Andrej Šemrov,da se prezentira edna pocelosna slika za po~etocite na civilizacijata vo Republika Makedonija. Poslednata izlo`ba Prazgodovina Makedonii vo Narodniot muzej vo Qubqana

3Andrej Šemrov, Peter Turk (ur. / eds.)

Неолитската уметност на територијата нa Република MакедонијаNeolithic Art in the Republic of Macedonia

5

Neolitskata umetnost на територијата na Република Makedonijа

Neolithic art in the Region of the Republic of Macedonia

Ljubljana 2009

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


7

За izlo`baтаThe Exhibition

Мери Аницин – ПејоскаMeri Anicin – Pejoska

Neolitskata umetnost na MakedonijаNeolithic Art in the Republic of Macedonia

Dragiшa ZdravkovskiDragiša Zdravkovski

Каталог на предмети / Catalogue of objects

Formi na kerami~ki sadovi / Forms of pottery

Antropomorfna plastika / Anthropomorphic sculpture

Zoomorfna plastika / Zoomorphic sculpture

Kultni жrtvenici / Cult altars

Печати / Stamps


Elena Stojanova KanzurovaElena Stojanova Kanzurova

9

1535

53

57

131

185

205

233

СодржинаIndex

9

За izlo`baтаThe Exhibition

Мери Аницин – ПејоскаMeri Anicin – Pejoska

За изложбатаThe Exhibition

Мери Аницин - Пејоска

11

Ni pretstavuva osobenа ~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 Makedonijа”. Ovaa aktivnost ja potvrduva na{ata dolgogodi{na sorabotka, bazirana, pred se, na individualni kolegijalni odnosi, koi vo kontinuitet gi gradat i odrжuvaat instituciona-lnite i me|udржavniте relacii, bez ogled na aktuelnite politi~ki promeni.

U{te pove}e, postavkata na ovaa na{a izlo`ba ja na-glasuva 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 кој{to ni go ovozmoì za prezenti-rawe na del od bogatoto arheolo{ko bogatstvo na Makedonija, tokmu za vreme na pretsedatelstvuvaweto na Slovenija so Evropskata unija, i so toa silno gi podржa na{ite napori za za~uvuvawe na na{iot nacionalen i kulturen identitet, koj be{e zagrozen od apsurdnite pritisoci, kako rezultat на aktuelnata konstelacija na politi~ka mo}.

Osobeno zadovolstvo mi e {to vo ovaa prilika pr-ezentirame zna~aen del od bogatata neolitska kultura od Makedonija, kako svedo{tvo na dlabokite koreni i kontinu-itetot na na{eto kulturno ìveewe.

Ovaa izlo`ba na мakedonskiot neolit, ne samo {to pridonesuva za dooblikuvawe na slikata za ìvotot vo ne-olitot 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 nar-odite”.

Мери Аницин – Пејоска

Мери Аницин - Пејоска За изложбата

13

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

Meri Anicin – Pejoska The Exhibition

15




Драгиша ЗдравковскиDragiša Zdravkovski

Словенeчки и македонски археолози на ископувањето во Анзабегово (мај 1960.)

Archaeological excavations of Slovenian and Macedonian archaeologists at Anzabegovo (May 1960).

17

Voved

Izlo`bata „Neolitska umetnost vo Republika Makedonija” prezentira mal del od artefaktite {to se nao|aat vo muzeite. Neolitot sè u{te е 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 Bal-kanskiot Poluostrov, na negovata prirodna transverzala, Vardarsko-moravskata dolina, koja go povrzuva Egejot so Panonija. Geografskata mestopolo`ba ja odreduva i nejzi-nata 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 Пlanini 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 srednoevrop-skata, 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, peri-odot na primitivno zemjodelstvo i sto~arstvo…”1.

„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 Rodop-skite Planini, od sever - venecot na planinite [iroka, Skopska Crna Gora i [ar Planina, od zapad - planinata Korab i Ohridsko i Prespansko Ezero, od jugozapad - plani-nata Pindos, a od jug rekata Bistrica (Haliakmon), plani-nata Olimp i Solunskiot Zaliv so poluostrovot Halkidik”2. Definicijata na poimot Makedonija, vo geografsko-isto-riska smisla, se teritoriite me|u rekite Vardar i Bistri-ca (Aksios i Haliakmon) i nivnite pritoki3.

Неолитската уметност на територијата нa Република Mакедонија

Драгиша Здравковски

18 Неолитската уметност на територијата нa Република Mакедонија

19

Pravec na neolitizacija

Tetovo

Ohrid

Bitola

Prilep

VelesŠtip

Skopje

Thessaloniki

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-ku-manovskata 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 civiliza-cija, zavisna od prirodnite i geomorfolo{kite uslovi na terenot. Pejzaòt vo Makedonija, vo VII - V-to iljadaletie пред Христа, 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 civiliza-cija vo Makedonija e ista. Neolitskiot ~ovek bil orien-tiran kon prirodnite resursi. Mo~uri{tata obezbeduvale dovolno riba, {kolki, barski ptici i drugi ìvotni. Vo periodite koga ètvata bila siroma{na, tie ja nadopol-nuvale hranata. Neolitskiot ~ovek od okolinata se snab-duval 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 Barutni-ca 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 kar-ta 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.

Драгиша Здравковски Неолитската уметност на територијата нa Република Mакедонија


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Osnovni karakteristiki na neolitot vo Republika Makedonija

Vo arheolo{kata nauka, generalno, definirani se dve kulturni grupi koi egzistirale vo Makedonija: vo Pel-agonija 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 Anzabegovo-vr{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 di-rektno 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 Repub-lika 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 flo-ralen stil vo umetnosta na grupata. Belite floralni orna-menti 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

Neolitizacija na Republika Makedonija

Neolitskata kultura vo Republika Makedonija, reprezenti-rana 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-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 Skop-sko, najstara naselba e Govrlevo od kade grupata se {iri po celata kotlina i na istok vo Ov~e Pole, na sever kon Ku-manovsko Пole, 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 najstar-iot sloj od Tumba Sten~e se identi~ni so Velu{ko-porodin-skata 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, Anza-begovo 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 Govr-levo, 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



23

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 ev-olucija, vo tekot na celiot sreden neolit, grupata Anza-begovo -Vr{nik se razviva na ovaa avtohtona baza na teri-torija koja e mnogu namalena, no so evidentni sli~nosti i razliki so severnata Star~eva~ka grupa. Vo Anzabegovo-vr{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 triagol-nici 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/tem-nokafeava boja na pehari so mala prstenesta noga. Isto taka, karakteristi~ni se kafeavo slikanite vertikalni alternirani debeli i tenki linii, ~estopati so vertika-lni 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 doc-noneolitski. Negovite glavni karakteristiki se crnata mazneta i kanelirana keramika, bikonusna profilacija, drжalkite 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 Tum-ba 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

Najpoznati neolitski naoŕali{ta

• Dolno Palčište

Zubovce • • Stenče

• Dolno Sedlarce

• Govrlevo

• Zelenikovo

• Madžari• Mrševci

• Dolno Konjare

• Rug Bair

• Mamutčevo • Barutnica Anzabegovo

• Čaška

• Radin dol

• Pešterica

• Vrbjani

• Vršnik

• Damjan

• Angelci

Crničani •• Mogila

• Đorev Rid

• PorodinVelušina •

Karamani • • Trn

• Ustie

◎ Skopje



25

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 raznovid-na. Neolitskiot umetnik sekoga{ go predizvikuvalo ~ove~koto telo. Toa, naj~esto, se ènski statuetki od stolbov-iden i kru{kest tip. Prvite se mnogu ednostavni, so kosa, nos i primarni i sekundarni seksualni karakteristiki. Ko-sata 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. Inter-esni 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 istegnu-vaat. 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 kozo-rozi.

