5.

I Guidelines to recognize the Danube script signs and the divinity marks

5.I.a The divinity identifiers as a non-textual marking system

The divinity identifiers establish and manifest the identity of a divine being. (Regarding the Neolithic and
Copper Age period, I prefer to use the term “divinity” or “divine being” and not “God/Goddess”, which is
more pertinent for subsequent times). Therefore, they belong to the general category of the personal
markings, which in the Danube civilization include ownership or manufacturer marks, family identification
marks, lineage recognition or community affiliation marks, glyphic monograms on seals, and tags. In modern
and contemporary historical contexts, other identification markings are quarry marks, mason’s marks,
banker’s marks, livestock brands, hallmarks, and logos.
The divinity identifiers of the Danube civilization are very peculiar personal markings. A number of
divinities revealed oneself by their distinctive standard conjugated according to local variants, to evidence
the regionalism or even the localism of the holy representations as well as of rituals and liturgies, in the
framework of unitary magic-religious beliefs and imagery. Local divinities were recognized from their
typical mark known and worshipped only in a delimited area.
According to the traditional standpoint, a Neolithic and Copper Age divinity mark cannot be considered a
sign of writing, being a mere ensign. Even if it identifies the essence of a divinity, synthesizes its attributes,
and possesses/expresses its magical power, it is presupposed that it does not establish any link with verbal
communication since it does not carry the phoneticism of the name of the divinity and/or attributes. A
divinity identifier is estimated to be a not true “God/Goddess signature”, because it does not typically
correspond with discrete linguistic units. It is a “visual mark” that might be abstract, arbitrary, and synthetic
but does not reflect any speech sound. It is not "written" in a linguistic sense. In general terms, the category
of the personal markings is supposed do not comprise texts, having the function to directly link a particular
object with an individual, a group of persons, a workshop, an institution or a locality and often to serve as a
sort of identifying mark or unique signature indicating ownership, actual or symbolic possession, authority,
responsibility, affiliation, authorship or producership (Kammerzell 2007).
Challenging the traditional point of view, in the 2004 inventory Winn placed the divinity marks among the
signs of the Danube writing system (Winn online b).

Fig. 5.285 - Winn positioned the divinity marks within the Danube writing system (Winn online b).

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Personally, I am very prudent to consider the divinity identifiers as a category of the system of writing
developed by the Danube civilization, but for completely different reasons from the traditional ones
according to which the ars scribendi consists in the practice of tracing graphical signs in order to represent
ideas that may be articulated orally. Conversely, I agree with a growing number of scholars stating that the
aim of this technique is different, i.e. it is to store and transfer conceptual information according to an
inventory of signs and a system so that distant people can reuse it. Therefore, in order to define what writing
consists in, no connection with the spoken code of a language is necessary.
Consistently to this point of view, my propensity to consider the divinity identifiers as a class of symbols and
not a category of signs of writing is based on a series of reasons. First, the divinity identifiers - mainly
occurring on figurines - were not common and widespread enough to be units of a script in use at tens of
sites for hundreds of years. The choice to indicate a divinity through its distinct emblem was a decision that
involved only a region and even a village, a sanctuary or at least a single religious adept. Second, divinity
marks were not codified through a general organized system of signs. Consequently, the Neolithic and
Copper Age divinity identifiers are in the same situation of the heraldic symbols whose numbers and shapes
are not predetermined, but depend on how many aristocrats there are and on the pedigree of their families.
Third, the divinity marks go beyond some important conventions that rule the outline and the organization of
the signs of writing. Even if they can be modified applying to them diacritical markers such as small strokes,
crosses, dots and arches in order to express local hypostasis or some attributes/powers of them, they cannot
be reversed or inverted as the script units.
In conclusion, the divinity identifier is a category of personal markings pertaining to the symbolic code, and
not to the writing system of the Danube civilization. A divinity mark announces the presence and the
strength of a divinity worshipped in a region-village or governing a specific cultic place. The idols marked
by this kind of symbols did not simply represent the image of a divinity, but became the deity itself through a
ritual that imbued them of the godly essence. The action of tracing divinity marks on figurines in an
appropriate way transformed them from every day objects into concentrations of supernatural energies. For
this reason, one can infer that the most powerful statuettes, those worshipped outside the domestic sphere,
were manipulated and inscribed only by initiates. Of course, we do not know the possible occurrence of
divinity marks that were legible because were used as ideograms of the script or phonetically articulated the
name of divinities and their attributes, but we cannot exclude it a priori. Nonetheless, a divinity identifier,
participating to the category of the personal markings, does not pose the existence of writing technology as
precondition. It might also fix a sound that – as the seed-mantras in Hinduism and Buddhism – was
composed of a syllable without any literate significance and function in the daily life, but was rather
expressing a resonant vibration of the divinity that produced neuropsychological effects.
The proposed cataloguing of the divinity identifiers is indirectly confirmed by Winn’s list, which consists of
a set of polarized signs: on the one hand, so-called “elementary marks out of time and space” easy to be
encountered in any culture (i.e. triangle, square, and lozenge) and, on the other hand, local, very atypical
marks. As a curiosity one can notice that the sign Ds 55 (a flag hoisted on a pole), inserted by Winn among
the divinity identifiers, is like the Egyptian hieroglyphs that stands for “God”. Indeed, it expressed the
“Necer”, the carbonate hydrate of sodium employed to preserve the mummified corpuses, therefore to deify
them.

5.I.b Semiotic indicators used to discern between divinity insigna and script signs

Which semiotic criteria can one use in order to distinguish between marks that establish and manifest the
identity of a divinity and script units? Here are some instructions on the side of the identification symbolism
vs. the writing system having in mind that, if the interpretation of a single mark is always problematic, it is
much more troublesome when it is positioned on a figurine. In fact, it might be an identifier of the depicted
divinity. but it might be also an aesthetic or emblematic decoration, the mark of a venerated ancestor or a
distinct person, a religious or profane symbol, a mark of the offerer, a logogram expressing a concept, a sign
fixing a noun or another element of a language, a mark condensing a magic sound-vibration. Here I will try
to establish some provisory rules for recognizing the divinity identifiers.

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5.I.b.1 A divinity recognizer is usually a mono-mark, an inscription can be multi-sign

A divinity identifier consists in general of a single mark, very specific in design and distinct in shape.
Although there are inscriptions of the Danube script composed of only one sign, they are usually made-up of
two or more.
A splendid V-shaped necklace is adorning the so-called “Lady Vinča” found at Vinča-Belo Brdo. According
to the matrix of rules and indicators, it has an evident decorative function but, at the same time, according to
Gimbutas it might conceal the key symbol of the Bird goddess: the V (Gimbutas 1989). A divinity mark or
an ideogram occurs on the vulva. Is it also phonetically transmitting her name?
On the stylized figurine A 170 from Parţa (Romania) a divinity mark occurs, which is composed by a
triangle modified by a horizontal stroke inside and from two diagonal parallel lines outside. This mark is
present only in that settlement.

Fig. 5.286 – A divinity mark is placed on the vulva Fig. 5.287 - On a figurine from Parţa (Romania) a
of “Lady Vinča”. divinity mark occurs, which distinguishes that
(After Bulgarelli D. Prehistory Knowledge settlement.
Project). (After Germann Manuscript).

5.I.b.2 A divinity identifier is a local mark, the script signs are diffusely employed

When a divinity identifier has been found in a settlement/region, it is very difficult to intercept it also in
other areas and sometimes even in the neighboring villages. I have already mentioned the triangular divinity
identifier occurring only at Parţa. Having noted the single sign in prominent positions on Jela female
figurines, Winn deduced it was the mark of a local Goddess (Winn 1981). Contrariwise, the signs of the
Danube script were in use from the sixth millennium BC to the middle of the fourth millennium in tens of

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sites over a wide area located between and including southern Hungary, Macedonia, Transylvania, and
Northern Greece (Merlini 2003a).1
A “double axe traversed by a line”, positioned singly and outstandingly on distinct areas of anthropomorphic
and zoomorphic figurines, characterizes – although not exclusively - the Smjadovo tell (Bulgaria), IV
building level. It was deeply incised on the neck of a fragmented torso belonging to a pregnant woman
(image A) and both on neck and bottom of a zoomorphic figurine depicting a water bird (image B).
According to Mitkova, the mark represents a stylized human being – female or childlike. It does not depict a
mere embryo, but is the symbolic representation of the idea for fertility (Mitkova 2005). In literature, this
mark is known, without the passed through line, also as “birds with spread wings” or “stretched hide”. In the
Late Bronze Age, it was utilized as a sign on copper ingots. As “double axe” and “labris”, this mark has
numerous occurrences in the Minoan tablets.

A B B

Fig. 5.288 - A divinity identifier occurs on a figurine from Jela Fig. 5.289 – A “double axe traversed
(A). A comparison with another kind of multiple lozenge in the by a line” is typical of the Smjadovo
same position from Gomolava (B). tell (Bulgaria)
(A) Graphic elaboration by Merlini after Winn 1981: 330, fig. (After Mitkova 2005: fig. 2/2 and 2/1).
10; B) Adapted Brukner 1980: 43, Pl. VI/1 ).

5.I.b.3 Divinity marks are strictly connected with distinct categories of artifacts

There is a special and exclusive relationship between a divinity identifier and the artifact bearing it.
Expressing the presence/power of a divinity, it mostly occurs on distinct objects that represent, manifest, and
reveal this evidence such as statuettes or vases. If in several instances the employment of an inscription was
selected according to the typology of the object that had to be incised or painted, in other cases the
relationship between a text and its “mail-artifact” is weaker. Inscriptions of the Danube script can be hosted
by every kind of objects.
Over the abdomen of the famous “Lady Predionica” (near Priština, Kosovo), an identity mark occurs in form
of an open and very particular meander which is unique, not insertable in the inventory of the Danube script,
and overcame on the navel by a sort of stylized crown-brush (four vertical strokes united by a horizontal
bar).

