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ABSTRACT
Notwithstanding the fact that few avian osteological remains have been found in the settlements of the Cucuteni
Tripolye cultural complex, birds seem to have played an important role in CucuteniTripolye imagery. The
earliest representation dates from the Precucuteni I phase, an ornithomorphic protome (a sculptural ornament in the form of a bird) on a vessel lid. Several vessels, known as asko, depicting ducks exist from the
Precucuteni IITripolye A and ornithomorphic asko, statuettes, gurines, vessels and protomes were used
during all the CucuteniTripolye cultural complex phases. Starting with the Cucuteni A-BTripolye CI-CII
phase, three-dimensional representations are supplemented by painted ornithomorphic images. They
became widespread from this moment on, eventually becoming the predominant form of representation. On
the face of it, ornithomorphic representations seem to be rare, but the authors managed to identify over 150 statuettes, gurines, vessels, protomes and painted images. Most of them seem to relate to ritual practices or to have
cosmogonic signicance. Some of the representations, but not many, are realistic enough to permit approximate
species-level taxonomic identication. Most of the ornithomorphic representations are fragmentary, but the
breakage may be due to deliberate, ritualistic fragmenting. They were also particularly concerned with the meanings of the ornithomorphic imagery. Taking into account the discovery conditions, the fragmentation of the artefacts and the themes depicted, the authors consider that most of the CucuteniTripolye ornithomorphic
representations played a key role in certain religious rituals. Copyright 2013 John Wiley & Sons, Ltd.
Key words: birds; depictions; Chalcolithic; CucuteniTripolye; religion
Introduction
The CucuteniTripolye cultural complex (C-TCC)
consists of the Precucuteni, Cucuteni and Tripolye
cultures. The complex spanned the area that today constitutes southeastern Transylvania, central and northern
Moldavia and Bessarabia and western Ukraine (Figure 1).
Flourishing roughly between 5050 and 3500 Cal BC
(Mantu, 1998: 246252), the complex can be ascribed
to the Chalcolithic Age. The Precucuteni IIII and
Cucuteni A communities were neighbours to the south
and southeast with the communities of the Hamangia
and Gumelnia cultures (48004000), whereas those of
the Cucuteni AB and B phases abutted the communities belonging to the Cernavod I (42003700)
culture and to the steppe Srednyi Stog II culture (Mantu,
* Correspondence to: Luminia Bejenaru, Institute of Archaeology, Romanian
Academy Iai Branch, Iai, Romania.
e-mail: lumib@uaic.ro
Deceased
425
Figure 1. Map of the CucuteniTripolye cultural complex and contemporary cultures of southeastern Europe. Eponymous settlements and sites from
the CucuteniTripolye area mentioned in the text are marked (numbers refer to site numbers in Table 1).
Ornithomorphic representations
Although there is a general absence of avian osteological
remains from excavations of C-TCC sites, there are several artefacts that represent birds, namely ornithomorphic
vessels, particularly asko, gurines, statuettes, protomes,
spoon and ladle handles and, in particular, images painted
on cultic vessels (Table 1). These discoveries can provide
information on the birds known to the Cucuteni and
Int. J. Osteoarchaeol. 24: 424437 (2014)
Hbeti
(Iai County, Romania)
Isaiia (Iai County, Romania)
Costia-Cetuia (Neam
County, Romania)
Ghelieti-Nedeia (Neam
County, Romania)
Izvoare-Piatra Neam
(Neam County, Romania)
13a
13b
12
11
10
tefneti-Stnca (Botoani
County, Romania)
Buznea (Iai
County, Romania)
Location
Site no.