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 neolit-skiot ~ovek od Pelagonija neguval golem kult kon ku}ata i doma{noto ogni{te. Osnovi na ku}i ima i vo Anzabegovo-vr{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

Grcija. Isto~no od planinata Pangej, Dramskoto Pole do Termajskiot Zaliv se formira docnoneolitskata kultur-nata grupa Topolnica-Akropotamos.

Velu{ko-porodinska kulturna grupa

Grupata egzistirala niz ~etiri interni fazi I-IV, vo peri-odot od krajot na VII do krajot na V–ot 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 iz-raboteni 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-пorodinskata grupa e postara od Anzabegovo-vr{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 karakteris-tiki. Vo stariot neolit dominira crvenata gruba barbotin-keramika so повлекувања od prsti, arkadniot-organiziran barbotin, plasti~ni lenti so vtisnuvawa od prsti, kaj go-lemite sadovi-pitosi ili grnci, ~inii i crepni. Impreso-tehnikata 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 monohrom-na 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 triagolni-ci, klepsidri, skalesti lenti slikani so bela boja.

Vo sredniot neolit prodolùvaat grubite sadovi, dekorira-ni 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, skal-esti lenti i sl.

Vo docniot neolit prodolùva da egzistira grubata kerami-ka, a sè pove}e dominira sivata i kafeavata boja. Kaj finata



27

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 `rtve-nicite od tipot Golemata majka. Najstara forma na praid-ejata 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”, post-aveni 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 kul-turna 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 sè, e prikaàna kako eden cilinder so osnovnite antropo-morfni karakteristiki: o~i, nos, ~esto nema usta, retko prikaàni gradi i papok, race so belezici {to cvrsto stojat na ku}ata-odnosno ja drжat (prikaàna kako nepravil-na 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 cilin-derot i liceto. Zatoa ni se ~ini deka kaj ovoj primerok do-minira 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 fat-ena so igla. Na ~eloto se naslikani ne`ni krkmi so crvena boja, nosot e mal, o~ite-samo vreàni. Umetnikot mnogu

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 akcenti-rame kako mnogu vaèn element na Anzabegovo-vr{ni~kata kulturna grupa. Od najstarite fazi, pa niz sredniot ne-olit 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 ram-kite 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 sig-urnost moè da se kaè deka se izraboteni od eden majstor-kerami~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-ornamen-ti, 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 am-fori 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 Y-profilacija, luksuzno dekorirana vrz engoba so vertikalni linii, triagolnici i sl. Kon krajot na sredniot neolit do-biva „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 kerami-kata. Neolitskata kultura go koristi i vo docniot neolit, koga doa|a negoviot kraj. Poslednata pretstava, vreàni



29

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{ sè po~esta e pojavata i na ma{kata pretstava. Formite se poizdolèni, so naglaseni polovi karakteris-tiki i sivo pe~eni. Od figurinite mnogu ~esto se praveni samo glavi so osnovnite karakteristiki - nos, o~i i poneko-ga{ usta. Naj~esto frizurata e vnimatelno umetni~ki pretstavena.

Zoomorfnata plastika e raznovidna i tainstvena. Ne-olitskiot ~ovek, svrten kon obezbeduvaweto hrana, svojata blagosostojba ja dolèl na poljodelstvoto i na sto~arstvoto. Znaej}i go toa, neolitskiot ~ovek nekoi ìvotni ги 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~arite-vajari 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 pro-filiran venec. Postarite, po forma se triagolni, so vdlab-nat 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 majstor-umetnik, so umetni~ki vrednosti koi dozvoluvaat likovno-stilski opredelbi. Vo ovoj mig naukata sistematizirala i definirala samo dva: floralnite ornamenti vo ukrasu-

vnimanie posvetuval na frizurite, izvajani kako afro, drugi samo naglaseni so vreùvawe itn. Voop{to, frizur-ite 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 gracil-nost 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 iz-rabotuvani „in usum mortuorum”, odnosno nemale funerarna funkcija. Za toa najdobro zboruva Golemata majka od Govr-levo, prikaàna so nabreknati gradi i poodminat gravid-itet. Najverojatno se povrzani so kultot na plodnosta.

So svojata ednostavnost, posebno mesto ima eden primerok na glava na èna, markantno izvajana, vo prirodna golemi-na. 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 skulp-tura na Golemata majka?

Kultna plastika

Osobeno interesna kategorija vo neolitskata umetnost e an-tropomorfnata 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 polovi-ni, 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 na-glasena steatopigija, gradite se mali, vratot-tenok, racete-tordirani, 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



31

vaweto na keramikata i kultot na Golemata majka. Ovoj kult e ra{iren na celata teritorija na Makedonija. Na teritori-jata na Velu{ko-porodinskata grupa taa e osnovnoto veru-vawe od najstarite fazi. Zatoa vo skulpturata e tolku mar-kantno 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 rezul-tat i pod vlijanie na golemite neolitski centri za opsidi-jan 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, Sever-nite Sporadi i dr. Tie kontakti postoele u{te od raniot neolit i nikoga{ ne prestanale. Po tie pati{ta se prene-suvaat 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 Make-donija, dominira kultot na Golemata majka. Toj gi spojuva dvete makedonski grupi i go izdvojuva neolitot na Make-donija od sosednite oblasti, osobeno Star~evo, dolinata na Struma i Nea Nikomedija (Sesklo- Dimini) i Va{temi-Podgorie. 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 semejst-voto, 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 ne-olitskiot ~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 ne-bidnini. 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 nejas-ni. 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 kul-turnite 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 ra-niot 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 uni-verzalna kulturna manifestacija na teritorijata na Repub-lika 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, sè u{te se nau~en predizvik i enigma.



33

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.

5Informacijata e dobiena od M.Bilbija, za {to najsrde~no mu blagodarime.

6 Informacijata e dobiena od istraùva~ot I.Koli{trkoska - Nas-teva, za {to srde~no blagodarame.

7Simoska D.- Sanev V., Праисторија vо Cентраlnа Пеlаgонија, Битола, 1976, 31-33

8Sarжoski S.-Zdravkovski D., ТумбаПаl~иште, АP 28, Ljubljana 1987, 43

9Zdravkovski D., 1993 Neolitska naselba „ûbuk ~e{ma”- s.Niku{tak, Kumanovo, Maced.acta archaeol.13, Skopje, 17-30

10Bilbija M. Cerje-neolitsko naselje, AP 26, Ljubljana 1988, 35-36

11.

S. Dimitrijević, Praistorija jugoslavenskih

zemalja, II Neolit. Sarajevo 1979, 246.

12Gara{anin M., Problemi nеоlита и енеолита Cентралног Балкана у веzиса реzултатима истраживања у Македонији, Maced. acta archaeol. 10,

1989, 28-29

13Jov~evska T. 1993, Ku}ata od horizont I vo neolitskata naselba Mramor kaj â{ka, Maced.acta archaeol. 13, Skopje, 31-41

14D. Mitrevski, Prehistory in the Republic of

Macedonia, The Balkans in prehistory, Athens

2001, 88

15Kitanoski B., Simoska D., Todorovi} J. 1983 Naselbata Pe{terica i prob-lemot naraniot neolit vo Pelagonija, Maced.acta archaeol.6, Skopje, 9-20

16Simoska D .- Sanev V. 1976, Praistorija vo Centralna Pelagonija, Bitola, 11

17Ibid.13

18Ibid.96

19Sanev V.1981 Neolitsko svetili{te od Tumba vo s.Maxari, Skopje (folder od izlo`bata)

20S. Vetnić, Starčevo altars from settlements in

the Velika Morava River Basin, Glasnik srbskog

arheološkog društva 15-16, 2001, 12

21V. Sanev, Terakotna glava na oven od arheolo{kata zbirka na Muz-ejot na Makedonija, Maced.acta

archaeol.15,Skopje 1999, 15-24


35

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 Korošec, 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 Šar 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 Široka, Skopska Crna Gora and Šar 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

Neolithic Art in the Republic of MacedoniaDragiša Zdravkovski

36 Neolithic Art in the Republic of Macedonia 37Neolithic Art in the Republic of MacedoniaDragiša Zdravkovski

Directions of neolithization

Tetovo

Ohrid

Bitola

Prilep

VelesŠtip

Skopje

Thessaloniki

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 Ovče 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, Veluška Tumba, Dobromiri Tumba, Mogila Tumba, the Big and Small Trnska Tumba, Vrbjanska Čuka near the village of Slavej, and 70 others. In the area of Polog and the Skopje-Kumanovo region, the following sites are noted: Tumba Palčište, Tumba Stenče, 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, Vršnik v. Tarinci, Rug Bair v. Gorubinci, Alin Dol v. Nemanjici, Slatina v. Zelenikovo, Cerje v. Govrlevo, and Mramori v. Čaška. 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.