1
“An analysis of the script at Jela is carried in § 9.C.b “The Vinča C as the culture of the greatest sign production”.
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There is an obvious connection between this mark and this typology of figurine from Predionica majestically
seated on throne (actually a stool). The statuette is 18.5 cm. high, holds a pentagonal mask with no mouth but
an imposing nose and large slant almond-shaped eyes, and wears a rounded medallion over the heart. Five-
parallels lines joined from an arched segment appear over the eyes and bi-lines under them; on the shoulders,
there is a triple line; on the back, the same meandering shape occurs but in this case it is overcame by a
crown- brush with three vertical segments. The statuette belongs to the Late Vinca Culture, c. 4500 BC
(Merlini 2004e; Galović 1959, tab. 3; Winn 1981: 361, fig. 4; Treasures 1998: 75, fig. 474). Gimbutas
considered it a Bird Goddess which importance is evidenced by the medallion in front (Gimbutas 1989: 27,
fig. 40).
A divinity mark is deeply engraved on the neck of a Cucuteni A3 figurine from Scânteia (Moldavia,
Romania), inv. 3031. On the neck and on the abdomen-belly there are script signs.

Fig. 5.290 – A divinity mark occurs over the Fig. 5.291 – A divinity mark on the neck of a
abdomen of “Lady Predionica” (Kosovo). Cucuteni figurine from Scânteia (Romania).
(After Bulgarelli D. Prehistory Knowledge (Photo Merlini 2006).
Project).

5.I.b.4 A divinity emblem is positioned prominently or strategically; for a text this is not mandatory

Representing the essence of a divinity in the abstract sphere, when a divinity identifier occurs for example on
a figurine, it is located outstandingly and/or on strategic parts of the anatomy (particularly on the top head,
forehead, neck, breasts, stomach, belly, vulva, back, or the buttocks). A written text is not necessarily incised
in a notably position, although some kinds of inscriptions are restricted to some specific areas of the objects.
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The heavy, definite single mark in form of a chevron that occurs in prominent spot over the throat of a Vinča
A statuette from Gornea - Căuniţa de Sus (Romania) is possibly a divinity identifier (Lazarovici Gh. 1977:
Pl. LXV, fig. 4).
It is not possible to avoid seeing the wide and complex upright chevron deeply incised on the belly of a
figurine from Turdaş (Hoernes-Menghin 1925: 305; Winn 1981: 272, fig. 37). The weight of the symbolic
meaning of the sign in focus is increased by its visual centricity.2

Fig. 5.292 – It is possibly a divinity identifier the
single mark occurring on a Vinča A figurine
from Gornea - Căuniţa de Sus (Romania)
(Graphic elaboration by Merlini after Lazarovici
Gh. 1977: Pl. LXV, fig. 4).
Fig. 5.293 – A wide and complex upright chevron is
deeply incised on the belly of a figurine from Turdaş.
(After Hoernes-Menghin 1925: 305).

5.I.b.5 Divinity identifiers are accurate, definite, and carefully made; writing can be inaccurate, unclearly-
cut, and carelessly made

Engraving or painting sacred marks, scribes were careful and precise in planning and tracing the divinity
identifiers. On the contrary, in many cases an inscription has been made imprecisely due to the rush of the
scribe/priest/shaman or his/her inexperience. In other concurrences, an inscription has been incised poorly
because of his/her shaky hands. In others, it has been corrected while the text was in progress (for example
the P or D in the upper left quadrant of the discoid tablet from Tărtăria).
A figurine from Predionica (Republic of Serbia) is characterized by a mark carefully rendered as a pendant.
It has triangular shape and within it three wide dots symmetrically positioned (Galović 1959: Tab. 83-5;
Winn 1981: 363, fig. 3). For position, shape, and emphatic size it is not a decoration. It is also unique.
A complex, definite and unique identity mark is deeply incised over the middle of the forehead of a Late
Vinča figurine from Kurilo (Bulgaria) (Vajsov 1984: 61, fig.26.4).3

2
For the utilization of the Danube script in the Turdaş culture, see chapter 9.C.c “The inventory of the signs from the
Turdaş culture”.
3
For the Danube script at Late Neolithic Kurilo, see § 9.C.b “The Vinča C as the culture of the greatest sign
production”.
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 Fig. 5.294 - A mark carefully made as a pendant with
triangular shape and three wide dots symmetrically
positioned inside distinguish a figurine from Predionica
(Republic of Serbia).
(After Galović 1959: Tab. 83.5).
Fig. 5.295 - An accurate, definite, carefully
and deeply made identity mark occurs on the
forehead of a Late Vinča female statuette from
Kurilo (Bulgaria).
(After Vajsov 1984: 61, fig.26.4).

5.I.b.6 A divinity identifier can have a complex outline; the Danube script signs are mainly highly stylized,
un-complex, linear and rectilinear

Synthesizing the sacred essence of a deity, a divinity identifier can have a complex silhouette in order to
render through a single mark an articulated chain of concepts. When compared to other archaic systems of
writing, the outlines of the signs of the Danube script are characterized by a high degree of stylization in
form and a low level of complexity as outline. In general, they have also a straight linear feature and a
rectilinear shape.
An orante feminine statuette from Scânteia (Moldavia, Romania) has incised on its back a triangle cartridge
with a ring-shaped figure in the centre surrounded by different lines arranged in rays. According to the
discoverer, it might be “the symbol of the goddess or could be related with their role in different ritual
ceremonies” (Lazarovici C.-M. 2006; ibidem 2008: 67).
The statuette is unique in the Cucuteni culture and reminds later female Psi type statuettes from the Minoan,
Mycenaean and classical Greece (Bucholz, Karageorghis 1973; ibidem 1985: 86, catalog 33/a; Golan 2003:
48, fig. 43/1-2). For the script at Scânteia and in the Cucuteni A3, see § 9.E.b “Cucuteni A3-A4 - Trypillia B
between figurines and tokens”.

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 Fig. 5.296 - An orante feminine statuette from Scânteia (Moldavia, Romania) has incised on its back a
triangle cartridge with different lines arranged in rays.
(Courtesy of Lazarovici C.-M.).
Below two Psi type clay statuettes from the temple of Athena Pronaia (Delphi, Greece). They are wearing a
garment with painted bands.
(Photo Merlini 2005).

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5.I.b.7 A divinity insignia has often a pictographic root; pictograms are few in the script

A divinity marker often has a pictographic root. The script is made up of abstract signs rather than
naturalistic motifs. According to some scholars, abstract signs and pictorial expressions are two independent
components in the formation of the Danube Script. The former played a more important role than the latter
one (Haarmann 1995).
Inverted triangles are incised deeply, single and prominently on the upper muzzle of bull vessels from the
Želiezovce group (Middle Neolithic Linear Pottery Culture), recovered at Štúrovo (Nitra Region, Slovakia)
(Pavúk 1994: fig. 19/8 and 11).
The “gate” as sacred identifier (a rectangle with an orthogonal line inside) appears on a female figurine from
Predionica (Republic of Serbia) (Galović 1959: tab. 15,3; Winn 1981: 362, fig. 2), which has an authoritative
posture, an elegant garment and another mark on her left shoulder. The same mark appears on the A. 104
statuette from Parţa (Banat, Romania) (German Manuscript). A variant of it occurs, within and evident
writing framework, on a spindle whorl from Turdaş (Roska 1941: CXXIX, 11; Todorović 1969: Pl. VI, 3;
Winn 1981: 269, fig. 19): .

Fig. 5.297 - Inverted triangles on the upper muzzle
of bull vessels from the Linear Pottery Culture,
Želiezovce group, recovered at Štúrovo (Slovakia).
(Graphic elaboration by Merlini after Pavúk 1994:
fig. 19/8 and 11).
Fig. 5.298 – Fig. 5.197 - A divinity mark made of a
rectangle with an orthogonal line inside occurs on a
figurine from Predionica (Republic of Serbia).
(After Galović 1959: tab. 15.3).