Precucuteni I
Precucuteni III
5/5
5/6
2/1
2/5
5/2
2/2
Cucuteni B1
Precucuteni III
2/4
5/4
5/1013
2/3
5/9
5/1
5/3
2/6
x
x
Paintings
7/2
x
Figurines;
statuettes
Spoon
handles
7/1
Bird-shaped
vessels
x
Protomes
7/3
Figure no.
in this paper
Precucuteni III
Unknown
Cucuteni A
Precucuteni II
Precucuteni III
Precucuteni II
Cucuteni A
Cucuteni B1
Cucuteni B1
Cultural
afliation
Ornitomorphic representations
Table 1. Archaeological sites from the CucuteniTripolye area with ornithomorphic representations (x=present)
(Continues)
References
426
L. Bejenaru and D. Monah
Koilovcy (Ukraine)
Luka-Vrubleveckaja
(Ukraine)
Oleksandrivka (Ukraine)
Region of
Cherkassy (Ukraine)
Sabatinovka II (Ukraine)
vanec (Ukraine)
18
28
29
30
31
32
34
33
27
26
25
24
23
22
21
20
19
17
Mrgineni-Cetuia
(Bacu County, Romania)
Poduri-Dealul Ghindaru
(Bacu County, Romania)
Traian-Dealul Fntnilor
(Neam County, Romania)
Brad (Bacu
County, Romania)
Gura Vii-Silite (Bacu
County, Romania)
Location
16
15
14
Site no.
Table 1. (Continued)
Precucuteni III
Tripolye A
Tripolye CII
Precucuteni III
Tripolye A
Tripolye CII
Precucuteni III
Tripolye A
Cucuteni B2
Tripolye CICII
Precucuteni III
Tripolye A
Cucuteni B1
Cucuteni B1
Precucuteni III
Cucuteni AB
Cucuteni A
Cucuteni B1
Precucuteni III
5/8
3/1
7/6
6/2
5/1516
2/8
7/4
5/7
Figurines;
statuettes
Spoon
handles
x
x
x
x
x
Bird-shaped
vessels
Protomes
5/14
2/7
6/1
3/6
4/3
3/2
3/3
4/1
4/2
3/4
3/5
7/5
Cucuteni A2
Cucuteni B1
Cucuteni A1
Cucuteni A1?
Unknown
Cucuteni A2
Cucuteni A3?
Cucuteni A3?
Cucuteni B
Cucuteni B1
Figure no.
in this paper
Cucuteni A2
Cucuteni A4
Cultural
afliation
Ornitomorphic representations
Paintings
Marinescu-Blcu, 1974:
Figure 84/4
Ursachi, 2012: 11, Figure 2122
References
428
Tripolye people and especially on the place and the role
played by certain species in the myths and religious
rituals of the Cucuteni and Tripolye tribes. The analysis
of the three-dimensional plastic representations and of
the painted imagery found on cultic vessels also offers
some information, albeit rather scant, on the bird species
known to the Cucutenians. We will review here the most
signicant ornithomorphic representations discovered in
C-TCC sites, listed in chronological order.
(a) Protomes
The earliest ornithomorphic representations come from the
Precucuteni I phase. There have been very few excavations
from this phase, and so little archaeological material has
been collected, but we can ascribe an ornithomorphic
protome that once decorated a ceramic lid to this phase.
The protome from Traian-Dealul Viei (Marinescu-Blcu,
1974; Garvn, 2011) has a neck shaped like a long
cylinder, a rhomboid-shaped head with a crest in the
median area, with eyes rendered with incised scrolled lines,
and the beak with short incised lines and dots (Garvn,
2011). Even though the piece (Figure 2/1) is certainly a bird,
the strong stylisation does not allow for the identication of
the species. In the same category of protomes applied on
lids there is a highly stylised ornithomorphic protome
(Figure 2/2) originating, probably, from the Precucuteni III
level from Izvoare-Piatra Neam (Vulpe, 1957; Garvn,
2011). Another lid with an ornithomorphic protome,
likewise strongly stylised (Figure 2/3), comes from an
unspecied level from Bodeti-Frumuica (Matas, 1946).
Finally, a vertical protome was discovered on a Cucuteni
A2 lid from Gura Vii-Silite (Niu et al., 1971a; Garvn,
2011). The bird is well modelled the body is oval with
an arched back, and the head is rendered realistically,
but the identication of the species is not feasible.