38 Neolithic Art in the Republic of Macedonia 39

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 Velušina-Porodin in Pelagonija, and the Anzabegovo-Vršnik 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 Velušina-Porodin and the Anzabegovo-Vršnik group is an interesting one. In the oldest phase, the second group was limited to the territory whose centre was the Skopje region, Ovče 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 Velušina-Porodin group. During the Middle Neolithic period, the Anzabegovo-Vršnik group began spreading throughout the entire Upper Vardar region, the Kumanovo region and the valleys and fields down the rivers Pčinja, 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 Velušina-Porodin group was reduced and limited to Pelagonija only.

Anzabegovo-Vršnik cultural group

The oldest phases of the Anzabegovo-Vršnik cultural group, Anza-Vršnik 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: Veluška Tumba,7


Neolithization of the Republic of Macedonia

Neolithic culture in the Republic of Macedonia, as represented in the Velušina-Porodin and Anzabegovo-Vršnik 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 pre-pottery 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 Pešterica. The Neolithic continues to spread north through Pešterica 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 Ovče Pole, in the north towards the Kumanovo region, and via the Preshevo watershed up north to the Morava river valley. From Ovče 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 Stenče are identical with those from the Velušina-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.

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 Burilčevo, dating back to 4,540-4,330 BC for the older, and 3,750 BC for the younger phase.6


Tumba Palčište,8 Tumba Stenče, Čubuk česma,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 Starčevo group in Serbia. The leit-motive or the constant when it comes to the Anzabegovo-Vršnik group is the floral ornaments (vegetative), absent in this form in the Starčevo group, although persisting and evolving in the spiraloid or girlandoid style.11 In Starčevo, the primary style is constructive and geometrical, whose origin, according to D. Srejović, 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-Vršnik II-III). This was established in the developed phases at all sites: Anzabegovo, Tumba Madjari, Zelenikovo, Govrlevo, Rug Bair, Vršnik,12 and Mramori.13 In the Velušina-Porodin 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-Vršnik 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 “Vinča” Late Neolithic pottery.14 The stratigraphic data available determine the last layer of Anzabegovo-Vršnik 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 Ovče Pole and the last layer defined as Zelenikovo II, as well as the last layer in Tumba Palčište and Govrlevo, also belong to Anzabegovo-Vršnik IV, i.e. to the Late Neolithic period. This corresponds to the Vinča-Tordoš 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.

Neolithic Art in the Republic of Macedonia

The most important neolithic sites

• Dolno Palčište

Zubovce • • Stenče

• Dolno Sedlarce

• Govrlevo

• Zelenikovo

• Madjari• Mrševci

• Dolno Konjare

• Rug Bair

• Mamutčevo • Barutnica Anzabegovo

• Čaška

• Radin dol

• Pešterica

• Vrbjani

• Vršnik

• Damjan

• Angelci

Crničani •• Mogila

• Gjorev Rid

• PorodinVelušina •

Karamani • • Trn

• Ustie

◎ Skopje


Cult sculpture in the Velušina-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 Čuka. 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-Vršnik group. A model of a stylized house, similar to the Pelagonija models, is the altar from Vršnik, 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


Velušina-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: Pešterica,15 Vlaku in the village of Živojno, 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-Vršnik group.

The Velušina-Porodin group is older than the Anzabegovo-Vršnik 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 Anzabegovo-Vršnik 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.


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 Stenče. 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-Vršnik and Velušina-Porodin 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 Veluška 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


Josip Korošec. Later excavations only confirmed this hypothesis. We wish to emphasize this as a very important element of the Anzabegovo-Vršnik 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-Vršnik 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-Vršnik 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 Mrševci, 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


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 Velušina-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 Velušina-


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 Palčište 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?

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.

48 Neolithic Art in the Republic of Macedonia

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 Velušina-Porodin and Anzabegovo-Vršnik 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.


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 Vinča 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 Anzabegovo-Vršnik 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 Starčevo, 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 Velušina-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-Vršnik 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-Vršnik 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

50 Neolithic Art in the Republic of Macedonia

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. Kolištrovska Nasteva.

7.

D. Simoska, V. Sanev, Prehistory in central

Pelagonia. Bitola 1976, 31-33.

8.

S. Saržoski, D. Zdravkovski, Tumba

Palčište. Arheološki pregled 28, 1987, 43.

9.

D. Zdravkovski, Neolithic settlement

“Čubuk Češma” – s. Nikuštak,

Kumanovo. Macedoniae acta archaeologica 13,

1993, 17-30.

10.

M. Bilbija, Cerje, Neolithic settlement.

Arheološki pregled 26, 1985, 35-36.

11.

S. Dimitrijević, Praistorija jugoslavenskih

zemalja, II Neolit. Sarajevo 1979, 246.

12.

M. Garašanin, Problemi neolita i eneolita

Centralnog Balkana u vezi sa rezultatima

istraživanja u Makedoniji. Macedoniae acta

archaeologica 10, 1989, 28-29.

13.

T. Jovčevska, The house from horizon I

in the neolithic settlement Mramor near

Čaška. Macedoniae acta archaeologica 13, 1993,

31-41.

14.

D. Mitrevski, Prehistory in the Republic

of Macedonia, The Balkans in prehistory,

Athens 2001, 88.

15.

B. Kitanoski, D. Simoska, J. Todorović,

Pešterica settlement and the issue of

early Neolithic in Pelagonia. Macedoniae

acta archaeologica 6, 1983, 9-20.

16.

D. Simoska, V. Sanev, Prehistory in central

Pelagonia. Bitola 1976, 11.

17.

Ibid., 13.

18.

Ibid., 96.

19.

V. Sanev, Neolithic altar from Tumba Madjari.

Skopje 1981 (exhibition folder).

20.

S. Vetnić, Starčevo altars from

settlements in the Velika Morava River

basin. Glasnik srbskog arheološkog društva 15-

16, 2001, 12.

21.

V. Sanev, Teracotta ram head from the

archaeological collection of the Museum

of Macedonia. Macedoniae acta archaeologica

15, 1999, 15-24.

