B ASES D E DATOS Y V ARIABLES

The Vinča figurines in Plate 8, following, are good examples of a ram or bull artefact being marked with 'opposing' signs. Many lamb figurines are marked with bull-signs, such as a lozenge-shape or a Greek Key. Variants of this model, usually a head or head and torso, are found in abundance in refuse pits at Vinča sites, and many seem to have been made by children. The figure undergoes a great deal of development and variation to the point where it is no longer recognisable as a lamb at all in some cases.

Research into the Tisza culture (4 - Voros I) showed that the majority of sheep were slaughtered before the age of two, with highest mortality in the winter/spring. Did the production of these figures coincide with – or symbolically take the place of - a yearly ritual cull of lambs? If so, the custom may be the basis of the ancient Bulgarian custom of making and giving figurines called 'martenitsa'.

“...Baba Marta is a pagan tradition borne out of the days when heathen peasants believed in higher forces at work affecting the weather, fertility and successful crop growth. Pagans worldwide celebrated the coming of the spring each year, thousands of years before Christ's birth. Spring was renowned as a time of renewal and fertility representing new life and a fresh start after the cold winter. In reality, this meant that food was scarce during harsh Bulgarian winters and people worshipped the spring in the hope that it would bring clement weather suitable for sowing and tending crops.

In Bulgaria, "mart" is the word for March and "baba" means grandma. In old folklore "Baba Marta" was portrayed as a volatile and moody woman. It is believed that when she was happy skies were blue and the sun would shine, but when Baba Marta was disgruntled, she would bring rain and wind to the country.

The colours of the martenitsa symbolise many things. The white wool represents the melting snow and the red twine represents the setting sun, which becomes more and more intense as spring advances. Other associations of the martenitsa's colours are that the white symbolises man and the red woman, or that they represent purity and life or health and strength. Many centuries ago, a martenitsa was regarded as an amulet to protect the receiver from evil and many people still quote the old saying that "if you don't wear your martenitsa, Baba Marta will bring evil to you"....”

Adapted from; http://sofiaecho.com/2008/02/29/653749_reading-room-the-martenitsa-story

Figure 109 Bulgarian martenitsa.

(http://www.martenitsa.com/)

Note that the first example in the following Plate, the model has a bull-lozenge in the centre of its forehead.

PLATE 8

Figure 110 A Vinča lamb head, 4500BC (Ex-Hermann Ginczler collection.

Royal Athens Museum)

Figure 111 Vinča c. 4500. (Ex-Hermann Ginczler

collection.http://www.liveauctioneers.com/item/10233963)

Figure 112 Vinča (http://www.trocadero.com/artancientltd/items/1065981/item1065981.html )

Figure 113 Vinča (http://picasaweb.google.com/byThemis/maskies#5547391799816301794

Figure 114 Vinča (Ex-Hermann Ginczler (1895-1965) collection

http://www.liveauctioneers.com/item/10233962)

Figure 115 & Figure 116 Vinča lambs. (http://picasaweb.google.com/byThemis/maskies)

Figure 117 Lamb's head with chevrons on its forehead. Gumelnita Culture, 5th mill. BC.

Many of the full body lamb figurines have what may be the first use of the Greek Key design inscribed into their stomachs or lower portions. It is an angular version of a sheep-spiral, and a logical design if one were to try to make a sheep spiral into something that reflected the shape of other angular bull-symbols. However, it might also have come about through trying to represent the spiral in textile motifs.

Although the example, below, is made of terracotta, the design is made up of wiggling lines that are meant to make the item look as though it is from a woven or knitted textiles. This effect appears through the use of an ancient form of weaving called Nalebinding, which was used to make hats, socks and gloves up until the middle-ages. This model displays the sign prominently, perhaps to off-set its ram nature. Other Vinča models, such as the item below it, have a similar use of the Greek Key.

Figure 118 Ram model from Vadastra, 4200BC, SW Romania.

(National History Museum of Romania, Bucharest.)

(Photo: Marius Amarie. - http://peregrinacultural.wordpress.com/2009/12/07/antiga-civilizacao-europeia- ao-longo-do-danubio-em-exposicao-em-nova-york/).

Figure 119 From Vadastra, Romania, c 4500BC.

(http://picasaweb.google.com/byThemis/oddities#5562086063693001394)

Each of the three ram's horn symbols on the above model has a raised single bull dot- sign upon it, with equal space on the model given to both cattle and sheep symbols. The

centre of the model bears a large Greek Key design and a chequerboard containing X's constructed from triangles (b.) on its left and right, both cattle signs.

Lamb figurines often bear a Greek Key, net/chequerboard on their lower portions to offset the lamb theme and to 'balance' its nature. In some models the bull signs might be on the figure's stomach or will cover its entire body.

Figure 120 Late Vinča, 5000BC. (pp26. Fig39. Gimbutas M.) Figure 121 Vinča, Yugoslavia, 4500BC. (pp.12, Fig. 18. Gimbutas M.)

Interestingly, many of the full-body models of this type excavated thus far have been broken in two, apparently separating the bull and ram (or cattle and sheep) aspect of the model before it was discarded.

This Mycenaean krater, 1300-1200BC, shows how bird-like the ram could become in some cultures after stylisation. An actual bird is shown in a similar style below it.

Figure 122 Mycenaean krater, 1300-1200BC