Interesting information is also provided by the
horizontal protomes that were once attached to ornithomorphic or other vessels used for conducting rituals.
Unfortunately, a number of these protomes are stylised,
schematised or carelessly shaped and modelled. For this
reason, the identication of the species is sketchy and
often doubtful. The practice of making ornithomorphic
protomes begins as early as the last phase of the
Precucuteni culture. In one from the Precucuteni III level
from Costia-Cetuia (Figure 2/4), the eyes are indicated
by two deep circular alveoli, the beak is wide at the base
and tapers towards the tip where the nostrils are rendered
by two small shallow depressions (Garvn, 2011). The general appearance seems to suggest a waterbird. Also from the
Precucuteni III phase comes the protome from IzvoarePiatra Neam (Vulpe, 1957; Garvn, 2011). The piece has
a long neck, but its head is vaguely ornithomorphic
Copyright 2013 John Wiley & Sons, Ltd.
429
Figure 2. Ornithomorphic protomes on vessel lids (different scales): (1) Traian-Dealul Viei, Precucuteni I phase (after Marinescu-Blcu, 1974); (2)
Izvoare-Piatra Neam, Precucuteni III phase (after Vulpe, 1957); (3) Bodeti-Frumuica, phase unknown (after Matas, 1946); (4) Costia-Cetuia,
Precucuteni III phase (after Garvn, 2011) and (5) Izvoare-Piatra Neam, Precucuteni III phase (after Vulpe, 1957). Ornithomorphic vessels (asko)
and regular vessels tted with ornithomorphic protomes: (6) Isaiia, Precucuteni II phase (after Ursulescu & Tencariu, 2006); (7) Coernia I, Precucuteni
III phase (after Marchevici, 1996) and (8) Luka-Vrubleveckaja, Precucuteni IIITripolye A (after Bibikov, 1953).
uncertain provenance comes from a haphazard discovery probably also from the same site and, which typologically, can similarly be attributed to Cucuteni A1
(Monah et al., 2003). This piece, decorated with
incisions and white and red painting, seems to be a
local replica of a Gumelnia askos (Figure 3/3). From
Ariud (Ersd), the well-known site of southeastern
Int. J. Osteoarchaeol. 24: 424437 (2014)
430
431
does not exclude the possibility that the bird is a swan,
but the second author believes that the neck is much
too short for this species. A supplemental argument
for interpreting the piece from Mrgineni as a duck is
the role played by this bird in the mythology and
rituals of the Cucuteni and Tripolye cultures.
Several spoon handles, all found in Precucuteni settlements from Romania, feature ornithomorphic handles.
The earliest, modelled carefully and red red, comes
from a chance discovery made in the Precucuteni II settlement of Vldeni (Figure 5/1) (Marinescu-Blcu, 1974).
The second spoon handle comes from the Precucuteni II
settlement of Isaiia. The end of a red clay spoon was
modelled in the shape of a waterfowl head. The eyes
are marked by two incised horizontal lines; the beak is
small and, particularly at the base, quite wide, and the
neck displays two indented veins (Stratulat et al.,
2008). In our opinion, the spoon from Isaiia depicts
the head of a duck. A third spoon, which is the size of
a teaspoon, was carved from a bone and subsequently
polished with care (Figure 5/2). Towards the end of
the handle, there are two protuberances that might represent wings. The end is a carved head seen from the
side, and the eyes are represented by two small round
indentations. This artefact comes from Precucuteni III
level from Trpeti-Rpa lui Bodai (Marinescu-Blcu,
1974; 1981).