5.I.b.8 A divinity mark is frequently inserted inside a frame to isolate and emphasize it

A divinity identifier frequently has the shape of a cartouche (a number of different hieroglyphic symbols
enclosed in a loop) and it is inscribed within an appropriate and reserved space organized according to a
typical layout for the reading of a cartridge. Conversely, the inscriptions show the most varied patterns, in
horizontal, vertical, or circular rows. However, despite this variety, signs are arranged along specific
sequences (not necessary the linear ones).
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The convention to employ an oval, oblong, rectangular or triangular shape in order to isolate, customized and
emphasize a divinity recognizer is highly reminiscent of the ancient Egyptian cartouche, a loop shape4 which
was used to isolate, customize and emphasize a royal name and personal title written in hieroglyphics.
Pharaohs and sometimes dignitaries encircled name and position in a ring that we now call a cartouche.
Occasionally, one may find the name of a god or goddess in a cartouche and indeed the pharaoh was
considered a deity. Later, in the demotic script, the cartouche was reduced to a pair of parentheses and a
vertical line.
I have already mentioned the triangle cartridge with a ring-shaped geometry that is radiating lines on the
back of an orante feminine statuette from Scânteia (Moldavia, Romania).
Let us take in account an early Vinča female figurine from Matejsky Brod (Zrenjanin, Serbia) and its mark
isolated, positioned in the lower front, and emphasized due to a rectangle around it (Winn 1981: 348, fig. 1;
Gimbutas 1989: 169, fig. 266.2a-2b).5 While it represents a female, no other attributes are recognizable from
the shape. According to Griffen, from what we know of the Vinča culture and its artifacts, however, we can
certainly suppose that it represents a goddess and being not salient theriomorphic characteristics we can
surmise that “this is quite simply a goddess” (Griffen 2004a: 18).
Regarding the mark, Griffen rejected to consider the parallel lines as the vulva and the rectangle as the pubic
region, stating that the position is wrong and that the pubic area is never represented in the art by a rectangle,
but rather a triangle. The conclusion is that given the unspecified nature of the goddess, the inscription
composed by a vertical parallel line enclosed within a rectangle aimed to isolate and emphasize it is highly
significant and “would appear to be the word ‘goddess’ in the generic” (Griffen 2006: 18), .i.e. “the
logogram for ‘goddess’. Indeed the occurrence by itself in such an emphatic context may be indicative of
some sort of creatrix” (Griffen 2004a: 18). However, it is not a divinity identifier, but an inscription of the
script.6

Fig. 5.299 – A divinity identifier is incised inside Fig. 5.300 – The same “cartouche” occurs on the
a boxed space on an early Vinča female figurine back of a Precucuteni schematic figurine found at
from Matejsky Brod (Serbia). Târpeşti (Moldavia, Romania).
(After Gimbutas 1989: 169, fig. 266.2a). (After Marinescu- Bîlcu 1981: fig. 108.3).

4
In ancient Egypt, the cartouche was known as “shenu” deriving from the verb “Sheni” that means to encircle.
5
It is dated 5200-5000 BC according to Gimbutas 1989: 169.
6
For the script at Târpeşti within the frame of the Precucuteni - Trypillia A phase, see § 9.D.d.3 “Focusing on the
Precucuteni - Trypillia A contribution to the script”.
328
Gimbutas compared the bi-parallel line on the schematic anthropomorphic figurine from Matejsky Brod with
the same mark on other schematic statuettes of the same type. For example a bi- parallel line inscribed within
a rectangle occurs on the back of another simplified figurine found at Târpeşti (Moldavia, Romania) and
belonging to Precucuteni according Marinescu-Bîlcu (1974; 1981) or to early Cucuteni 4800-4600 BC
according to Gimbutas (Gimbutas 1989: 169, fig. 266 3a-3b). A sign of the Danube script occurs on the
buttocks: . Confusing the marks on the back and on the buttocks of this figurine, or equating incorrectly
them, Gimbutas concluded that on this type of statuette, the vulva, or buttocks is marked by bi-lines
(Marinescu- Bîlcu 1981: fig. 108.3; Gimbutas 1989: 169, fig. 266 3a).
It is possibly a divinity mark the cartridge occurring on the torso of a Cucuteni A figurine recovered at
Dumeşti (Moldavia, Romania) (Monah 1997: 311, fig 59/2).
An elliptic cartouche surrounds a personal identifier on a Cucuteni A figurine from Truşeşti (Romania),
which is characterized by vertical asset, flat and thin torso, total absence of breast, truncated arms as cones
that leave horizontally from the shoulder blades, not indicated navel, little curved features similar to some
examples from Hăbăşeşti (Petrescu-Dîmboviţa, Florescu M., Florescu A.C. 1999: 499, 500).

Fig. 5.301 – A cartridge occurs on the torso of a
Cucuteni A figurine from Dumeşti (Moldavia,
Romania).
(After Monah 1997: 311, fig 59/2).
Fig. 5.302 - An elliptic cartouche surrounds a
personal identifier on a Cucuteni A figurine from
Truşeşti (Romania).
(After Petrescu-Dîmboviţa, Florescu M., Florescu
A.C. 1999: 502, fig. 354/8a).

5.I.b.9 A divinity recognizer is generally made before firing and is very deeply incised; for the Danube script
signs this is not required

A divinity identifier was habitually made before firing and very deeply incised. An inscription could be made
before as well as after firing and with a variable grade of pressure and often it is just scratched.
In general, it was made before firing, but after the Vinča B2 phase it as often scratched after firing.

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5.I.b.10 Divinity emblems are preserved from superimposed scratches; script signs are not

A divinity mark is kept safe from superimposed scratches made during the process of producing, rituals or by
accident. Contrariwise, it was not infrequent for the scribe to leave some imprints on a written text (for
example on the tree of one of the rectangular tablets from Tărtăria) and make scratches everywhere.
An identity mark very complex and definite in shape takes place on the abdomen of the IB 209/82 Late
Vinča female statuette with a massive nose and wide almond-like eyes which was unearthed at Petnica in
front of the Small Cave (Republic of Serbia) (Starović 2004: 39). It is isolated, broad, noticeable, deeply
incised before firing, outstanding, prominently located, over a strategic anatomy, completely enclosing the
anatomic part, and occurs only at Petnica. During making and utilization, it was preserved by scratches that
fill the other parts. Other areas are covered by abrasions.
An anthropomorphic mark, a , is preeminently disposed on the female figurine representing possibly the
‘Moon divinity’ which was discovered at Turdaş (inventory n. V 8836) (Roska 1941: 140/1; Todorović
1969: X,1; Winn 1981: 273, fig. 41). The identification mark was well preserved from superimposed
scratches and fortuitous lines made after firing on the same figurine. The is also the sign DS 008.2 of the
Danube script. The statuette is made of fine sand, mica. The color is coffee light brown. The 13 linear signs
are inserted within an aureole. It has to be noted the indecision of the craftsman when it had to position three
of these linear signs at regular interspace. The psi-sign is positioned between the breasts, as it was a
sprouting mark. It can be interpreted as a benedictio gesture with three wide spread fingers.7

Fig. 5.303 - A complex and definite identity mark is
deeply incised and well preserved by any injury on
a Late Vinča female statuette from the settlement of
Petnica in front of the Small Cave (Republic of
Serbia).
(Photo Merlini 2004).
Fig. 5.304 - The Y between the breasts of the
“Moon Goddess” from Turdaş was well preserved
from superimposed scratches.
(Photo Merlini 2004).

7
See § 9.D.d.1 “Divine hierarchical pantheon and Rain divinity in the Precucuteni - Trypillia A phase”.
330
5.I.b.11 A list of divinity marks and an inventory of exclusively writing units may be sorted out

There are marks that were used only as divinity marks. Therefore, we can create a list of them. There are
signs that were used only in writing messages. As a result, we can build an inventory of exclusively writing
units.
Let us take the “comb” as example because this ancient "sacred symbol" was employed from the Danube
script. According to my inventory, when it is a sign of writing it can have three-four-five-six teeth and some
of them can be long and others short. Nonetheless, in any case the bar that joints the strokes is horizontal. 8
Particularly emblematic is the tri-lines comb reflecting, as ritual ideogram according to Winn, three united
sacred sources and serving as invocation of sacred power symbolized by the Great Goddess as personified by
a triad of female divinities (Bird Goddess, perhaps Bear Goddess, and Deer Goddess) (Winn personal
communication 2004).
At first glance, the same ritual ideogram appears isolated on the backs of one of the biggest figurines from
Isaiia (Moldavia, Romania)9 and of a statuette from the Poduri pantheon (Precucuteni II, 4780-4619 cal. BC)
(Moldavia, Romania). The parallel lines joined by a bar are four on the back of a statuette found at Târgu
Frumos (Precucuteni III) (Moldavia, Romania).

Fig. 5.305 – The mark of the
three parallel lines joined by
a diagonal bar occurs on the
backs of one of the biggest
figurines from Isaiia
(Moldavia, Romania).
(Photo courtesy of N.
Ursulescu).
Fig. 5.306 – The mark of the three
parallel lines joined by a diagonal
bar occurs on the backs of a statuette
of the Poduri pantheon (Moldavia,
Romania).
(After Bulgarelli D. Prehistory
Knowledge Project).
Fig. 5.307 – Four parallel lines
joined by a bar on the backs of a
statuette found at Târgu Frumos
(Moldavia, Romania) belonging to
Precucuteni III culture.
(Photo Merlini 2008)

If one observes more carefully the marks, one can note many features pertaining to a symbol representing the
essence of the divinity or one of its attributes. At first, one has to consider that the tri-lines and the four-lines

8
The sign of the tri-lines topped by a horizontal bar has been listed DS86R in the 2004 Winn’s inventory (Winn online)
and OE 174 in Haarmann’s one (Haarmann online). The four-lines topped by a horizontal bar correspond to, in the
respective inventories, DS 92 and OE 176.
9
It is the statuette no. 3.
331
are not topped by a horizontal bar as in the inventory of the Danube script, but by a diagonal one (although it
runs from left to right over the statuettes from Isaiia and Targu Frumos and starts on the right hand side in
the instance from Poduri). This is a key distinction between the comb as sign of writing and the comb as a
divinity identifier.10
Applying the matrix of markers and rules, one can additionally note that it is a single mark quite wide in size
and prominently positioned, it occurs on a typology of artifacts such as female statuettes that represents and
reveals the divinity, it is located in all the figurines on the same strategic part of the anatomy (the upper part
of the backs), it is made before firing, it is very deeply incised and carefully and precisely made, and it is
always well preserved from superimposed scratches made during the rituals or by accident. In conclusion, it
is more confident to consider the tri-lines and the four-lines topped by a diagonal bar as divinity identifiers
than signs of a writing system, decorations, or generic symbols. A similar slanting tri-line occurs on the
vulva and on one of the breasts of a Vinča C twining figurine found at the eponymous settlement. The fact
confirms the spread, in a wide geographic area, of a religion that employed the same sacred divinity
identifiers.

