foot roof. In the middle of the roof, there is an opening for an anthropomorphic cylinder, which is missing, whereas the angles feature holes. All of the walls have rectangular door openings. The windows are presented as openings in the form of crescents. Rough facture, red colour.
214
. 72 No. 72
- Altar House
215
Tumba s. Dobromiri - Pelagonija Visina: 21 sm; {iro~ina: 26h23 sm Inv. br.251 Velu{ina - Porodin III Zavod i Muzej Bitola Tumba, village of Dobromiri Pelagonija Height: 21cm, Width: 26 23cm Inv. No. 251 Veluina-Porodin III Institute and Museum Bitola
@rtvenik - ku}a Model na ku}a so ~etiriagolna osnova, polukalotest pokriv, so otvor vo sredinata za antropomorfen cilinder, {to nedostiga. Ukrasen e so plasti~ni nazabeni lenti, so otpe~atoci od prsti (asociraat jaìwa {to ja drele slamata od pokrivot). Na dve strani od tavanot ima kru`ni otvori. Pokrivot e odvoen od yidovite so zadebeluvawa na aglite. Na dva yida se nao|aat prozorci so la~ni otvori, a na drugite dva se nepravilno nazabeni. Na dnoto ima kruèn otvor. Faktura: gruba, boja: crvena. Altar House Model of a house on a rectangular foundation, semi-globular roof with an opening in the middle intended for an anthropomorphic cylinder, which is missing. Decorated with plastic serrated stripes with fingerprints (reminiscent of ropes which used to hold the hay of the roof). The two sides of the attic feature circular openings. The roof is separated from the walls with thickenings on the angles. Two of the walls have windows with bow-like openings, whereas the other two are irregularly serrated. The bottom has a circular opening. Rough facture, red colour.
216
. 73 No. 73
- Altar House
217
Tumba s. Velu{ina - Pelagonija Visina: 24 sm; dolìna: 27h 24 sm Inv. br.295 Velu{ina - Porodin III Zavod i Muzej Bitola Tumba, village of Veluina Pelagonija Height: 24cm, Length: 27 24cm Inv. No. 295 Veluina-Porodin III Institute and Museum Bitola
@rtvenik - ku}a Model na ku}a so pravoagolna osnova, polukalotest pokriv, so otvor vo sredinata za antropomorfen cilinder, koj nedostiga. Ukrasen e so plasti~ni nazabeni lenti so otpe~atoci od prsti (asociraat jaìwa {to ja drele slamata od pokrivot). Na dve strani od tavanot ima kru`ni otvori, a na aglite plasti~ni zadebeluvawa {to asociraat gredi. Na yidovite se otvori za prozorci vo forma na bukvata M. Na dnoto ima kruèn otvor. Faktura: gruba, boja: crvena. Altar House Model of a house on a rectangular foundation, semi- globular roof with an opening in the middle intended for an anthropomorphic cylinder, which is missing. Decorated with plastic serrated stripes with fingerprints (reminiscent of ropes which used to hold the hay of the roof). Two sides of the attic have circular openings, the angles feature plastic thickenings reminiscent of girders. The walls have window openings in the form of the letter M. The bottom has a circular opening. Rough facture, red colour.
218
. 74 No. 74
Altar
219
Tumba Maxari, Skopska kotlina Kv.H 4 Visina: 8,8 sm; recipient: 13,2 sm Istraùvawa 1982; inv. br. 160 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Quad. H4 Height: 8,8cm, Recipient diameter: 13,2cm Inv. No. 160, excavations 1982 Anzabegovo-Vrnik III Museum of Macedonia Skopje
@rtvenik Plitok kruèn recipient, postaven na ~etiriagolna masi~ka so ~etiri noze. Recipientot e konusen, so ramen obod. Rabot na plo~ata e ukrasen so niza od vreàni triagolnici, a nozete so kosi paralelni linii. Faktura: dobra, boja: kafeava. Altar Round shallow recipient set on a rectangular four-legged table. The recipient is conical, with a flat brim. The edge of the plate is decorated with a series of incised triangles, whereas the legs are marked with diagonal parallel lines. Good facture, brown colour.
220
. 75 No. 75
Altar
221
Tumba Maxari, Skopska kotlina Kv. 9 vo lepe` Visina: 5 sm, {iro~ina: 6,5 sm Inv.br.441; istraùvawe 1981 Anzabegovo - Vr{nik III Muzej na Makedonija Skopje Tumba Madjari, Skopje valley Quad. 9 Height: 5cm, Width: 6,5cm Inv. No. 441, excavation 1981 Anzabegovo-Vrnik III Museum of Macedonia Skopje