432
Figure 5. Ornithomorphic spoon handles (different scales): (1) Vldeni, Precucuteni II phase (after Marinescu-Blcu, 1974) and (2) Trpeti-Rpa lui Bodai,
Precucuteni III phase (after Marinescu-Blcu, 1974; Marinescu-Blcu, 1981). Ornithomorphic gurines: (3) Trgu Frumos, Precucuteni III phase (after Stratulat
et al., 2008) and (4) Bodeti-Frumuica, unknown phase (after Matas, 1946). Ornithomorphic statuettes: (5) Traian-Dealul Fntnilor, Precucuteni III phase
(after Marinescu-Blcu, 1974); (6) Trpeti-Rpa lui Bodai, Precucuteni III (after Marinescu-Blcu, 1981); (7) Putineti I, Precucuteni III phase (after Bodean,
2001); (8) Luka-Vrubleveckaja, Precucuteni IIITripolye A phase (after Balabina, 1998); (9) Brlleti-Sturza, Cucuteni A (after Balabina, 1998); (10, 11,
12, 13) Bodeti-Frumuica, unknown phase (after Matas, 1946); (14) Grebeni, Cucuteni B1 phase (after Balabina, 1998); (15) Koilovcy, Cucuteni B2
Tripolye CICII phase (after Balabina, 1998) and (16) Koilovcy, Cucuteni B2Tripolye CICII phase (after Balabina, 1998).
433
and Sabatinovka II (Balabina, 1998). The most interesting is the piece from Luka-Vrubleveckaja (Figure 5/8):
it is similarly modelled with a leg ending in a discoid
base, a body that leans forwards and a sketchily
modelled head with a perforation marking the eyes.
From the Cucuteni A phase come several statuettes
that were discovered at Horodnica, Hbeti and
Brlleti-Sturza (Balabina, 1998). The statuette from
Brlleti (Figure 5/9), modelled crudely, is painted, but
none of these statuettes possess the elements necessary
for establishing the species. The multi-stratied site of
Bodeti-Frumuica also produced four statuettes representing birds, though, unfortunately, their stratigraphic
position is uncertain. According to the discoverer, they
depict a hawk, two pigeon chicks, a bird with painted
plumage, a legless bird and a miniature bird (Matas,
1946: 161). Four of these artefacts (Figures 5/1013)
were published by Matas (1946) and the other two recently by Garvn (2011). The statuette from Figure 5/10
has a small perforation on the chest and was considered
to depict a hawk by the discoverer. Two statuettes were
considered pigeons (Figure 5/11 and 5/12), having a
height of, respectively, 8 and 5 cm. Another statuette
of just 4 cm in height was considered to represent a
waterbird (Figure 5/13). Its back is painted with white
and brown stripes on a red background. Finally, another
statuette or gurine has a height of just 2 cm. The
representations are rather stylised, but our reassessment
of the morphological characteristics of the birds from
Frumuica suggests that they are gallinaceous birds.
They have relatively stocky bodies and short beaks,
blunt, wide convex wings and strong legs. The species
in question would include the partridge, the common
quail and the black grouse. The partridge (Perdix perdix)
is a migratory species that lays up to 1020 eggs in a
ground nest during spring; the common quail (Coturnix
coturnix) is a migratory species that lays 615 eggs in a
ground nest, generally twice during summer; the black
grouse (Tetrao tetrix) is a non-migratory species that lays
614 eggs in a ground nest during spring. It is possible
that these birds had economic value as food, as well as
being invested with symbolic meaning and signicance
revolving around the spring season and mating.
The second category of statuettes comprises the
rattle-birds. Such statuettes have not been found so
far in western Moldavia or in Transylvania. In eastern
Moldavia (Bessarabia), a region within the Cucuteni
domain, several examples have been discovered, but
most of the rattle-birds come from the Tripolye area.
The majority represent birds with folded wings, with
a single, rather long, leg that ends with a circular disk
(Balabina, 1998: 190). All were broken in ancient times
and lack the head and the internal pellets; the latter
Int. J. Osteoarchaeol. 24: 424437 (2014)
434
were inferred by analogy with other anthropomorphic
and zoomorphic statuettes. It would be very interesting
to know how many pellets were inside them, because it
would have helped us to better interpret the artefacts.
In only one case was the head of such a statuette
preserved: a nding from the Cucuteni B1 settlement
of Grebeni. The statuette (Figure 5/14) is modelled
quite realistically, with a topknot, a beak that gets
wider towards the upper section and eyes marked by
two indentations. It is considered to represent a tufted
duck (Aythya fuligula) (Balabina, 1998).