In conclusion, observing a mono-sign of pictographic root that was very well and deeply traced before firing
on a prominent position and/or on strategic parts of a figurine, a seal or a vase, one has high probabilities of
dealing with a divinity identifier and not with an inscription.
Sometimes the name of the divinity or its monogram becomes a tool for reiterated outlining: a sign
highlighted sign by repeatedly traces marked out during a ritual. In this case we return into the script
framework for the producer of the message and the divinity and not necessary for the believer.

5.I.c A semiotic Matrix to distinguish between signs of writing and divinity identifiers

Contrapositions Signs of writing Divinity identifiers

Global vs. local Script was in use in tens of sites over Divinity marks are local signs.
a wide area.

Taking place on all An inscription can be hosted by all A divinity identifier is prevalently
kind of objects vs. on kinds of objects. placed on representational objects of the
some selected types of divinity such as figurines, vases, or
objects seals.
Occurring on many An inscription can be disposed on any A divinity mark is positioned
parts of an object vs. on part of the objects, although some prominently. When it occurs on a
restricted areas of it kinds of inscriptions are restricted to figurine, it is located outstandingly
some specific areas of them. and/or on strategic parts of the anatomy.

Poorly marked vs. An inscription might be imprecise in The scribe is careful and precise in
clear-cut signs and carelessly made. making a divinity identifier.

Independent of firing A text is often made before firing, but In general, a divinity identifier is made
vs. it might also be made after firing. It before firing and very deeply incised.
before firing could be incised with a variable grade
of pressure.

Different number of Although script is mainly made up of A divinity identifier is in general a

units in play one or two signs, one can also find mono-sign.
three- and more- signs inscriptions.

10
In the Precucuteni-Tyrpylla A culture the comb appears as sign of writing on a human torso from Tarpeşti (Moldavia,
Romania).
332
 Abstract roots vs. The script is made up of abstract signs A divinity identifier often has a
pictographic roots rather than naturalistic motifs. pictographic root.

Patterns and layout Inscriptions show the most varied
patterns, in horizontal, vertical, or
circular rows. Despite this variety,
signs are arranged along sequences,
often linear.
A divinity identifier often has the shape
of a cartouche and it is inscribed inside a
reserved space organized according to a
typical layout for reading a cartouche.

Superimposed Scratches or scribe’s imprints A divinity mark is preserved from

scratches vs. sometimes superimpose inscriptions. superimposed scratches made during the
preservation of signs rituals or by accident.

Inventory vs. There are signs that are used only in There are signs that are employed only
catalogue writing messages. Therefore, we can as divinity marks. Therefore, we can
build an inventory of exclusively create a precise and systematic catalogue
writing units. of them.

5.H Testing the matrix: the Gradešnica script debugged

The present chapter tests the “Matrix of semiotic rules and markers” on the well-known inscribed receptacle
from Gradešnica (Bulgaria) in order to add a raw plug to the inspection of the internal structuring of the sign
system developed in Neolithic/Copper Age time-frame in the Danube basin and beyond.

5.H.a One inscribed object, many published variations in its signs

Sometimes, also the celebrities under the spotlights for decades still have hidden unexpected features. The
well-known Gradešnica shallow vessel with rectangular base and low, thinned and outside bent walls was
unearthed in 1969 in Northwestern Bulgaria on the floor of the second building level of the dwelling n. 1
from a prehistoric settlement next to the village of Gradešnica (Vratsa County). The dwelling was quite
huge, 9 x 5 meters, and bipartite. In the northern room, the remains of an oven, a grinding stone and around
ten vessels were found. In the southern room, two plates among which that one bearing signs and statuettes
were found. According to the archaeologist in charge, this room had religious function (Nikolov B. 1974). If
so, the Gradešnica receptacle and its signs have meaning interpretable within the religious mythological
system of these Neolithic communities.
In the same site, signs have been discovered on the bottom of pottery incised before firing. The signs from
Gradešnica have different shapes: some of them depict stylized human figures, other represent geometrical
patterns, other are very difficult to interpret. They are more than 40 and B. Nikolov considered that they
compiled the most ancient set of ideograms from this area of Southeastern Europe (B. Nikolov 1974: 33).
According to DatDas evidence, the central culture from the Stamina stage of the Danube script was the
Gradešnica – Brenica (48.9% over the montant global of the signs of this stage), which settled in
Northwestern Bulgaria and was characterized by extensive utilization of the script as well as by engraved
abstract geometric ornaments forming spiral-meander motives often incrusted with white or red paint.
Several authors noted signs and pictograms belonging to the Gradešnica – Brenica culture. According to
Gimbutas, from Gradešnica comes “one of the best examples of Old European script” (Gimbutas 1982: 87).
The Gradešnica receptacle is kept at the Museum of history of Vratsa with inventory number A-2700. The
object is displayed on line in 3D and accompanied by an identity card at the “Virtual Museum of the
European roots” managed by the European MU.S.EU.M. project
http://www.europeanvirtualmuseum.it/museum/schedabase.asp?reperto=113. The problem of its dating is not
secondary, due to the claim of the discoverers (B. Nikolov, V. Mikov and G. Georgiev) and other Bulgarian
archaeologists that it is bearing signs of literacy displayed on four rows and belonging to the oldest script in
333
Europe or even in the world (V.I. Georgiev 1969: 32-35; B. Nikolov and V.I. Georgiev 1970: 7-9; B.
Nikolov and V.I. Georgiev 1971: 289). It is worth noticing that the signs on the Transylvanian Tărtăria
tablets had been relegated by them to Coţofeni cultural horizon in order to argue that the marks on the
Gradešnica receptacle, as well as on the Karanovo seal and other Bulgarian artifacts, are the first written
record in human history: the “Gradešnica-Karanovo writing” (G.I. Georgiev and V.I. Georgiev 1969).
The discoverers attributed the findspot to the first half of the Chalcolithic period corresponding, according to
them, to the cultures of Karanovo V (Mariţa culture) and Boian - Vidra - Gumelniţa I (B. Nikolov, 1970; B.
B. Nikolov 1974: 34). Based on uncalibrated C14 results, the linguist V.I. Georgiev placed the Gradešnica
shallow receptacle in a later period; i.e. in the second half of the fourth millennium. It is not for a case that he
was in search for Minoan connections. Mistaking the text on the face side as aligned in “rows” divided with
horizontal lines, he underlined that this is typical for the Cretan, Hittite and other ancient scripts. Concerning
the signs on this side, he emphasized the “M” from the third row as analogous to a sign occurring in the
Karanovo seal and in the Cretan script, a triangle that is a sign from the Cretan script as well as the Greek
letter Δ, a small angle-sign with analogies in the Karanovo seal and in the Phaistos disc. With reference to
the signs surrounding the human figurine on the backside of the little tray, he thought to have detected –
starting from the right side of the figurine and moving up-downwards – again a Δ and a small angle-sign, and
than a “Hanger” resembling sign 32 from the Cretan script (after Evans I 1909: 232), an “Axe” similar to
sign 12 from the Cretan script (after Evans I 1909: 232), and a “Hand (elbow)” corresponding to sign 8 from
the Cretan script (after Evans I 1909: 232) (Georgiev V.I.; 1969: 11; 1970: 8). For a critic to this chronology
and comparative approach, see Winn (1981: 214). Makkay inclined to the early Vinča C phase (Makkay
1990: 78). Gimbutas considered Gradešnica to be a Vinča settlement and ascribed the shallow vessel to the
Vinča B culture dated around the 5000 BC (Gimbutas 1982: 87) or the early 5th millennium BC (Gimbutas
1991: 313). This date has been substantially challenged by J. Todorović who believed that the Gradešnica
evidence could not be synchronized with Vinča B framework because of the higher level of development of
its script compared to that of Turdaş (Todorović 1970: 82). Nowadays scholarship agrees to inscribe the
Gradešnica receptacle to Early Copper Age; III phase. Accepting this date, it is chronologically positioned
before another Bulgarian icon of the Neolithic and Copper Age script: the Karanovo seal, which is ascribed
to Karanovo VI (B. Nikolov et al. 1970).
However if the dating of the Gradešnica artifact is quite settled, are we sure that it actually bears signs of
literacy and not merely decorations, symbols, or even simple scratches? The marks have to be analyzed by
semiotic criteria. However, one immediately discovers that most of the authors, dazzled by a first-eye of its
shape and aligned signs along reading rows, consider it a tablet or a plaque (Winn 198: 210, Renfrew 1973:
177, Masson 1984: 108). Nonetheless, it is actually a little, rounded shallow receptacle (12.5 cm. long by
10.5 cm. wide and 2 cm. high) with evident lips, and two holes for suspension (Nikolov V. 1990: 47;
Gimbutas 1991: 313 fig. 8-12). The misunderstanding started from the excavator who judged it a “plaquette
en argile, ayant forme d’un petite pot, sur laquelle sont incises des signes écrits” (Nikolov B. 1974: 33).
According to the archaeologists in charge, the small tray was discovered, in a cultic place, together with a
well-preserved figurine and two clay vases (B. Nikolov 1970). The bottom of one vase is inscribed with an
anthropomorphic figure, while the bottom of the other is bearing script-like signs. Therefore, the context of
the Gradešnica evidence is religious although there is not an adequate amount of information to discuss if the
mentioned occurrences (the place, the location, the assemblage, and the marks) formulate a symbolic system
employing signs of literacy. For example, only a protein residue analysis would tell us what the receptacle
was used for (to display/offer sacred liquid or oil, for example?)
During the spring of 2005, I had the opportunity of checking the object personally at the National Museum of
History in Sofia. The receptacle is made of clay, the color is grey, and the preservation state is quite fair. It
was never restored. Inscriptions are incised on both sides, many of the signs are crudely marked and
sometimes they are superimposed by scratches and fortuitous lines made after firing, nevertheless in general
they are quite distinctive in shape. In the next paragraphs I will present some observations on the signs of the
Gradešnica little tray. Then I will apply on them the matrix of semiotic markers and rules in order to evaluate
the possibility of the presence of elements of literacy (Danube script) and to distinguish the potential text,
without of course knowing what it stood for, from compounds of signs associated to other communication
codes, among them decorations, symbols, divinity identifiers.