Katalog на предмети Catalogue of objects

Elena Stojanova KanzurovaDragiшa ZdravkovskiElena Stojanova KanzurovaDragiša Zdravkovski

Драгиша Здравковски Dragiša Zdravkovski

Елена Стојанова Канзурова Elena Stojanova Kanzurova

55

Formi na kerami~ki sadoviForms of pottery

Бр. / No. 1Бр. / No. 2Бр. / No. 3Бр. / No. 4Бр. / No. 5Бр. / No. 6Бр. / No. 7Бр. / No. 8Бр. / No. 9Бр. / No. 10Бр. / No. 11Бр. / No. 12Бр. / No. 13Бр. / No. 14Бр. / No. 15Бр. / No. 16Бр. / No. 17Бр. / No. 18Бр. / No. 19Бр. / No. 20Бр. / No. 21Бр. / No. 22Бр. / No. 23Бр. / No. 24Бр. / No. 25Бр. / No. 26Бр. / No. 27Бр. / No. 28Бр. / No. 29Бр. / No. 30Бр. / No. 31Бр. / No. 32Бр. / No. 33Бр. / No. 34Бр. / No. 35

Antropomorfna plastikaAnthropomorphic sculpture

Бр. / No. 36Бр. / No. 37Бр. / No. 38Бр. / No. 39Бр. / No. 40Бр. / No. 41Бр. / No. 42Бр. / No. 43Бр. / No. 44Бр. / No. 45Бр. / No. 46Бр. / No. 47Бр. / No. 48Бр. / No. 49Бр. / No. 50Бр. / No. 51Бр. / No. 52Бр. / No. 53Бр. / No. 54Бр. / No. 55Бр. / No. 56Бр. / No. 57Бр. / No. 58Бр. / No. 59Бр. / No. 60

Zoomorfna plastikaZoomorphic sculpture

Бр. / No. 61Бр. / No. 62Бр. / No. 63Бр. / No. 64Бр. / No. 65Бр. / No. 66Бр. / No. 67Бр. / No. 68

Kultni жrtveniciCult altars

Бр. / No. 69Бр. / No. 70Бр. / No. 71Бр. / No. 72Бр. / No. 73Бр. / No. 74Бр. / No. 75Бр. / No. 76Бр. / No. 77Бр. / No. 78Бр. / No. 79Бр. / No. 80

ПечатиStamps

Бр. / No. 81Бр. / No. 82

Драгиша Здравковски Dragiša Zdravkovski

Елена Стојанова Канзурова Elena Stojanova Kanzurova

57Форми на керамички садовиForms of pottery

Каталог на предметиCatalogue of objects

Formi na kerami~ki sadoviForms of pottery

Бр. / No. 1Бр. / No. 2Бр. / No. 3Бр. / No. 4Бр. / No. 5Бр. / No. 6Бр. / No. 7Бр. / No. 8Бр. / No. 9Бр. / No. 10Бр. / No. 11Бр. / No. 12Бр. / No. 13Бр. / No. 14Бр. / No. 15Бр. / No. 16Бр. / No. 17Бр. / No. 18Бр. / No. 19Бр. / No. 20Бр. / No. 21Бр. / No. 22Бр. / No. 23Бр. / No. 24Бр. / No. 25Бр. / No. 26Бр. / No. 27Бр. / No. 28Бр. / No. 29Бр. / No. 30Бр. / No. 31Бр. / No. 32Бр. / No. 33Бр. / No. 34Бр. / No. 35


60 Неолитската уметност на територијата нa Република MакедонијаNeolithic art in the Region of the Republic of Macedonia

61Бр. 1No. 1

Сад - паницаBowl

Amzabegovo, Ov~e PoleVisina: 10, 2 sm

Inv.br. 930; istraùvawe 1969/70Anzabegovo - Vr{nik INaroden muzej - [tip

Anzabegovo, Ovče PoleHeight: 10,2cm

Inv. No. 930, excavations 1969/70Anzabegovo-Vršnik INational museum – Štip

Sad - panica

Mal polutop~est sad so vertikalni tenki yidovi, ramen oboд, 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.


63Бр. 2No. 2

Сад - паницаBowl

Alin Dol, Nemawici, Ov~e PoleVisina: 10 sm

Inv.br.bb. Otkrien 1994 Anzabegovo - Vr{nik INaroden muzej - Sv. Nikole

Alin Dol, Nemanjici, Ovče PoleHeight: 10cm

Inv. No. bb, discovered in 1994Anzabegovo-Vršnik INational 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, four-legged bottom. The belly features a painting of an abstract floral ornament - flower in white colour on a shiny red background. Good facture, red colour.


65Бр. 3No. 3

Сатче - паницаSmall vessel – bowl

Amzabegovo, Ov~e PoleVisina: 12 sm

Inv.br. F 1069. Otkrien 1969/70Anzabegovo - Vr{nik INaroden muzej - [tip

Anzabegovo, Ovče PoleHeight: 12cm

Inv. No. F 1069, discovered 1969/70 Anzabegovo-Vršnik INational museum – Štip

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.


67Бр. 4No. 4

ПаницаPlate

Tumba Sten~e, PologKu}a 1Visina: 9 sm

In.br. 556; istraùvawe 2000Anzabegovo - Vr{nik IMuzej na Makedonija – Skopje

Tumba Stenče, PologHouse 1Height: 9cm

Inv. No. 556, excavation 2000 Anzabegovo-Vršnik IMuseum 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.


69Бр. 5No. 5

СадVessel - gourd

Anzabegovo, Ov~e PoleVisina: 20 sm

Inv.br. 37. Otkrien 1960Anzabegovo - Vr{nik INaroden muzej - [tip


Inv. No. 37, discovered 1960Anzabegovo-Vršnik INational museum – Štip

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.


71Бр. 6No. 6

Сад - лејкаVessel - gourd

Tumba Sten~e, PologVisina: 27 sm

Inv.br. 527; istraùvawe 2000Anzabegovo - Vr{nik IMuzej na Makedonija – Skopje

Tumba Stenče, PologHeight: 27cm

Inv. No. 527, excavation 2000Anzabegovo-Vršnik 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.


73Бр. 7No. 7

СадPot

Tumba, s. Velu{ina - PelagonijaVisina: 9 sm

Inv. br.295; istraùvawa 1979Velu{ina - Porodin IZavod i Muzej - Bitola

Tumba, village of Velušina – PelagonijaHeight: 9cm

Inv. No. 295, excavation 1979Velušina-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.


75Бр. 8No. 8

Сад на четири нозеFour – legged vessel

Tumba, s. Velu{ina - PelagonijaVisina: 15,5 sm


Tumba, village of Velušina – PelagonijaHeight: 15,5cm

Inv. No. 294, excavation 1979Velušina-Porodin IInstitute 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.


77Бр. 9No. 9

ЧинијаBowl

Tumba s. Velu{ina - PelagonijaVisina: 14,5 sm

Inv. br.222; istraùvawa 1976?; Velu{ina - Porodin II,Zavod i Muzej – Bitola

Tumba, village of Velušina – Pelagonija Height: 14,5cm

Inv. No. 222, excavations 1976Velušina-Porodin IIInstitute 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.


79Бр. 10No. 10

Чинија Plate

Tumba s. Porodin - Pelagonija Visina: 9 sm, dijametar 26 sm

Istraùvawa 1976?Velu{ina - Porodin IIZavod i Muzej – Bitola

Tumba, village of Porodin – PelagonijaHeight: 9cm, diameter: 26cm


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.


81Бр. 11No. 11

ЧинијаPlate

Tumba s. Velu{ina - Pelagonija Visina: 9 sm

Istraùvawa 1976?Velu{ina - Porodin IIZavod i Muzej - Bitola

Tumba, village of Velušina – PelagonijaHeight: 7cm


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.


83Бр. 12No. 12

Топчест садGlobular vessel

Velu{ka Tumba, Porodin - PelagonijaVisina: 52 sm

Velu{ina - Porodin IIZavod i Muzej – Bitola

Veluška Tumba, Porodin – PelagonijaHeight: 52cm

Velušina-Porodin IIInstitute 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.


85Бр. 13No. 13

СадOval pot

Vrbjanska ûka, s. Slavej - PelagonijaNajden pod pe~kata vo ku}a 1.Visina: 14 sm

Inv. br.323; istraùvawa 1982Velu{ina - Porodin III Zavod i Muzej - Prilep

Vrbjanska Čuka, village of Slavej – PelagonijaDiscovered under the furnace in House 1Height: 14cm

Inv. No. 323, excavations 1982Velušina-Porodin IIIInstitute 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.


87Бр. 14No. 14

ГрнеPot

Tumba Maxari, Skopska kotlinaKv. G- 4Visina: 12,7 sm

Inv.br.155; istraùvawe 1982Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje

Tumba Madjari, Skopje valleyQuad. G4Height: 12,7cm

Inv. No.155, excavation 1982 Anzabegovo-Vršnik IIIMuseum 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.