@rtvenik Plitok pravoagolen recipient so ostri agli i ramen venec. Postaven e na po{iroka plo~a so ~etiri masivni noze, povrzani so nazabeni ornamenti vo lak. Faktura: dobra, boja: svetlokafeava. Altar Shallow rectangular recipient with sharp angles and flat wreath. Placed upon a wider plate with four massive legs connected with serrated ornaments in the form of a bow. Good facture, light brown colour.
222
. 76 No. 76
Altar Table
223
Vrbjanska ~uka, s. Slavej - Pelagonija Najden e vo golemiot `rtvenik vo ku}a 1 Visina: 14 sm, {iro~ina: 15 sm Inv. br. 294; istraùvawa 1979 Velu{ina - Porodin III Zavod i Muzej Prilep Vrbjanska uka, village of Slavej Pelagonija Discovered in the Great altar in House 1 Height: 14cm, Width: 15cm Inv. No. 294, excavations 1979 Veluina-Porodin III Institute and Museum Prilep
@rtvenik - masi~ka Plitok kvadraten recipient, postaven na visoki nazabeni noze. Na yidovite ima elipsesti otvori, a na aglite - kru`ni. Faktura: gruba, boja: kafeava. Altar Table Shallow rectangular recipient, set upon tall-serrated legs. The walls feature oval openings, and circular ones on the angles. Rough facture, brown colour.
224
. 77 No. 77
Altar Table
225
Vrbjanska ~uka, s. Slavej-Pelagonija Pod lepe` Visina: 4,5 sm, {iro~ina: 9,0 sm Inv. br.1226, S III; istraùvawa 1981 Velu{ina - Porodin III Zavod i Muzej Prilep Vrbjanska uka, village of Slavej Pelagonija Height: 4,5cm, Width: 9,0cm Inv. No. 1226. S III, excavations 1981 Veluina-Porodin III Institute and Museum Prilep
@rtvenik - masi~ka Plitok kvadraten recipient, postaven na visoki nazabeni noze. Na yidovite ima elipsesti otvori, a na aglite - kru`ni. Faktura: gruba, boja: kafeava. Altar Table Shallow rectangular recipient, set upon tall-serrated legs. The walls feature oval openings, and circular ones on the angles. Rough facture, brown colour.
226
. 78 No. 78
Altar
227
Vrbjanska ~uka, s. Slavej - Pelagonija Visina: 9,5 sm; {iro~ina: 25h25 sm Inv. br. 1333, istraùvawa 1979 Velu{ina-Porodin III Zavod i Muzej Prilep Vrbjanska uka, village of Slavej Pelagonija Height: 9,5cm, Width: 25 25cm Inv. No. 1333, excavations 1979 Veluina-Porodin III Institute and Museum Prilep
@rtvenik Tip na masi~ka postaven na visoki nazabeni noze. Na aglite ima kru`ni otvori. Faktura: gruba, boja: kafeava. Altar Type of table set on tall-serrated legs. The angles feature circular and oval openings. Rough facture, brown colour.
228
. 79 No. 79
Altar
229
Vr{nik, Tarinci, Sredna Bregalnica Visina: 15,5 sm; dolìna: 14,5 sm Inv.br. 86; istraùvawe 1960 Anzabegovo-Vr{nik IV Naroden muzej - [tip Vrnik, Tarinci, Middle Bregalnica region Height: 15,5cm, Length: 14,5cm Inv. No. 86, excavation 1960 Anzabegovo-Vrnik IV National museum tip
@rtvenik @rtvenik na ~etiri noze so pravoagolen recipient, ~elnite strani go nadvi{uvaat, a na aglite ima plasti~ni zadebeluvawa. Ukrasen e so vreàni linii. Faktura: relativno dobra, boja: terakota. Altar Four legged altar with a rectangular recipient, frontal and backside are higher, and the angles feature plastic thickenings. Decorated with incised lines. Medium facture, terracotta colour.
230
. 80 No. 80
Altar Foundation of a house
231
Tumba s. Porodin - Pelagonija [iro~ina: 15h16 sm Inv. br.209; istraùvawa 1953 Velu{ina Porodin Zavod i Muzej Bitola Tumba, village of Porodin Pelagonija Width: 15 16cm Inv. No. 209, excavations 1953 Veluina-Porodin Institute and Museum Bitola
@rtvenik - osnova na ku}a Model na osnova na neolitska ku}a so ~etiriagolna osnova, visoka 4,5 sm, so plasti~en parapeten yid levo od otvorot za vratata. Na eden yid ima zalepeno triagolno ogni{te. Faktura: gruba, boja: crveno-kafeava. Altar Foundation of a house Model of a rectangular foundation of a Neolithic house, 4,5cm tall, with a plastic parapet wall left of the door opening. A triangular fireplace is connected to one of the walls. Rough facture, reddish brown colour.
Stamps
233
Stamps . / No. 81 . / No. 82
234
a M
236
. 81 No. 81
Pintadera
237
Tumba Sten~e, Polog Ku}a 1 Visina: 3 sm; dolìna: 5 sm Inv.br. 561; istraùvawa 2000 Anzabegovo - Vr{nik I Muzej na Makedonija Skopje Tumba Stene, Polog House 1 Height: 3cm, Length: 5cm Inv. No. 561, excavations 2000 Anzabegovo-Vrnik I Museum of Macedonia Skopje
Pintadera Pe~at so pravoagolna forma i vertikalna mala dralka so dup~e. Na glavata ima vreàni linii so zaobleni rabovi, vo forma na bukvata V. Faktura: relativno dobra, boja: crvena. Pintadera Seal with rectangular shape, vertical small pierced handle. The head features incised lines with rounded edges in the form of the letter V. Medium facture, red colour.