334
 Fig. 5.308 – Indecisions on the part of the scribe of the Fig. 5.309 – The Gradešnica receptacle is
Gradešnica receptacle: an example. covered by scratches: an example.
(Photo Merlini 2005). (Photo Merlini 2005).

5.H.b A pregnant anthropomorph

Regarding the outside of the artifact, I present a montage showing also the lips. One can recognize at one
look a human-like stylized figure fixed in a ritual posture with raised arms, surrounded by numbers of
triangular, V-shaped and meandering motifs. This makes one concentrate instinctively. In fact, as we will
discuss below, the starting sign for decoding the message is the focal point of the anthropomorph: i.e. the
deep dot placed inside the central lozenge, which depicts the torso (Merlini 2004a: 87).
The symbolic figure is quite correctly rendered in the published drawings, although with some discrepancies
also in the discoverer’s presentations (see for example B. Nikolov 1970 vs. B. Nikolov 1974). The stylized
figurine is positioned prominently on the “back surface” of the receptacle. Besides, it is in high relief and its
outline is much more deeply incised compared to the surrounding signs. The head is represented as double
downward triangle, as well as the legs. As we will note, the rhomboid torso indicates it as a female, echoing
the vulva. In literature, it is supposed to be standing (Winn 1981: 212) or sitting (V. Nikolov 1990: 48), with
arms rose in ritual adoration (Georgiev Vl.I. 1970: 8; Nikolov V. 1990: 48). According to V. Nikolov, the
pedestal might be interpreted as a wide chair. When occurring on such a seat, the Chalcolithic figurines are
in general interpreted as Great Mother Goddesses. Therefore, the anthropomorph from Gradešnica might
depict Mother Goddess in the moment of invoking, possibly looking downwards, the Sky God to appear for
the sacred marriage from which the novel agricultural cycle outset by conception of new crops (Nikolov
1990: 48).
It is an unconvincing position that one in adoration remaining in a sitting posture. Besides, the seat of
Neolithic and Copper Age female figurines is either a throne or a delivery stool and both types do not fit
Nikolov’s interpretation. The waited presence of a supposed Sky God is purely speculative. Also the
explanation of the small pits/dots on the receptacle as composing a cross-like sign associated with the ideas
of sun, warm, life, and abundance is very tentative as well as the suggestion that it expresses a good luck
formula. Finally, such a subordinate position of the Mother Goddess to the Sky God is lacking of historical
perspective or context.

335
The raised high curved arms outgoing from the torso, the hands as open spirals and the posture rendered in
dynamic balance on a little upright triangle representing legs point to a dancing pose. Following the liturgical
suggestions, one can consider it a female “oranting dancer”, i.e. a “dancing orant”. The anthropomorph is
composed of a rhombus for the body and four triangle-like forms: each of them shows a dot incised in the
barycentre. The dots follow two typologies: the one in the central lozenge is much more deeply carved than
the other ones, which form an ideal cross. A sixth dot is less profoundly incised than the other ones and is
placed at the end of a > motif located in the lower register. The “oranting dancer” is evidenced and
highlighted by a doubled outline: a) the head is composed of a twofold triangle with a dot inside; b) two
arcuate arms create open triangles with a dot inside; c) a double lozenge with a deep dot stands for the body.
Only one single-lined triangle with a dot in the centre constitutes the oscillating base of the stylized
anthropomorph, actually the legs.
The figurine on the shallow vessel from Gradešnica shares many features, included the dotted lozenge to
render the body, with a schematic pregnant anthropomorph depicted on the bottom of a vessel from the same
settlement (stratigraphic level B) (Nikolov B. 1974: fig. 70). A similar rendering is incised on a bottom of a
vessel from the same culture and site. According to Todorova, it is part of a pictogram (Todorova 1978: tab
31/ 4). However, it is the barycentre of a complex inscription composed of seven signs organized in a block
format. In addition, the figurine on the shallow vessel from Gradešnica echoes an oranting dancer –
triangular head, raised arms, legs as inverted triangle to render movement - portrayed on an Early Copper
Age Gumelniţa A2 loom weight discovered at Cascioarele (Muntenia, Romania).

Fig. 5.310 – At Gradešnica, a Fig. 5.311 – A similar Fig. 5.312 - A Gumelniţa A2

similar schematic pregnant
anthropomorph is incised on the
bottom of a vessel.
(Nikolov B. 1974: fig. 70).
schematic pregnant
anthropomorph is incised on
the bottom of another vessel
from Gradešnica.
(Todorova 1978: tab 31/ 4).
oranting dancer recovered at
Cascioarele (Romania) has many
features in common with the
anthropomorph from Gradešnica.

Similarly to the Ocna Sibiului “not phallus” and other incised objects of the Danube Civilization (Paul on-
line; 2002; Merlini 2005a), the back of the Gradešnica flat receptacle seems contemporaneously to employ
two communication channels: iconic symbolism and an inscription. They are represented, respectively, by a
stylized pregnant “oranting dancer” with raised arms who is in high relief and is positioned prominently on
the receptacle and by a numbers of triangular, V-shaped and meander motifs surrounding it.
The starting sign for interpreting the message expressed by iconic and writing codes is also the focus of the
figurine as well as of the object: the deep point inserted inside the body-lozenge. Since Palaeolithic times, the
lozenge is one of the most social used geometric shapes, as the triangle with the vertex downward is, to
express the feminine body as receptacle of fertility. The reason is obvious: rhombus and triangle allude to the
vulva, the pubic triangle, and the womb; therefore, they are connected to the life-source. Such social
symbolism covers the entire Neolithic period up to historical times, as recorded by a famous passage of
Herodotus. For example, in Mesopotamia the lozenge was closely associated with Inanna/Ishtar (Farmer
2003a: 20).
In the Danube Civilization, a lozenge is frequently depicted on the conspicuous abdomen of pregnant
figurines that, in their turn, show a body in the shape of a lozenge. Coupling iconic representation with
336
geometric symbolism, the seminal potentiality of a woman, a female forebear, mythical progenitor, or
divinity is doubly emphasized (Merlini 2004: 89). Consequently, if the diamond encloses a point, like in the
Bulgarian shallow vase, it evidently marks the uterus containing the fetus because impregnation is implied.
This conception is very widespread in time and space. For example in dreams and hallucinations of the
Tukano Amazonian peoples, “diamonds or lozenges represent the female organ. When marked with a central
dot, impregnation is implied. A coherent group of diamonds, each with a central dot, represents the
relationship between various exogamous groups. A vertical chain of diamonds represents a line of matrilineal
descent. The motif stands for biological and social continuity” (Reichel-Dolmatoff 1987:16). Golan
advanced the idea that in Palaeolithic symbolism the rhombus signified a snare for an animal and the zigzag
an animal’s track and that only later these motifs became symbols of earth and water (Golan 2003: 220).
Does the female Gradešnica anthropomorph tell us about expectancy and birth? Has one to deal with
pregnancy and giving birth of a definite woman, a mythical ancestor, or a divinity? Was the receptacle used
in liturgies to challenge the infecundity?

Fig. 5.313 – The signs on the outside of the Gradešnica receptacle: a montage with the lips.

Support to this interpretation comes from other Neolithic and Copper Age pregnant anthropomorphic figures.
The incision or the paint of a rhombus with a dot or a dash (in the centre or in all four corners) on the belly-
womb (not on the vulva) or on fat parts of the body (buttocks, thighs and hips) communicates the condition
or period of expecting a baby and “must has been the symbolic invocation to secure fertility” (Gimbutas
1982: 205). All fat parts of the body were significant, considered growing, or pregnant. The stability and
importance of this symbol, often arranged in chains, are evident throughout time in all the Neolithic and
Copper Age cultures of the Danube basin.
The dotted lozenge is a recurrent sign of the script utilized by the Gradešnica culture and typical of it, being
not present in ars scribendi utilized in other regions and cultures. It appears over other bottoms from vessels
discovered at horizon 3. It is present near the centre of a bottom (Nikolov B. 1986: fig. 14/116; Todorova
1996: 208, fig. 113/14) as a unit of a complex inscription composed of six signs arranged according to a free
format. On another bottom, the dotted diamond participates to a fragmented inscription – the detectable signs
are six – arranged in a circular format, but with horizontal orientation (Nikolov B. 1974). In a third
inscription, it is connected to another typical sign of the Gradešnica culture: the horns of consecration
(Todorova 1986: fig.113/15; Nikolov B. 1986: fig. 14/117). The dotted rhombus occurs, linked to an E by a
ligature, on a bi-sign inscription incised on a spindle-whorl (Nikolov B. 1974). It is also present, connected
337
to a hook, on an inscription inscribed on another spindle from the same settlement and period. According to
Todorova, it is a component of a pictogram (Todorova 1978: tab 30/13). The dotted lozenge is a unit of an
inscription engraved on a fragmented figurine discovered located at a site on a low, naturally defended
terrace, near a brook and springs, which located c. 3 km. northeastwards from the village of Borovan (in the
Lapchovets) and belonging to the same culture (Hansen II 2007: Tab. 328, fig. 13).