89Бр. 15No. 15

ПиксидаPyxis

Tumba Maxari, Skopska kotlinaKv K 5, pod pe~ka 1 od zap.strana vo ku}a 1Visina: 0,8 sm, dijametar 0,7 sm

Inv.br.93; iskopuvawe 1981Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valley Quad. K5, under Furnace 1 in the western part of House 1Height: 0,8cm, diameter: 0,7cm

Inv. No. 93, excavation 1981 Anzabegovo-Vršnik IIIMuseum of Macedonia – 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.


91Бр. 16No. 16

АскосAskos

Tumba Maxari, Skopska kotlinaKv.K4.Visina: 46,2 sm

Inv. br.71; istraùvawe 1981Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje

Tumba Madjari, Skopje valleyQuad. K4Height: 46,2cm


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 drжalka. Na drugata strana, vo linijata na zavr{uvawe na stomakot, se nao|aat po dve horizontalni lentesti drжаlki, edna pod druga, vo korenot povrzani so plasti~ni rebra. Me|u niv, flankirano, leì jaè za nosewe. Od korenite na др`алките 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.


93Бр. 17No. 17

АскосAskos

Tumba Maxari, Skopska kotlinaKp.K 3- K 4.Visina: 46,2 sm

Inv. br.74; istraùvawe 1981Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje

Tumba Madjari, Skopje valleySection K3–K4Height: 46,2cm


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 drжalka. Na stranata {to leì na grbot, pri nosewe, se nao|aat dve horizontalni lentesti drжalki, edna pod druga, povrzani so plasti~ni rebra. Me|u niv leì jaèto za nosewe. Od korenite na drжalkite 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.


95Бр. 18No. 18

АскосAskos

Tumba Maxari, Skopska kotlinaKp. F2-F3.Visina: 20,5 sm

Inv. br.174; istraùvawe 1983Anzabegovo - Vr{nik III Muzej na Makedonija - Skopje

Tumba Madjari, Skopje valleySection F2–F3Height: 20,5cm

Inv. No. 174, excavation 1983 Anzabegovo-Vršnik 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 drжalka. Na stranata za nosewe se nao|aat dve horizontalni lentesti drжalki, 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.


97Бр. 19No. 19

Стомак од амфораOval pot

Tumba s. Velu{ina - PelagonijaVisina: 16,5; {iro~ina: 35 sm


Tumba, village of Velušina – PelagonijaHeight: 16,5, Width: 35cm

Inv. No. 310, excavations 1988 Velušina-Porodin IInstitute 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.


99Бр. 20No. 20

АмфораGlobular vessel

Velu{ka Tumba s. Porodin - PelagonijaJama 17Visina: 20 sm

Istraùvawa 1988Velu{ina - Porodin II Zavod i Muzej - Bitola

Veluška Tumba, village of Porodin – PelagonijaPit 17Height: 20cm

Inv. No. bb, excavations 1988 Velušina-Porodin IIInstitute 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.


101Бр. 21No. 21


Tumba Maxari, Skopska kotlinaKv. J 5, ku}a 1, vo blizina na pe~ka 1Visina: 15 sm

Inv. br. 77; iskopuvawe 1981Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyQuad. J5, house 1, near furnace 1Height: 15cm

Inv. No. 77, excavation 1981Anzabegovo-Vršnik IIIMuseum of Macedonia – Skopje

Amfora

Mala amfora so visok konusoviden vrat i blago spleskan stomak, so ~etiri vertikalni tunelesti drжalki. 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 drжalkite 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.


103Бр. 22No. 22


Tumba Maxari, Skopska kotlinaKp. J 5- K 5, ku}a 1, vo blizina na pe~ka 1Visina: 37 sm

Inv. br. 79, iskopuvawe 1981Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleySection J5–K5, house 1, near furnace 1Height: 37cm


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 drжalkite 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.


105Бр. 23No. 23

Амфора Globular vessel

Tumba Maxari, Skopska kotlinaKp. G 2- H 2 , ku}a 3Visina: 23,5 sm

Inv. br. 185; iskopuvawe 1983 Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleySection G2-X2, house 3Height: 23,5cm


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 drжalkite 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.


107Бр. 24No. 24

Фрагмент од садVessel fragment

Tumba Dolno Pal~i{te, PologSonda 2Visina: 6,5 sm

Inv.br.368; istraùvawa 1988 Anzabegovo - Vr{nik IVMuzej na Makedonija – Skopje

Tumba Dolno Palčište, PologTrial trench 2Height: 6,5cm

Inv. No. 368, excavation 1988 Anzabegovo-Vršnik IVMuseum 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.


109Бр. 25No. 25

Пехар - фрагментCup – fragmented

Tumba Maxari, Skopska kotlinaKv – 2.Visina: 9,6 sm

Inv.br.190; istraùvawe 1978Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyKv 2Height: 9,6cm


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.


111Бр. 26No. 26

ПехарCup

Tumba Maxari, Skopska kotlinaKv H 3.Visina: 11,7 sm

Inv.br.150; istraùvawe 1981Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyQuad. H3Height: 11,7cm


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.


113Бр. 27No. 27

Пехар Cup

Tumba Maxari, Skopska kotlinaKp K 4- K 5, ku}a 1 juèn delVisina: 18,5 sm, dijametar 19-21 sm


Tumba Madjari, Skopje valleySection K4–K5, house 1, southern partHeight: 18,5cm, Diameter: 19–21cm


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.


115Бр. 28No. 28

Пехар Cup

Tumba Maxari, Skopska kotlinaKv N 7-Kp.G 5-G 6, ku}a 5Visina: 17,5 sm

Inv.br.432; istraùvawe1987Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyQuad. N7 – Section G5–G6, house 5Height: 17,5cm


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.


117Бр. 29No. 29

Пехар - фрагментCup – fragmented

Tumba Maxari, Skopska kotlinaKP G 8- G 9- G7-G 8Visina: 15 sm

Inv.br.445; istraùvawe 1985 i 1989 Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleySection G 8–G 9–G7–G 8Height: 15cm

Inv. No. 445, excavations 1985 and 1989Anzabegovo-Vršnik IIIMuseum 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.


119Бр. 30No. 30

Пехар - фрагмент Cup – fragmented

Tumba Maxari, Skopska kotlinaKp E 5 - F 5Visina: 15 sm


Tumba Madjari, Skopje valleySection E5–F5Height: 15cm


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.


121Бр. 31No. 31

ПехарCup – fragmented

Tumba Maxari, Skopska kotlinaKp F 7-8, ku}a 6Visina: 16 sm


Tumba Madjari, Skopje valleySection F7–8, house 6Height: 16cm


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.


123Бр. 32No. 32

ПехарBowl on a foot

Tumba Maxari, Skopska kotlinaKv 2- K 5Visina: 14 sm, dijametar 25,6 sm


Tumba Madjari, Skopje valleyQuad. 2–K5Height: 14cm, Diameter: 25,6cm


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.


125Бр. 33No. 33

ПехарBowl on a foot

Tumba Sten~e, PologVisina: 12 sm

Inv.br.509; istraùvawe 2000Anzabegovo - Vr{nik IVMuzej na Makedonija – Skopje

Tumba Stenče, PologHeight: 12cm

Inv. No. 509, excavation 2000 Anzabegovo-Vršnik IVMuseum 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.


127Бр. 34No. 34

Пехар Bowl on a foot

Tumba Sten~e, PologVisina: 10,5 sm

Inv. br. 565; istraùvawe 2000 Anzabegovo - Vr{nik IVMuzej na Makedonija – Skopje

Tumba Stenče, PologHeight: 10,5cm

Inv. No. 565, excavation 2000Anzabegovo-Vršnik IVMuseum 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.


129Бр. 35No. 35

Пехар Four . legged vessel

Vr{nik, Tarinci, Sredna BregalnicaVisina: 14 sm

Inv.br.1080: istraùvawe 1960Anzabegovo - Vr{nik IVNaroden muzej - [tip

Vršnik, Tarinci, Middle Bregalnica regionHeight: 14cm

Inv. No. 1080, excavation 1960Anzabegovo-Vršnik IV National museum – Štip

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.