238
. 82 No. 82
Pintadera
239
Tumba Maxari Kv H 1 Visina: 1,4 sm; dolìna: 2,3 sm Inv.br. 572; istraùvawa 2004 Anzabegovo - Vr{nik II Muzej na Makedonija Skopje Tumba Madjari Quad. H1 Height: 1,4cm, Length: 2,3cm Inv. No. 572, excavations 2004 Anzabegovo-Vrnik II Museum of Macedonia Skopje
Pintadera Pe~at so pravoagolna forma i vertikalna mala dralka so dup~e. Na glavata ima vreàna dvojna spirala, so forma na Y i linii so zaobleni rabovi. Faktura: relativno dobra, boja: oker-crvena. Pintadera Seal with rectangular shape, vertical small pierced handle. The head features an incised double spiral in the form of S-lines with rounded edges. Medium facture, red - ochre colour.
Colophon
241
Kolofon Colophon
242
a M
243
Za izdava~ot Meri Anicin Koordinator Pero Josifovski Urednik na katalogot Andrej emrov (tehni~ka redakcija) Peter Turk (redakcija na tekst i voveden tekst) Naroden muzej na Slovenija Avtori na izlo`bata i katalogot Dragi{a Zdravkovski Elena Stojanova Kanzurova Muzej na Makedonija-Skopje Republika Makedonija Nau~en konsultant Dragi Mitrevski Sorabotnici Marija Atanasova Muzej na Makedonija - Skopje Marija Vasileva Zavod i Muzej -Bitola Aleksandar Mitkovski Zavod i Muzej -Prilep Traj~e Nacev Zvonko Beldedovski Zavod i Muzej -[tip Aleksandar Danev Naroden Muzej-Sv. Nikole Milo{ Bilbija Muzej na grad Skopje-Skopje Konzervatori Muzej na Makedonija -Skopje Marija Tu{a Danica Angova Stanka Petkovska, Branko Veli~kovski
Radmila Ivani{evi}Prilep Efto Dimovski-Bitola Prevod od makedonski na angliski jazik Rima Safatli Lektura na makedonski jazik: Aneta Popantoska Fotografija: Matija Pavlovec Toma Lauko (str.20 i 30) Grafi~ko oblikuvawe: iga Testen, Damjan Ili Grafi~ka podgotovka: Fotolito Dolenc d.o.o. Pe~ati: Formatisk d.o.o Tira`: 500 Izlo`bata i katalogot go finansiraa: Ministerstvoto za kultura na Republika Makedonija Naroden muzej na Slovenija Komesar na izlo`bata: Andrej emrov Muzej na Makedonija,2008 Naroden Muzej na Slovenija,2008
244
Colophon
245
Catalogue editors Andrej emrov (editorial secretary) Peter Turk (text editing and introductory text) National Museum of Slovenia Authors of the exhibition and catalogue Dragia Zdravkovski Elena Stojanova Kanzurova Museum of Macedonia Skopje Republic of Macedonia Scientific consultant Dragi Mitrevski Associates Marija Atanasova Museum of Macedonia Skopje Marija Vasileva Institute and Museum Bitola Aleksandar Mitkovski Institute and Museum Prilep Traje Nacev Institute and Museum tip Zvonko Beldedovski Aleksandar Danev National Museum Sv. Nikole Milo Bilbija Museum of the City of Skopje Conservators Museum of Macedonia Skopje: Marija Tua Danica Angova Stanka Petkovska Branko Velikovski Radmila Ivanievi Prilep Efto Dimovski Bitola Translation from Macedonian to English by Rima Safitli Proof-reader for Macedonian language Aneta Popantoska
Photos Matija Pavlovec Toma Lauko (p. 20 and 30) Graphic design: iga Testen Prepress: Fotolito Dolenc d.o.o. Printed by: Formatisk d.o.o. No. of copies: 500 National Museum of Slovenia Director Peter Kos Museum of Macedonia Skopje Director Mari Anicin Programme Director Pero Josifovski Exhibition financed by Ministry of Culture of the Republic of Macedonia National Museum of Slovenia Exhibition organization: Andrej emrov Narodni muzej Slovenije, 2008 Muzej na Makedonija, 2008
246
a M
CIP - Katalogizacija vo publikacija Nacionalna i univerzitetska biblioteka Sv. Kliment Ohridski, Skopje 903.23/.29(497.7)634(083.824) 73.031.1(497.7)634(083.824) ZDRAVKOVSKI,Dragi{a Neolitska umetnost na teritorija na Republika Makedonija= Neolithic art in the region of the Republic of Macedonia / (Dragi{a Zdravkovski, Elena Stojanova Kanzurova; urednik Andrej [emrov, Meri Anicin; prevod Rima Safitli; fotografii Matija Pavlovec,Toma` Lauko; kartografija Aleksandar Stoj~ev .i dr.). Skopje: Muzej na Makedonija, 2009. - 255 str. : ilustr. ; 25 sm Tekst naporedno na mak. i angl. jazik ISBN 978 -9989 917 45 5 1. Nasp. stv. nasl. 2. Stojanova Kanzurova, Elena (avtor) a) Makedonija - Arheolo{ki naodi, praistoriski Neolit - Katalozi od izlo`bi COBISS.MK - ID 239109376