Fig. 5.314 - The dotted Fig. 5.315 - The diamond with a dot in Fig. 5.316 – On another bottom,
lozenge as a unit of a the centre participates to a the dotted lozenge is connected to
complex inscription on a fragmented inscription from another typical sign of the
bottom of a vessel from Gradešnica. Gradešnica culture: the horns of
Gradešnica (Bulgaria). (After Nikolov B. 1974). consecration.
(After Nikolov B. 1986: fig. (After Todorova 1986: fig.113/15).
14/116)

Fig. 5.317– At Gradešnica, the
dotted rhombus occurs in a bi-
sign inscription incised on a
spindle-whorl.
(After Nikolov B. 1974).
Fig. 5.318 - The dotted lozenge
occurs in a bi-sign inscription
engraved on another spindle-
whorl from Gradešnica.
(After Todorova 1978: tab 30/13).
Fig. 5.319 - The dotted diamond
is a unit of an inscription
engraved on a Borovan figurine,
which belongs to the same
culture.
(After Hansen II 2007: Tab. 328,
fig. 13).

At Borovan, the already noted mark of the dotted diamond linked to a hook appears on the belly of a figurine
depicting a young and without breasts pregnant human being (Nikolov 1979: 27, fig. 9.a; Hansen I: 231, II:
tab. 328, fig. 4). The same mark is present, within an ornamental frame, on another bottom from the same
settlement (Todorova 1996: 208, fig. 113/9).
I have already presented the lozenge with a dot depicted as a symbol in the centre of the bottom from a
vessel recovered at Gradešnica. As emblematic decoration, it recurs three times on another bottom from
horizon 3 (Nikolov B. 1986: fig. 14/118; Todorova 1996: 208, fig. 113/10).
On bottoms from Gradešnica, the single and double dotted rhombus is recurrent as individual sign deeply
engraved (Todorova 1996: 208, fig. 113/5; Todorova 1996: 208, fig. 113/11).
On figurines from Gradešnica, the dotted diamond is a key element of emblematic decorations. If this
geometry delineates the body of the anthropomorph on the shallow receptacle, it is the barycentre of the

338
body of female statuettes. It occurs on the right side of an 11 cm. behead pregnant figurine from
stratigraphical level B (Nikolov B. 1974: 56). Deeply punctured, it is the centre of a decoration in column
incised on a guillotined and adored (with raised arms) female statuette. In gray color, the figurine is 9.5 cm
in height (Nikolov B. 1974, fig. 57a; Busch 1981: 149, fig. 164).

Fig. 5.320 - At Borovan, the
mark of the dotted diamond
linked to a hook appears on
the belly of a figurine.
(After Nikolov 1979: 27, fig.
9.a).
Fig. 5.321 - The dotted lozenge Fig. 5.322 - As emblematic decoration,
linked to a hook is present on the dotted lozenge recurs three times on a
another bottom from bottom from Gradešnica.
Gradešnica. (After Nikolov B. 1986: fig. 14/118).
(After Todorova 1996: 208,
fig. 113/9).

A B

Fig. 5.323 - On bottoms from Gradešnica, the single Fig. 5.324 - The dotted Fig. 5.325 - The dotted
and double dotted lozenge is recurrent as individual lozenge on a fragmented lozenge on another
sign. female figurine from female figurine from
(After A) Todorova 1996: 208, fig. 113/5; B) Todorova Gradešnica. Gradešnica.
1996: 208, fig. 113/11). (Graphic elaboration by (Graphic elaboration
Merlini after Nikolov B. by Merlini after Busch
1974: 56). 1981: 149, fig. 164).

The dotted lozenge appears in multiple depiction on an offering vessel from Gradešnica as element of a
complex decoration arranged in diagonal band (Todorova 1986: 80, fig 12 b).
In a doubled rendering, the lozenge with a dot in the centre occurs on a shard from the same settlement
(Todorova 1986: fig.114/169).
The dotted diamond is present in other sites belonging to the Gradešnica culture. I have already presented it,
within the script context, on figurines found in a site next to Borovan. The same site yielded this geometry
also within the ornamental framework. An ornamental doubled dotted lozenge occurs on a shard from
Borovan (Nikolov 1979: 16, fig. 2.e).

339
 Fig. 5.326 - Dotted diamonds appear in a Fig. 5.327 - A doubled
decoration arranged in diagonal band on an dotted lozenge occurs on a
offering vessel from Gradešnica. shard from Gradešnica.
(After Todorova 1986: 80, fig 12 b). (After Todorova 1986:
fig.114/169).
Fig. 5.328 - A doubled
dotted lozenge occurs on a
shard from Borovan.
(After Nikolov 1979: 16,
fig. 2.e).

The dotted rhombus occurs also in Early Chalcolithic (according to Bulgarian chronology) decorations at
Selishten dol (Chohadzhiev 2007: clxvi, fig. 21/4), Dren-Bunishte (Chohadzhiev 2007: clviii, fig. 13/1;
ibidem clviii, fig. 13/4), Slatino on fragments of objects with pits with different decorations (Chohadzhiev
2006: 265, fig. 197/3), at horizon 6 (Chohadzhiev 2006: 219, fig. 149/13; ibidem 226, fig. 157/9; ibidem 253,
fig. 184/2; ibidem 211, fig. 141/4; ibidem 211, fig. 141/2), on figurines from horizon 5 (Chohadzhiev 2006:
246, fig. 177/1; ibidem 245, fig. 176/2), and pottery from horizon 4 (Chohadzhiev 2006: 223, fig. 154/11).11

Fig. 5.329 - The dotted Fig. 5.330 - The dotted rhombus on Fig. 5.331 - The dotted rhombus
rhombus on pottery at pottery at Dren-Bunishte (Bulgaria). on pottery at Dren-Bunishte
Selishten dol (Bulgaria). (After Chohadzhiev 2007: clviii, fig. (Bulgaria).
(After Chohadzhiev 2007: 13/1). (After Chohadzhiev 2007: clviii,
clxvi, fig. 21/4). fig. 13/4).

11
For the employment of the script at Slatino, see § 9.D.b Consistent ars scribendi examples from the Gradešnica –
Brenica culture and § 9.D.c “Inscribed figurines of the Gradešnica-Slatino I-III and Slatino IV assemblage”.
340

Fig. 5.332 - The dotted rhombus on pottery
at Slatino (Bulgaria).
(After Chohadzhiev 2006: 265, fig. 197/).
Fig. 5.333 - The dotted
rhombus at Slatino horiz.
6.
(Adapted after
Chohadzhiev 2006: 219,
fig. 149/13).
Fig. 5.334 - The dotted
rhombus on pottery at Slatino
horizon 6 (Bulgaria).
(Adapted after Chohadzhiev
2006: 226, fig. 157/9).

Fig. 5.335 - The dotted rhombus on a figurine from Slatino Fig. 5.336 - The dotted rhombus on
horizon 6 (Bulgaria). pottery at Slatino horizon 6
(Adapted after Chohadzhiev 2006: 253, fig. 184/2). (Bulgaria).
(Adapted after Chohadzhiev 2006:
211, fig. 141/4).

Fig. 5.337 - The dotted rhombus on pottery at Slatino horizon 6 Fig. 5.338 - The dotted
(Bulgaria). rhombus on a figurine from
(Adapted after Chohadzhiev 2006: 211, fig. 141/2). Slatino horizon 5 (Bulgaria).
(Adapted after Chohadzhiev
2006: 246, fig. 177/1).

341
 Fig. 5.340 - The dotted rhombus on pottery
Fig. 5.339 - The dotted rhombus on a figurine from Slatino at Slatino horizon 4 (Bulgaria).
horizon 5 (Bulgaria). (After Chohadzhiev 2006: 223, fig.
(Bulgarelli D. © Prehistory Knowledge Project). 154/11).