131Антропоморфна пластикаAnthropomorphic sculpture

Antropomorfna plastikaAnthropomorphic sculpture

Бр. / No. 36Бр. / No. 37Бр. / No. 38Бр. / No. 39Бр. / No. 40Бр. / No. 41Бр. / No. 42Бр. / No. 43Бр. / No. 44Бр. / No. 45Бр. / No. 46Бр. / No. 47Бр. / No. 48Бр. / No. 49Бр. / No. 50Бр. / No. 51Бр. / No. 52Бр. / No. 53Бр. / No. 54Бр. / No. 55Бр. / No. 56Бр. / No. 57Бр. / No. 58Бр. / No. 59Бр. / No. 60




135Бр. 36No. 36

СтатуеткаFigurine

Tumba âir, Skopska kotlinaSlu~aen naodVisina: 12 sm

Inv.br. 502; slu~aen naod 1999Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba Čair, Skopje valleyHeight: 12cm

Inv. No. 502, randomly discovered in 1999 Anzabegovo-Vršnik IIMuseum 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.


137Бр. 37No. 37

СтатуеткаFigurine

Tumba Maxari, Skopska kotlinaVisina: 11 sm

Inv.br. 294; istraùvawe 1978Anzabegovo - Vr{nik IIMuzej na Makedonija - Skopje

Tumba Madjari, Skopje valleyHeight: 11cm

Inv. No. 294, excavations 1978Anzabegovo-Vršnik IIMuseum 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.


139Бр. 38No. 38

Глава од статуетка Figurine head


Inv.br.558; istraùvawe 2000Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje


Inv. No. 558, excavation 2000Anzabegovo-Vršnik IIMuseum 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 semi-circular lines. Medium facture, light brown colour with visible traces of burning.


141Бр. 39No. 39

Женска статуетка, мермерFemale figurine, marble

Tumba Maxari, Skopska kotlinaVisina: 6,8 sm

Inv.br. 317. Grupa Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valley House 6Height: 6,8cm

Inv. No. 317, discovered in in 1989Anzabegovo-Vršnik IIMuseum 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.


143Бр. 40No. 40

Антропоморфна статуетка, теракота Anthropomorphic figurine, terracotta


Inv. br. 634, Iskopuvawe 2003 Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyHeight: 9,5cm


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.


145Бр. 41No. 41

Антропоморфна глава, теракотаAntropomorphic head, terracotta


Inv.br. 493, Grupa Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje


Inv. No. 493, randomly discovered in 1984Anzabegovo-Vršnik 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~ite-plitko 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.


147Бр. 42No. 42

Женска статуетка, теракотаFemale figurine, terracotta

Anzabegovo, Ov~e PoleVisina: 10 sm

Inv. br. Bb, slu~aen naod Grupa Anzabegovo-Vr{nik IVMuzej na Makedonija - Skopje


Inv. No. bb, random findingAnzabegovo-Vršnik IVMuseum 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.


149Бр. 43No. 43

Женска статуетка Female figurine

Ustie na Drim, Ohridski basenVisina: 7,5 sm

Inv. br.276; istraùvawe 1962Velu{ina Porodin – IVMuzej na Makedonija – Skopje

Estuary of the river Drim, Ohrid basinHeight: 7,5cm

Inv. No. 276, research 1962Velušina-Porodin IVMuseum 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.


151Бр. 44No. 44

ГлаваStone head

Tumba MaxariJama vo kocka i 2/3 - j 2/3Visina: 4,5 sm

Inv.br. 295; istraùvawe 1984Anzabegovo - Vr{nik III – IVMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyPit in quad. 2/3–j2/3Height: 4,5cm

Inv. No. 295, excavation 1984 Anzabegovo-Vršnik III–IV 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.


153Бр. 45No. 45

Статуетка, теракотаFigurine, teracotta

Tumba Maxari, Skopska kotlinaVиsina: 2,7 sm

Inv.br. 528Grupa Anzabegovo - Vr{nik IVMuzej na Makedonija – Skopje


Inv. No. 528, excavations 2003Anzabegovo-Vršnik IVMuseum 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.


155Бр. 46No. 46

Антропоморфен цилиндер, теракотаAnthropomorphic cylinder, terracotta

Tumba Sred selo, s. Mogila, PelagonijaVisina: 13,3 sm

Inv.br.339Velu{ina - Porodin IIMuzej na Makedonija – Skopje

Tumba Sred selo, village of Mogila, PelagonijaHeight: 13,3cm

Inv. No. 339Velušina-Porodin IIMuseum 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.


157Бр. 47No. 47

Антропоморфен цилиндер, теракота Anthropomorphic cylinder, terracotta

Tumba, s. Dolno Pal~i{te, Polog Visina: 6,5 sm, [irina: 7,5 sm

Inv.br.255Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba, village of Dolno Palčište, Polog Height: 6,5cm, Width: 7,5cm

Inv. No. 255, discovered in 1987Group Anzabegovo-Vršnik IIIMuseum of Macedonia – Skopje


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.


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.


159Бр. 48No. 48


Tumba âir, Skopska kotlina Visina: 15,5 sm

Inv. Br. 501Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje

Tumba Čair, Skopje valley Height: 15,5cm

Inv. No. 501, discovered randomly in 1999Group Anzabegovo-Vršnik IIIMuseum of Macedonia – Skopje


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, 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.


161Бр. 49No. 49


Tumba Maxari, Skopska kotlina Visina: 18 sm

Inv.591Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje

Tumba Madjari, Skopje valley Height: 18cm

Inv. No. 591, discovered in 1985Anzabegovo-Vršnik IIIMuseum of Macedonia – Skopje


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, 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.


163Бр. 50No. 50

Антропоморфен цилиндер, теракота Anthropomorphic block, terracotta

Tumba Maxari, Skopska kotlina Visina: 14 sm

Inv. br. 66Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje

Tumba Madjari, Skopje valley Height: 14cm



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.


165Бр. 51No. 51



Inv.br.339, otkrien e vo 1982 god Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje




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.


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.


167Бр. 52No. 52

Антропоморфна глава, теракотаAntropomorphic head, terracotta


Inv.br. 418, slu~aen naod vo 1988 god Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje


Inv. No. 418, randomly discovered in 1988Anzabegovo-Vršnik IIIMuseum 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.


169Бр. 53No. 53

Цилиндар од жртвеник Големата мајкаCylinder from the Great Mother altar,terracotta


Istraùvawe 2005 god.; inv. br. 662Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - 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.


171Бр. 54No. 54

Големата мајка, теракотаThe Great Mother, terracotta

Tumba Сredselo, Mr{evci, Skopska kotlinaVisina: 15,7 sm

Otkriena e vo 1987 god, Inv. br. 318. Grupa Anzabegovo-Vr{nik IIMuzej na Makedonija – Skopje

Tumba Sredselo, Mrševci, Skopje valleyHeight: 15,7cm

Inv. No. 318, discovered in 1987Anzabegovo-Vršnik IMuseum 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.


173Бр. 55No. 55

Големата мајка, теракота The Great Mother, terracotta

Tumba Maxari, Skopska КotlinaViсina: 31,5 cm

Inv. br. 592. otkriena e vo 198? godSreden neolit. Grupa Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje


Inv. No. 592Anzabegovo-Vršnik IIMuseum of Macedonia – Skopje


@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.


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.


175Бр. 56No. 56


\orev Rid, s. Suvodol - PelagonijaVisina: 16 sm

Inv. br. 1139Velu{ina - Porodin IIZavod i Muzej - Bitola

Gjorev rid, village of Suvodol – PelagonijaHeight: 16cm

Inv. No. 1139Velušina-Porodin IIInstitute and Museum – Bitola


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.


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.