A lower section of a rattle-bird statuette decorated
with horizontal red stripes comes from the Cucuteni
AB phase from the Iablona I site (Balabina, 1998).
Unfortunately, the preserved portion does not allow
the identication of the species represented. The
Cucuteni B1 settlements of Brnzeni VIII and Racov
produced several examples of rattle-birds (Balabina,
1998). They are all of the same type and fragmented
to such a degree that the identication of the species
cannot be made. The piece from Racov has three
red stripes in the middle portion. For the Cucuteni
B2Tripolye CICII phase, we have knowledge of
two examples from Koilovcy (Balabina, 1998), one of
which preserved, despite being broken, its head with
two ears or horns and a broken beak (Figure 5/15),
whereas the second seems to have not been completely
sealed (Figure 5/16). Its body is painted with horizontal
red stripes on the light background provided by the
slip. The sizes vary between 3.5 and 8.8 cm. Balabina
(1998; 191) divides the rattle-birds into two categories:
(i) gaunt and (ii) short and massive. For the rst
category, Balabina posits the great bustard (Otis tarda),
pointing particularly to the statuette from Brnzeni VIII
with its distinctive brindled plumage (Figure 6/1). Such
a large bird (the great bustard has an average weight of
4.55.5 kg, with some male specimens reported to have
weighed as much as 2022 kg) might well have secured
a position in the mythology of the Cucuteni and
Tripolye people. The Russian excavators of the massive
and short statuettes (Balabina, 1998: 192) identied
them as from the Anatidae, the family that includes
ducks, geese and swans, a hypothesis that corresponds
with our own conclusions.
In our opinion, all these ornithomorphic Cucuteni
Tripolye statuettes are linked with various rituals and myths
and reect economic concerns only to a very small degree.
continued to develop for another 500 years after the collapse around 40504000 Cal BC (Mantu, 1998: 117) of
the exceptional Chalcolithic civilisations from this area
of Europe. After the end of the Gumelnia culture and
of the GumelniaKaranovo VIKodadermen cultural
complex, the area of the Gumelnia and Karanovo VI
cultures was inhabited by Cernavod I steppe
populations (Monah & Cuco, 1985: 185). Starting with
the Cucuteni A-B Tripolye BII phase, the painted
decoration of their prestige ceramic ware begins to
feature anthropomorphic and zoomorphic imagery.
From the Cucuteni BTripolye CI phase and onwards,
painted ornithomorphic images appear, sometimes coming together in association with other zoomorphic representations in friezes.
The rst indisputable painted ornithomorphic
representations appear in the Cucuteni B1Tripolye
CI phase. It is impossible to make a chronological
separation between the vessels with painted birds from
the Cucuteni B1Tripolye CI phase, but this is not
particularly relevant for our analysis. In the Cucuteni
B1 site from Buznea, two vessels with ornithomorphic
representations were discovered by chance (Boghian
& Mihai, 1987: 315317). The rst vessel (Figure 7/1)
Int. J. Osteoarchaeol. 24: 424437 (2014)
435
garzetta). The arrangement of the birds, particularly of
those from the deep dish, seems to have had a cosmogonical signicance, an assertion that seems to also be
valid for the birds depicted on the amphora.
Several silhouettes of birds were painted in black on
two fragments of an amphora modelled from a ne
paste red to red, found in the Cucuteni B1 settlement
from tefneti-Stnca (Figure 7/3). The larger fragment
features a horizontal row of birds swimming on the
surface of water (Niu, 1975). The birds legs are represented by black lines slanted backwards, and the heads
are suggested by horizontal lines that mark the rather
thick and wide beaks. One of the birds has a forked tail.
The second fragment, belonging to the same vessel, is
much smaller, and the row of ornithomorphic silhouettes
is interrupted by the break. According to the published
description, the fragments from tefneti-Stnca depict
a row of geese rendered almost naturalistically by
black silhouettes intercalating the elliptic decoration
(Niu, 1975: 50).