If within the script framework the dotted lozenge is typical of the Gradešnica culture, as a symbol or element
of a decoration, its use neither was restricted to this cultural milieu, nor started within it. A very ancient
occurrence (c. 6000 BC) is from Gladnice, near Priština (on the bank of the river Gračanica, Kosovo), which
is the first Starčevo settlement, which obtained a reliable data concerning the vertical stratigraphy (Tasić
N.N. 1998: 45).
Over a pregnant statuette in a squatting position of Gladnice I period, a dot has been deeply dig into the
centre of a rhombus which was positioned above the belly (Gimbutas 1982: 206 plate 203, 160). The
schematized figurine is made of terracotta and is characterized by three and three diagonal incised lines that
mark vulva and thighs. Dotted lozenges are depicted on the base of the throne on which the already presented
Lady I of Kökénydomb (see paragraph 5.E.b.5) is seated: a cultic vase from house 24 unearthed at the site of
Hódmezövásárhely-Kökénydomb (Southeastern Hungary) in the shape of an enthroned female divinity open
in the upper part and without face representation (Banner 1959). The vase is a bit older than the Gradešnica
receptacle and the rich decoration on the lower part of its garment shows rhombuses, “Ms”, “Xs”, circles,
striated triangles, zigzags, lines parallels and “script signs” (Gimbutas 1991: 71) made of white incisions and
incrustations which are embedded inside panels for "reading". Dated at Classical Tisza period (early 5th
millennium BC according to Gimbutas 1982), it was originally painted in red and contained grain and ash:
the offer to the divinity. The seed of the wheat is sowed inside the body of the holy mother; the ploughing
stands for the act of impregnation, the coming out of the new plant represents birth. Gimbutas suggested that
the anthropomorphic vessel could have been put to ritual use filling it with water and then carrying it over
the countryside (Gimbutas 1982: 208). The symbolic code of Lady Kökénydomb makes clear that the dot
within a lozenge represents not only the fetus in the womb, but also the seed inside the cultivated land.
Therefore, the dotted diamond indicates the sown earth and attests the intimate link between female fertility
and vegetation fertility (Rybakov 1965 1: 30-31). Gimbutas reminded that some figurines were impressed
with actual grains on belly, buttock, and thighs (Gimbutas 1974: fig. 156).
Several authors refer the dotted lozenge to a conventional representation of the seed in the field, but it is a
misleading conception for three reasons. First, it is improbable that at the initial phase of farming people
formed quadrangular plots. Archaeological data show that plots of tilled soil usually had geometrically non-
regular outlines (Golan 1991: 218). Second, the lozenge is a very strange shape for orderly spatial
regulations of fields: I have never seen rhomboid plots of cultivated land. Third, the supposition that the
diamond became symbolic of the quadrangular cultivated plots contrasts the fact that this motif emerged as
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early as the Upper Palaeolithic period when the land was not being cultivated yet. Golan advanced the idea
that in Palaeolithic symbolism the rhombus signified a snare for an animal and the zigzag an animal’s track
and that only later these motifs became symbols of earth and water (Golan 2003: 220).
At the same time, for such very early cultures it is hard to follow Golan’s suggestions connecting - as in
ancient China, Greek and Rome - the rhombus as well the square with the earth and its prominent deity in
opposition to the circle and the oval which represent the celestial sphere (Golan 2003: 219). It is much more
plausible to connect this symbol with the cultivated land generally speaking and its power of growing.

Fig. 5.341 – Dotted rhombus over a pregnant Fig. 5.342 – Dotted sketching quadrilaterals on highly
anthropomorphic figure from Gladnice, near schematic figurines or charms from the Period II of the
Priština (Kosovo) dated c. 6000 BC. Sitagroi settlement (Greece).
(After Gimbutas 1982: 206 fig. 203). (After Gimbutas 1982: 207 fig. 159, 160).

Several dotted sketching quadrilaterals, have been found at Sitagroi (Greece) depicted during the fifth
millennium BC. This mark is the focus of the belly on highly schematic figurines or charms made in light-
brown fabric around the first half of the fifth millennium BC, during the Period II of the settlement
(Gimbutas 1982: 207 fig. 159, 160) which was coeval to the Gradešnica culture.
The lower abdomen from a fragment of a sitting pregnant little figure shows a system of lozenges and
triangles with a point into the centre: the symbols are positioned inside a frame made of corpulent body,
prominent belly; navel emphasized by a hole and nicely rounded buttocks. The symbolic design has been
painted in black on red slipped terracotta during the Period III of the tell (around 4500 BC). On the upper
left, an egg has been depicted (Gimbutas 1982: 207 fig. 162; Renfrew, Gimbutas, Elster 1986 fig 9.54).
Schematic figurines incised with a dotted diamond have been found in the culture Gumelniţa A1 phase, c.
4500 BC at Vidra (northern Romania) (Rosetti 1938: fig 12) which was quite contemporary to the
Gradešnica receptacle. The first statuette has holes for suspensions and is distinctive for a complex ornament
over all the body, which seems to be a liturgical garment and is made of a combination of geometric
elements between them a dotted diamond in front and on the back. In both cases, the diamond is the vertex of
a triangle with long curved segments.
In the second figurine, the dotted lozenge is positioned on the back and a meander is on the belly.
Dots are transformed into minute disks on the ‘Goddess of Vidra’. Being a key element of its complex
excised decoration, dotted-disked lozenges adorn the nape, the back, the bellies, as well as the hips of this
anthropomorphic ritual vase, which is one of the masterpieces of the Gumelniţa culture.
Made by “specialized workers with an acute artistic sense” the ‘Goddess of Vidra’ may has been used “in
large worship rituals regarding the life of the entire community, thus having a general representativity”
(Andreescu 2002: 106).

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 Fig. 5.343 – The lower abdomen from a
fragment of a sitting pregnant little figure shows
a system of lozenges and triangles with a point
into the centre. The symbolic design has been
painted during Sitagroi III (Greece).
(After Gimbutas 1982: 207 fig. 162).
Fig. 5.345 – Schematic figurine incised with a dotted
lozenge positioned on the back and a meander on the
belly. It has been found in the culture Gumelniţa A1
phase at Vidra (northern Romania).
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Fig. 5.344 – A schematic figurine incised with a dotted
diamond has been found in the culture Gumelniţa A1
phase at Vidra (northern Romania).
(After Rosetti 1938: fig 12).
Fig. 5.346 – Dots are transformed into minute
disks and dotted-disked lozenges adorn the nape,
the back, the bellies, as well as the hips of the
‘Goddess of Vidra’ from the Gumelniţa culture.
(Bulgarelli D. © Prehistory Knowledge Project).
Analogous signs are aligned and incrusted in white on a face of a black polished clay disc from Ploskata
Mogila, situated on 1 km eastwards from the village of Zlati trap (Plovdiv, central Bulgaria). The “amulet”
(Detev 1952: 337, fig. 333) is diameter – 4.5 cm and thickness – 0.8 cm. It belongs to Gumelniţa culture and
is dated c. 4000 BC (Gimbutas 1982: 208).
The single dotted diamond also occurs on figurines from Stoicani-Aldeni culture, local evolution of the
Karanovo VI - Gumelniţa - Kodžadermen cultural complex with Precucuteni and Cucuteni influences.

Fig. 5.347– Dotted-disked lozenges are aligned and Fig. 5.348 – The single dotted lozenge occurs on
incrusted in white on a clay Gumelniţa disc from figurines from Stoicani-Aldeni culture.
Ploskata Mogila (Plovdiv, central Bulgaria). (Bulgarelli D. © Prehistory Knowledge Project).
(After Detev 1952: 337).

This motif appears as well on several figurines from Precucuteni and Cucuteni culture. On a Trypillia A
statuette from Ukraine, the dotted diamond occurs on the belly as unit of a sequence of signs, among which a
vulvar one. A dotted rhombus appears on the abdomen of another figurine, with prominent breasts and
tremendous posterior, belonging to the same culture.

Fig. 5.349 – The dotted diamond among other emblematic Fig. 5.350 – The dotted lozenge on a
signs on a Trypillia A figurine from Ukraine. Trypillia A figurine from Ukraine.
(After Videiko in press). (After Videiko in press).

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The rounded buttocks of a Precucuteni-Trypillia A statuette from Lencăuţi show a complex outline
composed by a diamond-with-dot connected to curved “Ys” and surrounded by “Us”. V motifs are incised on
the womb; curved lines are evident on front and back of legs.
Another figurine belonging to the same settlement and the same period has dotted lozenges over the hips as
well as a Cucuteni A figurine from Bodeşti – Cetăţuia Frumuşica (Matasă 1946).
Sometimes the dot inserted in the diamond stretches out in a dash. A lozenge with a vertical stroke is the
only symbol on a figurine from Klišcev (Ukraine) (Lazarovici C.-M. 2005).

Fig. 5.351 – The rounded buttocks of a Trypillia Fig. 5.352 – Dotted lozenges are incised over the hips
A statuette from Lencăuţi show a complex outline of a Precucuteni-Tripolye A statuette from Lencăuţi.
composed by a diamond-with-dot connected to (After Lazarovici C.-M. 2005: 147, fig. 3-2).
curved “Ys” and surrounded by “Us”.

Fig. 5.353 – Dotted Fig. 5.354 – A lozenge with a vertical Fig. 5.355 – A diamond
lozenges over a Cucuteni A stroke is the only symbol on a figurine inserting a diagonal dash on the
figurine from Bodeşti – from Klišcev (Ukraine). chest of a Cucuteni A statuette
Cetăţuia Frumuşica. (After Lazarovici C.-M. 2005). from Răuceşti-Munteni.
(After Matasă 1946). (After Dumitroaia 1987).

The presence of several Cucuteni A statuettes that are bearing a diamond inserting a diagonal dash attests to
the symbolic importance of this motif. Four from Răuceşti-Munteni are wearing elaborate garments that are
decorated with this symbol (Dumitroaia 1987). In the first occurrence from Răuceşti-Munteni, the dashed

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lozenge is on the chest as element of a complex pattern composed of < and > signs, which is surrounding a
chevron containing multiple diagonal strokes and two circles representing the ovaries.

Fig. 5.356 – A multiple Fig. 5.357 – Multiple Fig. 5.358 – A dashed lozenge is positioned on the
rhombus with a diagonal dashed lozenges on a front (the abdomen and the throat) and on the back
stroke occurs on the belly Cucuteni A statuine of a Cucuteni A statuette with a necklace and a
of a Cucuteni A statuine from Răuceşti- multiple three-dotted diamond positioned on the
from Răuceşti-Munteni. Munteni. womb.
(After Dumitroaia 1987). (A. Dumitroaia 1987). (After Dumitroaia 1987).