177Бр. 57No. 57


Tumba Maxari, Skopska kotlinaKv K 4, ku}a 1Visina: 39 sm

Inv. br. 68, otkriena e vo 1981god. vo ku}a 1 Grupa Anzabegovo - Vr{nik IIIMuzej na Makedonija - Skopje

Tumba Madjari, Skopje valleyQuad. K4, house 1Height: 39cm


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.


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.


179Бр. 58No. 58


Cerje - Govrlevo, s. GovrlevoVisina: 35 sm

Inv. br.176Anzabegovo - Vr{nik IIIMuzej na Grad Skopje

Cerje, village of GovrlevoHeight: 35cm

Inv. No. 176Anzabegovo-Vršnik IIIMuseum 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.


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.


181Бр. 59No. 59


Tumba, s. Porodin- PelagonijaKu}a 1.Vis: 25,5 sm

Inv. br. 55; istraùvawa 1953Velu{ko - porodinska kulturna grupa - IVZavod i Muzej - Bitola

Tumba, village of Porodin – PelagonijaHouse 1Height: 25,5cm

Inv. No. 55, excavations 1953Velušina-Porodin IVInstitute 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 drжat slamata od pokrivot. Na dnoto ima golem otvor za vrska so majkata - zemja. Faktura: gruba, povr{ina: mazneta, boja: temnokafeava.


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.


183Бр. 60No. 60

Антропоморфен садAnthropomorphic bowl

Kanli âir, dolina na LakavicaPod polukru`nata pe~ka.Visina: 11, 5 sm; {iro~ina: 18 sm

Inv.br.268; istraùvawe 1988 Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Kanli Čair, Lakavica river valleyUnder the semi-circular furnaceHeight: 11,5cm, Width: 18cm

Inv. No. 268, excavation 1988Anzabegovo-Vršnik IIMuseum 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.

185Зооморфна пластикаZoomorphic sculpture

Zoomorfna plastikaZoomorphic sculpture

Бр. / No. 61Бр. / No. 62Бр. / No. 63Бр. / No. 64Бр. / No. 65Бр. / No. 66Бр. / No. 67Бр. / No. 68




189Бр. 61No. 61

БукранионBucranion

Tumba Maxari ?Najdena vo Kur{umli anVisina: 33,5 sm; debelina: 24 sm

Inv. br. 492. Moèbi od rekognosciraweto za avtopatot vo 1964 g. Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba Madjari?Discovered in Kurshumli HanHeight: 33,5cm, Thickness: 24cm

Inv. No. 492, perhaps from the recognition for the freeway in 1964Anzabegovo-Vršnik IIMuseum 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.


191Бр. 62No. 62

Зооморфен жртвеникZoomorphic altar

Tumba Maxari, Skopska kotlinaDolìna: 12,7 sm; visina: 7,2 sm

Inv. br. 178, slu~aen naod od 1982 godAnzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyHeight: 7,2cm, Length: 12,7cm

Inv. No. 178, random finding 1982Anzabegovo-Vršnik IIMuseum 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.


193Бр. 63No. 63

КентаурCentaur?

Tumba Maxari, Skopska kotlinaVisina: 10,3 sm; dolìna: 13 sm

Inv.br.202Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyHeight: 10,3cm, Length: 13cm

Inv. No. 202Anzabegovo-Vršnik IIMuseum 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.


195Бр. 64No. 64

Зооморфен жртвеник Zoomorphic altar

Tumba Maxari, Skopska kotlinaKp F 2-G3, ku}a 3.Dolìna: 13,5 sm; Visina: 7,3 sm

Inv.br. 178. Istraùvawa 1985Anzabegovo -Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleySection F2–G3, House 3Length: 13,5cm, Height: 7,3cm

Inv. No. 178, excavations 1985 Anzabegovo-Vršnik IIIMuseum 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.


197Бр. 65No. 65

Зооморфен жртвеник – желва Zoomorphic altar - turtle

Tumba s. Porodin - PelagonijaVisina: 17 sm

Inv. br.221; istraùvawa 1953Velu{ina –PorodinZavod i Muzej – Bitola

Tumba, village of Porodin – PelagonijaHeight: 17cm

Inv. No. 221, excavations 1953Velušina-PorodinInstitute 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.


199Бр. 66No. 66

Глава на еленDeer head

Tumba s. Velu{ina - PelagonijaVisina: 10 sm

Inv.br.221, istraùvawa 1976Velu{ina –Porodin III Zavod i Muzej - Bitola

Tumba, village of Velušina - PelagonijaHeight: 10cm

Inv. No. 221b, excavations 1976 Velušina-Porodin IIIInstitute 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.


201Бр. 67No. 67

Глава на еленDeer head

Tumba s. Velu{ina - PelagonijaVisina: 10 sm

Inv. br. 223Velu{ina – Porodin IIIZavod i Muzej - Bitola

Tumba, village of Velušina - PelagonijaHeight: 10cm

Inv. No. 223Velušina-Porodin IIIInstitute 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.


203Бр. 68No. 68

Ритон – водна птицаRhyton – water bird

Kanli Чair, dolinaта на rekата Lakavice Viцina: 14 cm, dolìna: 21 cm

Inv.br.280, istraùvawe 1987 Anzabegovo - Vr{nik IVMuzej na Makedonija – Skopje

Kanli Čair, Lakavica river valleyHeight: 14cm, Length: 21cm

Inv. No. 280, excavation 1987Anzabegovo-Vršnik IVMuseum 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.

205Култни жртвеникиCult altars

Kultni жrtveniciCult altars

Бр. / No. 69Бр. / No. 70Бр. / No. 71Бр. / No. 72Бр. / No. 73Бр. / No. 74Бр. / No. 75Бр. / No. 76Бр. / No. 77Бр. / No. 78Бр. / No. 79Бр. / No. 80




209Бр. 69No. 69

ЖртвеникAltar


Inv.br.507; iskopuvawe 2000Anzabegovo - Vr{nik IMuzej na Makedonija – Skopje


Inv. No. 507, excavation 2000 Anzabegovo-Vršnik IMuseum 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.


211Бр. 70No. 70

Жртвеник Altar

Tumba Maxari, SkopjeKP G2-H2, pod pe~ka 2Visina: 11 sm

Inv.br.653; iskopuvawe 2007Anzabegovo-Vr{nik II Muzej na Makedonija – Skopje

Tumba Madjari, SkopjeSection G2–X2, under furnace 2Height: 11cm

Inv No. 653, excavations 2007Anzabegovo-Vršnik IMuseum 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.


213Бр. 71No. 71

Жртвеник - кучаAltar – House

Tumba s. Topol~ani - Pelagonija Visina: 20 sm; {iro~ina: 23 h 25 sm

Inv. br.1227; istraùvawa 1981Velu{ina-Porodin III Zavod i Muzej – Prilep

Tumba, village of Topolčani – PelagonijaHeight: 20cm, Width: 23 × 25cm

Inv. No. 1227, excavations 1981 Velušina-Porodin IIIInstitute 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.


215Бр. 72No. 72

Жртвеник - кучаAltar – House

Tumba s. Dobromiri - Pelagonija Visina: 21 sm; {iro~ina: 26h23 sm

Inv. br.251Velu{ina - Porodin IIIZavod i Muzej – Bitola

Tumba, village of Dobromiri – PelagonijaHeight: 21cm, Width: 26 × 23cm


@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 drжele 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.


217Бр. 73No. 73

Жртвеник - куча Altar – House

Tumba s. Velu{ina - Pelagonija Visina: 24 sm; dolìna: 27h 24 sm

Inv. br.295Velu{ina - Porodin IIIZavod i Muzej – Bitola

Tumba, village of Velušina – PelagonijaHeight: 24cm, Length: 27 × 24cm


@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 drжele 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.


