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2 Voinea V.

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FUNERAL RITES IN THE HAMANGIA CULTURA: ANIMAL SACRIFICES (Praktyki pogrzebowe w kulturze Hamangia. Ofiary zwierzece)

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Voinea V.

Sprawozdania Archeologiczne

2010

tom 62

65-91

Author considers animal sacrifices in Hamangia culture as an element of funeral rituals. Their number and variety dinstiguish communities of this culture among people of other Neolithic and Copper Age cultures in South-Eastern Europe. On settlements - in dwellings deposits - prevail remains of species of domesticated animals (cattle, sheep, goat), and on cemeteries - in animal sacrifieces - dominate bones of wild species (Artiodactyle, Perissodactyle). The practice of animal sacrifice vanished almost completely in the phase IV of the Hamangia culture. Such situation suggests co-existence of two different cultural groups, one being local, steeped in traditions of the Hamangia culture, the other coming from cultural environment (Boian-Marica) with graphite pottery, a clear system of social organisation (graves with power symbols) and richer cultural inventory (copper, gold, Spondylus shells, graphite decorated pottery).

ABOUT FIGURINES EN VIOLON WITHIN CIVILISATION GUMELNITA-KARANOVO VI (Figurki w ksztalcie skrzypiec w kulturze Gumelnita-Karanovo VI)

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Voinea V.

Sprawozdania Archeologiczne

2008

tom 60

73-101

The authoress says with certainty that figurines en violon in bone represent the schematized humane silhouette, just as the prismatic figurines in bone or those with evident anatomic details (type III). It is not a coincidence that they were found together, being used at the same religious rituals. The instrument accompanying them in symbolic graves (pot, presser, and silex knife), the central position in this group, they all suggest a scenario in which the ritual took place around the central figurine: the idol en violon. One can note the organization of figurines group in the south part of the grave, proof of a well defined ritual. Thus, the hypothesis of them as being used as garment applications is not grounded by any plastic representation or by a funerary context. Their association with 'bucranium' both in settlements (Gumelnita) and in a funerary context, as well as their presence in symbolic graves with sceptres may suggest a representation of a male divinity. From chronological point of view, idols en violon in bone may represent a chronological benchmark, the copying of the same form and dimensions being possible only for a short time (Gumelnita A2 and B1, Varna III, Cernavoda I).