A multiple rhombus with a diagonal stroke occurs on the belly of a second statuine and echoes a second one
positioned on the womb. The chest is adorned with seven diagonal strokes surrounded by 12 dots. The design
seems to represent the irrigated earth by rain and may be interpreted as a symbolic incantation to ensure
rainfall for sown soil. In the third statuette, the dotted rhombus is a part of a sequence of three vertically
aligned lozenges of different type accompanied with diagonal lines. Also in this occurrence, the rain
invocation is obvious. Finally, this symbol is positioned on the front (the abdomen and the throat) and on the
back of a statuette with a necklace and a multiple three-dotted diamond positioned on the womb.
A lozenge with a diagonal stroke occurs in the middle of the shoulders on a behead figurine from Bodeşti –
Cetăţuia Frumuşica (Moldavia, Romania), which is wearing a rounded medallion (Matasă 1946).
The same symbol, but with stroke inverted, appears on the back of a statuine from Bereşti (Moldavia,
Romania) (Dragomir 1985).

Fig. 5.359 – A lozenge with a diagonal stroke occurs in Fig. 5.360 – A rhombus with a diagonal stroke
the middle of the shoulders on a Cucuteni A figurine on a Cucuteni A statuine from Bereşti.
from Bodeşti – Cetăţuia Frumuşica. (Graphic elaboration by Merlini after Dragomir
(After Matasă 1946). 1985).

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Sometimes the lozenge has two or more dots or dashes inserted inside. Diamonds with two horizontal strokes
positioned one over the other are present on Cucuteni A statuettes from Mărgineni (Monah 1997: 316 fig.6)
and Truşeşti (Petrescu-Dîmboviţa M. et alii 1999).

Fig. 5.361 – Diamonds with two horizontal Fig. 5.362 – A lozenge with two horizontal dashes
strokes on a Cucuteni A statuette from Mărgineni. occurs on a Cucuteni A statuette from Truşeşti.
(After Monah 1997: 316 fig.6). (After Petrescu-Dîmboviţa M. et alii 1999).

On a figurine from Bodeşti – Cetăţuia Frumuşica (Matasă 1946), two dashes are diagonally positioned
within two diamonds which are located on the belly and on the chest in a way resembling an image inside a
mirror. On the back of a statuette from Moldova (Romania), the strokes are aligned (Monah 1997: 334 fig
82-5).

Fig. 5.363 – Two dashes are diagonally Fig. 5.364 – A diamond with two strokes aligned
positioned within two diamonds which are occurs on the back of a statuette from Moldova.
located on the belly and on the chest in a way (Graphic elaboration by Merlini after Monha 1997:
resembling an image inside a mirror on a 334 fig 82-5).
figurine from Bodeşti – Cetăţuia Frumuşica.
(Graphic elaboration by Merlini after Matasă
1946).

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The main symbolic motif of the couple of very schematized anthropomorphic divinities erected over a
Precucuteni III altar from Târgu Frumos (Iaši County, Romania) consists of rhombs, in the middle of which
there was a color-filled circle. This motif was interpreted in the Cucuteni- Trypillia ceramics as a feminine
representation (Markević 1981: 161-166). Therefore, its painted occurrence on the altar from Târgu Frumos
was considered worship evidence of a couple of feminine divinity, predating, as it was supposed, the couple
Demeter – Core, which assured the perpetuation of nature, vegetation, therefore of life itself (Makkay 1971:
139-141; Lévêque 1972: 175-176; Monah 1992: 192; 1997: 214).
In Precucuteni and Cucuteni culture the association between rhombus and cultivated land on one hand and
between dot and seed on the other hand, that we have above discussed presenting the symbolic code of Lady
Kökénydomb, is emphasized by four-partite dotted lozenges inserted over the abdomen of several pregnant
statuettes that are enthroned or standing in a reclining posture. Number of scholars certified the employment
of these representations in magic-religious liturgies (Cucoş 1974; 1993; M. Mantu, Gh. Dumitoaia, A.
Tsaravopoulos 1997: 179, 191, fig. 52, 127; Ursulescu et alii 2001-2002). Most of the figurines have been
found in a fragmentary state indicating that they have suffered some kind of a de-sacralization process during
magic-religious practices or at the end of them (Lazarovici C.-M. 2005). A Precucuteni-Trypillia A figurine
from Lencăuţi (Moldavia, Romania) has a quartered lozenge with a dot in each section incised above the
belly.
The design of its tattoo (or garment) is completed with various magic-religious symbols between them
lozenges with a vertical dash, lozenges with two diagonal strokes and dotted triangles. A figurine from
Cucuteni-Cetăţuia (Northern Moldavia, Romania) is marked by an elaborate magic-religious design with
signs including, in the very centre, a lozenge interwoven with a cross and deeply incised with a dot in the
middle of three sections whereas the above section shows a large spot in high relief (Buţureanu 1891). A
snake-like sign is depicted on the chest; V-lines run below the schematized head with elaborate coiffure and
pinched-up nose; parallel curved lines are incised on front and back of stumps arms; a second diamond with
three diagonal dashes is represented on the kidneys. Made in fine reddish-brown baked clay, the figurine is
high schematized but with a very polished surface. It belongs to the Cucuteni A phase, mid of the fifth
millennium BC (Gimbutas 1982: 205). Other figurines from the same settlement and from the same period
share the same symbol (Petrescu-Dîmboviţa M. et alii 1999).

Fig. 5.365 – A Precucuteni-Tripolye A figurine
from Lencăuţi (Bessarabia) has a quartered
lozenge with a dot in each section incised above
the belly.
( After Lazarovici C.-M. 2005: 147, fig. 3-3).
Fig. 5.366 – Two dotted lozenges interwoven with a
cross are the key of an elaborate magic-religious
design incised on a Cucuteni A figurine from
Cucuteni-Cetăţuia (Moldavia, Romania).
(Adapted after Gimbutas 1982: 206, fig. 204).

On the belly of a statuette one can distinguish that three sub-lozenges have a long horizontal dash inside
whereas the forth, on the right, is empty. On the abdomen of a second typology of statuettes, two arms of the
St. Andrews cross which quadripartite the lozenge overrun it as a sprouting bud making very clear the
association between the pregnant female womb and the cultivated land growing of plants. The same symbol
distinguishes figurines depicted in the last two figurines.
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 Fig. 5.367 – Three sub-lozenges
have a long horizontal dash
inside whereas the forth, is
empty, on the belly of a Cucuteni
A figurine from Cucuteni-
Cetăţuia (Moldavia, Romania).
(Graphic elaboration by Merlini
after Petrescu-Dîmboviţa M. et
alii 1999).
Fig. 5.368 – On the abdomen of a
Cucuteni A statuette from
Cucuteni-Cetăţuia (Romania), a
sprouting bud is rendered by two
arms of the St. Andrews cross that
quadripartite the lozenge.
(Graphic elaboration by Merlini
after Petrescu-Dîmboviţa M. et
alii 1999).
Fig. 5.369 – On the abdomen of a
Cucuteni A statuette from
Cucuteni-Cetăţuia ( Romania),
two arms of the St. Andrews cross
that quadripartite the lozenge
compose a sprouting bud.
(Graphic elaboration by Merlini
after Petrescu-Dîmboviţa M. et
alii 1999).

Fig. 5.370 – The same sign of the above images
occurs on the abdomen of a Cucuteni A statuette
from Cucuteni-Cetăţuia (Moldavia, Romania).
(Graphic elaboration by Merlini after Petrescu-
Dîmboviţa M. et alii 1999).
Fig. 5.371 – The same sign of the above images
occurs on the abdomen of a Cucuteni A statuette from
Cucuteni-Cetăţuia (Moldavia, Romania).
(Graphic elaboration by Merlini after Petrescu-
Dîmboviţa M. et alii 1999).

The positioning over the abdomen of lozenges divided into four equal parts with a dot in each compartment
characterizes many other statuettes belonging to Cucuteni A phase (4300-4100 BC). It is evident on a
figurine found at Igeşti-Scândureni (Moldavia Romania) where a quadripartite dotted diamond is inserted
inside another diamond (Coman 1980) and on a statuine from Truşeşti where the symbol is incised over the
shoulders (Petrescu-Dîmboviţa et alii 1999).

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 Fig. 5.372 – A quadripartite dotted diamond is within Fig. 5.373 – A quadripartite dotted diamond
another diamond on a Cucuteni A figurine from Igeşti- occurs over the shoulders of a statuine from
Scândureni (Moldavia Romania). Truşeşti.
(After Coman 1980). (After Petrescu-Dîmboviţa et alii 1999).

The rhombus divided into four equal and dotted parts is present also on an incomplete Cucuteni A figurine
from Drăguşeni at Botoşani (northern Moldavia, Romania). In the last instance, a similar motif recurs also
over the emphatic buttocks, but its shape is modified in order to adapt it to the rounded forms and it is
surrounded by diagonal strokes (Crîşmaru 1977: 67 fig. 55/2; Gimbutas 1987: 116 fig. 14-6).
Sometimes the four-partite dotted lozenge incised over the belly is the most pronounced feature conveying
the idea/desire of pregnancy opposed to infertility, the rest of the female body serving only as a background
to the ideographic concept. This is the case of the lower half of a terracotta figurine from Luka
Vrublevetskaja (Western Ukraine). The design of the statuette is completed with spirals on buttocks and
horizontal lines on tapering legs totally schematized. Made of light-brown fabric, the symbols are incised
white-filled. It belongs to Precucuteni-Trypillia A, late 5th millennium BC (Bibikov 1958: 400, pl. 108).

Fig. 5.374 – The rhombus divided into four equal Fig. 5.375 – The four-partite dotted lozenge incised over
and dotted parts is present on an incomplete the belly is the most pronounced feature on a fragmented
Cucuteni A figurine from Drăguşeni at Botoşani terracotta Precucuteni- Trypillia A figurine from Luka
(northern Moldavia, Romania). Vrublevetskaja (Western Ukraine).
(After Crîşmaru 1977: 67 fig. 55/2). (Bulgarelli D. © Prehistory Knowledge Project).

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