Neolitska Umetnost Na Teritorijata Na Republika Makedonija

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Andrej emrov, Peter Turk (ur. / eds.

a M Neolithic Art in the Republic of Macedonia

Andrej emrov, Peter Turk (ur. / eds.)

a M Neolithic Art in the Republic of Macedonia

izlo`ba The Exhibition Meri Anicin Pejoska

izlo`ba The Exhibition Meri Anicin Pejoska

Meri Anicin Pejoska

a M Neolithic Art in the Republic of Macedonia

a M Neolithic Art in the Republic of Macedonia Dragia Zdravkovski Dragia Zdravkovski

Mogila Trn orev Rid

Najpoznati neolitski naoali{ta

Zdravkovski D., 1993 Neolitska

naselba ^ubuk ~e{ma- s.Niku{tak, Kumanovo, Maced.acta archaeol.13, Skopje, 17-30 10

Simoska D .- Sanev V. 1976, Praistorija vo Centralna Pelagonija, Bitola, 11 17

Sanev V.1981 Neolitsko svetili{te od Tumba vo s.Maxari, Skopje (folder od izlo`bata) 20

Gara{anin M., Problemi nl z 1989, 28-29

Informacijata e dobiena od blagodarime. 6

C z , Maced. acta archaeol. 10,

M.Bilbija, za {to najsrde~no mu

istra`uva~ot I.Koli{trkoska - Nasteva, za {to srde~no blagodarame. 7

Jov~evska T. 1993, Ku}ata od horizont

I vo neolitskata naselba Mramor kaj 31-41

^a{ka, Maced.acta archaeol. 13, Skopje,

Simoska D.- Sanev V., v Cln lg, , 1976, 31-33

Saroski S.-Zdravkovski D., l~, P 28, Ljubljana 1987, 43

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Mogila Trn Gjorev Rid

The most important neolithic sites

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

Neolithic Art in the Republic of Macedonia

8. S. Saroski, D. Zdravkovski, Tumba Palite. Arheoloki pregled 28, 1987, 43.

Elena Stojanova Kanzurova

Elena Stojanova Kanzurova

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

- Small vessel bowl

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

Four legged vessel

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia

a M Neolithic art in the Region of the Republic of Macedonia