There are some interesting representations of birds in
frieze compositions on cult vessels from eastern
Moldavia (Bessarabia), dated to the Cucuteni B1 phase.
Stylised water or terrestrial birds are depicted on
several fragmentary vessels (Markevi, 1973: 97;
Figure 24; Markevi, 1981: 79, 146, 147). A partially
reconstructed vessel from Varvarovka VIII (Figure 7/4)
contains a frieze with several wild animals: red deer,
carnivores and a peculiar-looking bird with extremely
long legs, round body, long neck and small head ending
with a small beak (Markevi, 1981). We believe that this
representation could depict a crane engaged in a nuptial
dance. A fragmentary amphora from Brnzeni III
(Markevi, 1981) depicts three birds that appear to be
walking in compartments reserved from the coloured
background (Figure 7/5). The composition initially had
four birds, but the part of the vessel with the fourth bird
is missing. The settlement from Brnzeni III dates from
the Cucuteni B phase (Markevi, 1973: 59; Figure 17/2;
Markevi, 1981: 41).
An interesting artefact dated to the Tripolye CII
phase comes from the Tripolye area (Videiko, 2004:
224225). The item is a vessel with a at-keel prole
and decorated with arches and tangents traced in black
and red on the buff background (Figure 6/2). The
interior walls contain a painted frieze with two horned
animals, a crane and probably another animal (Videiko,
2004; Stratulat et al., 2008). The crane has long legs
ending with claws and a vaguely rendered head with a
thick beak, whereas the tail is rendered by four black
lines, suggesting the image of a crane in display dance.
The second animals head is different and has a small tail
that is twisted backwards. Although the context
Int. J. Osteoarchaeol. 24: 424437 (2014)
436
information is contradictory (Stratulat et al., 2008), the
piece seems to come from a chance discovery in a settlement from the region of Cherkassy.
Stylised cranes also seem to be painted on a fragment of a vessel (Figure 7/6) from the Tripolye CII
phase of the settlement of vanec (Burdo, 2004). The
birds are most probably cranes (Grus grus), migratory
marsh birds with long necks and legs, plumose tails,
grey plumage and red head blotches. For a long time
people have found fascinating the cranes' beauty,
majesty in ight and spectacular mating rituals. The
cranes nuptial dance is striking and has been ritualistically
imitated by people of various cultural backgrounds,
including Neolithic ones (Russell & McGowan, 2003).
Conclusions
As we have already shown, few bird remains have been
found in C-TCC sites. Even if we take into account
the deciencies of the collecting process and that the
identication of the remains is relatively new, the
percentages recorded are insignicant, and this leads to
the conclusion that birds did not play an important role
in the economy of the Cucuteni and Tripolye communities. All the archaeozoological analyses show the preference of the Cucutenians for domestic mammals and
large game. Thus, small birds were not of real interest
for Cucutenian hunters. Undoubtedly, when the opportunity presented itself, the Cucutenians took it, whether
it was birds or eggs found in the nests of the wild birds.
This survey of ornithomorphic representations has
shown that they are extremely rare. For instance, we
identied approximately 100150 bird gurines and
statuettes compared with a total of about 5000 C-TCC
zoomorphic statuettes found so far. The extremely low
percentage of ornithomorphic representations can be
explained by the fact that the gurines, statuettes, vessels
and painted representations were all employed in ritual
practices associated with the mythology and cosmogonic beliefs of the Cucuteni-Tripolye populations, in
which birds seem to have played important roles. The
C-TCC people clearly manifested a preference for water
and marsh birds, most notably migratory species such as
ducks, geese, cranes and storks in this role.
Acknowledgements
This work was supported by a grant of the Romanian
National Authority for Scientic Research, CNCS
UEFISCDI, project number PN-II-ID-PCE-2011-3-0885.
Our appreciation goes to Daniel Garvn and Roxana
Copyright 2013 John Wiley & Sons, Ltd.
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