219Бр. 74No. 74


Tumba Maxari, Skopska kotlinaKv.H 4Visina: 8,8 sm; recipient: 13,2 sm

Istraùvawa 1982; inv. br. 160Anzabegovo - Vr{nik IIIMuzej na Makedonija – Skopje

Tumba Madjari, Skopje valleyQuad. H4Height: 8,8cm, Recipient diameter: 13,2cm

Inv. No. 160, excavations 1982Anzabegovo-Vršnik IIIMuseum 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.


221Бр. 75No. 75

Жртвеник Altar

Tumba Maxari, Skopska kotlinaKv. 9 vo lepe`Visina: 5 sm, {iro~ina: 6,5 sm


Tumba Madjari, Skopje valleyQuad. 9Height: 5cm, Width: 6,5cm


@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.


223Бр. 76No. 76

Жртвеник – масичкаAltar – Table

Vrbjanska ~uka, s. Slavej - PelagonijaNajden e vo golemiot `rtvenik vo ku}aта 1 Visina: 14 sm, {iro~ina: 15 sm

Inv. br. 294; istraùvawa 1979Velu{ina - Porodin IIIZavod i Muzej – Prilep

Vrbjanska Čuka, village of Slavej – PelagonijaDiscovered in the Great altar in House 1Height: 14cm, Width: 15cm


@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.


225Бр. 77No. 77

Жртвеник – масичка Altar – Table

Vrbjanska ~uka, s. Slavej-PelagonijaPod lepe`Visina: 4,5 sm, {iro~ina: 9,0 sm

Inv. br.1226, S III; istraùvawa 1981 Velu{ina - Porodin IIIZavod i Muzej – Prilep

Vrbjanska Čuka, village of Slavej - PelagonijaHeight: 4,5cm, Width: 9,0cm

Inv. No. 1226. S III, excavations 1981Velušina-Porodin IIIInstitute 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.


227Бр. 78No. 78


Vrbjanska ~uka, s. Slavej - PelagonijaVisina: 9,5 sm; {iro~ina: 25h25 sm

Inv. br. 1333, istraùvawa 1979Velu{ina-Porodin III Zavod i Muzej – Prilep

Vrbjanska Čuka, village of Slavej – PelagonijaHeight: 9,5cm, Width: 25 × 25cm


@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.


229Бр. 79No. 79


Vr{nik, Tarinci, Sredna BregalnicaVisina: 15,5 sm; dolìna: 14,5 sm

Inv.br. 86; istraùvawe 1960Anzabegovo-Vr{nik – IVNaroden muzej - [tip

Vršnik, Tarinci, Middle Bregalnica regionHeight: 15,5cm, Length: 14,5cm

Inv. No. 86, excavation 1960Anzabegovo-Vršnik IVNational museum – Štip

@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.


231Бр. 80No. 80

Жртвеник – основа на куќаAltar – Foundation of a house

Tumba s. Porodin - Pelagonija [iro~ina: 15h16 sm

Inv. br.209; istraùvawa 1953Velu{ina – Porodin Zavod i Muzej – Bitola

Tumba, village of Porodin – PelagonijaWidth: 15 × 16cm

Inv. No. 209, excavations 1953Velušina-PorodinInstitute 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.

233ПечатиStamps

ПечатиStamps

Бр. / No. 81Бр. / No. 82




237Бр. 81No. 81

ПинтадераPintadera

Tumba Sten~e, PologKu}a 1Visina: 3 sm; dolìna: 5 sm

Inv.br. 561; istraùvawa 2000 Anzabegovo - Vr{nik IMuzej na Makedonija – Skopje

Tumba Stenče, PologHouse 1Height: 3cm, Length: 5cm

Inv. No. 561, excavations 2000Anzabegovo-Vršnik IMuseum of Macedonia – Skopje

Pintadera

Pe~at so pravoagolna forma i vertikalna mala drжalka 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.


239Бр. 82No. 82

ПинтадераPintadera

Tumba MaxariKv H 1Visina: 1,4 sm; dolìna: 2,3 sm

Inv.br. 572; istraùvawa 2004 Anzabegovo - Vr{nik IIMuzej na Makedonija – Skopje

Tumba MadjariQuad. H1Height: 1,4cm, Length: 2,3cm

Inv. No. 572, excavations 2004Anzabegovo-Vršnik IIMuseum of Macedonia – Skopje

Pintadera

Pe~at so pravoagolna forma i vertikalna mala drжalka 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.

241

KolofonColophon

КолофонColophon


243

— Za izdava~otMeri Anicin

— KoordinatorPero Josifovski

— Urednik na katalogotAndrej Šemrov (tehni~ka redakcija)Peter Turk (redakcija na tekst i voveden tekst)Naroden muzej na Slovenija

— Avtori na izlo`bata i katalogotDragi{a ZdravkovskiElena Stojanova KanzurovaMuzej na Makedonija-SkopjeRepublika Makedonija

— Nau~en konsultantDragi Mitrevski

— SorabotniciMarija AtanasovaMuzej na Makedonija - Skopje

Marija VasilevaZavod i Muzej -Bitola

Aleksandar MitkovskiZavod i Muzej -Prilep

Traj~e NacevZvonko BeldedovskiZavod i Muzej -[tip

Aleksandar Danev Naroden Muzej-Sv. Nikole

Milo{ BilbijaMuzej na grad Skopje-Skopje

— KonzervatoriMuzej na Makedonija -SkopjeMarija Tu{aDanica AngovaStanka Petkovska,Branko Veli~kovski

Radmila Ivani{evi}-PrilepEfto Dimovski-Bitola

— Prevod od makedonski na angliski jazikRima Safatli

— Lektura na makedonski jazik: Aneta Popantoska

— Fotografija:Matija PavlovecTomaž Lauko (str.20 i 30)

— Grafi~ko oblikuvawe:Žiga Testen, Damjan Ilič

— 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 MakedonijaNaroden muzej na Slovenija

— Komesar na izlo`bata:Andrej Šemrov

© Muzej na Makedonija,2008

© Naroden Muzej na Slovenija,2008

Колофон

245

— Catalogue editorsAndrej Šemrov (editorial secretary)Peter Turk (text editing and introductory text)National Museum of Slovenia

— Authors of the exhibition and catalogueDragiša ZdravkovskiElena Stojanova KanzurovaMuseum of Macedonia – SkopjeRepublic of Macedonia

— Scientific consultantDragi Mitrevski

— AssociatesMarija AtanasovaMuseum of Macedonia – SkopjeMarija VasilevaInstitute and Museum – BitolaAleksandar MitkovskiInstitute and Museum – PrilepTrajče NacevInstitute and Museum – ŠtipZvonko BeldedovskiAleksandar Danev National Museum – Sv. NikoleMiloš BilbijaMuseum of the City of Skopje— ConservatorsMuseum of Macedonia – Skopje:Marija TušaDanica AngovaStanka PetkovskaBranko VeličkovskiRadmila Ivanišević – PrilepEfto Dimovski – Bitola

— Translation from Macedonian to English byRima Safitli

— Proof-reader for Macedonian languageAneta Popantoska

— PhotosMatija PavlovecTomaž Lauko (p. 20 and 30)

— Graphic design:Žiga Testen

— Prepress:Fotolito Dolenc d.o.o.

— Printed by:Formatisk d.o.o.

— No. of copies:500

— National Museum of SloveniaDirectorPeter Kos

— Museum of Macedonia – SkopjeDirector Mari Anicin

— Programme DirectorPero Josifovski

— Exhibition financed byMinistry of Culture of the Republic of MacedoniaNational Museum of Slovenia

— Exhibition organization:Andrej Šemrov

© Narodni muzej Slovenije, 2008© Muzej na Makedonija, 2008

244 Colophon


CIP - Katalogizacija vo publikacijaNacionalna 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{aNeolitska 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 - Kataloziod izlo`biCOBISS.MK - ID 239109376

Documents

Andrej Šemrov,da se prezentira edna pocelosna slika za po~etocite na civilizacijata vo Republika Makedonija. Poslednata izlo`ba Prazgodovina Makedonii vo Narodniot muzej vo Qubqana