mirrored file at http://SaturnianCosmology.Org/ 
For complete access to all the files of this collection
	see http://SaturnianCosmology.org/search.php 
==========================================================
[INLINE]

Printed edition:

*

Centar za arheoloska istrazivanja Filozofskog fakulteta (Centre for
Archaeological Research Faculty of Philosophy)
Beograd, Str. Cika Ljubina 18-20
*

Editor-in-chief: Vladislav Popovic
* Reviewers: Milutin Garasanin, Zivko Mikic
* Translated from Serbian: Smiljka Kjurin
* Photographs: Vladimir Popovic, Bratislav Stojanovic
* Drawings and maps: Svetlana Lazic

Nikola Tasic
Dragoslav Srejovic
Bratislav Stojanovic

Vinca

Centre of the Neolithic culture of the Danubian region

Belgrade, 1990

Full Internet Edition:
* Project Rastko - E-ibrary of Serb Culture, February 26, 2001.
* Executive editor: Zoran Stefanovic
* Image processing: Nenad Petrovic
* Webmaster: Milan Stojic
* Design: Marinko Lugonja
* Delimični sponzor izdanja: [8]TIA Janus

_______________________________________________________________

[INLINE]

_______________________________________________________________

Centre of the Neolithic culture of the Danubian region

* [9]Geography and History of Explorations 
* [10]Vinca and its Culture 
* [11]The Vinca Archaeology Park 
* [12]Bibliography 
_________________________________________________________________

Geography and History of Explorations

[13][LINK] 

Vinca and other neolithic settlements in Serbia

The Belo Brdo archaeological site in Vinca, on the right bank of the
Danube, 14 km downstream from Beograd, covers some ten hectares of
land. A high löss terrace and cultural layers are falling down towards
periphery, thus forming a tell which rises high above the
surroundings. The position of the site favoured permanent habitation,
with a river on the one side for fishing and a valley of the Bolecica
on the other, connecting Vinca with the hinterland rich in minerals
and ores (Avala, Rudnik), hunting animals and fertile land.
Geographical location of Vinca made its inhabitants mediators between
the cultures blossoming in the south as far as the Aegean and in the
north up to Central Europe. Significant events and changes in material
and spiritual culture are mirrored in individual levels of cultural
layers of some 10 meters of deposit accumulated through the long time
people stayed in this area. It is understandable then that Vinca is
singled out in the archaeological science as a reliable benchmark in
examining the emergence and development of a number of Neolithic and
Copper Ages cultures in the middle and south-eastern Europe.

The first archaeological excavation in Vinca was undertaken by Miloje
M. Vasic in 1908 on some 400 m^2. The works were going on, except for
minor intermissions, till the onset of the World War I. They were
resumed as late as 1924, but for a while, since the war impoverished
state did have but a modest capability of financing them. A lucky
coincidence, which raised hopes, was an advertisement in "The Times"
by Sir Charles Hyde, offering financial aid for "excavation of
remains", which came into possession of M. M. Vasic through Alec
Brown, a writer and a war comrade John Linton Myres, the then Oxford
University professor. With good recommendation of the past excavations
in Vinca and the help of British friends, considerable finance flew in
and enabled resumption of works on a large scale. They were widely
covered, particularly by the British press ("Birmingham Post", "Man",
"Illustrated London News", etc.). Thus Vinca came into the focus of
attention of archaeological science between 1929 and 1931, the site
being visited by known science and culture personalities of Europe and
the country (Ch. Hyde, J. L. Myres, W. A. Hurtley, Veselin Cajkanovic,
Bogdan Popovic, to mention but a few).

[INLINE]

Vinca - excavations in 1924

The Prehistoric Vinca in four volumes (Beograd, 1932, 1936) and about
40 bibliographical articles written mainly by M. M. Vasic, marked the
completion of the second stage of excavations.. Another 47 years
should have passed to launch the Vinca works anew. The site bad been
left to illegal excavations, to the profile destruction by various
amateurs and collectors.

[INLINE]

Vinca - excavations in 1931

Only when the Serbian Academy of Sciences and Arts established a
Committee on the Vinca Archaeological Excavations, and practically
when Vasa Cubrilovic, the President, and Jovan Todorovic,
Vice-president, took an interest in it, new excavations were
undertaken, in 1978. At the outset, while the Bronze Age and the
Middle Age layers were examined, the works proceeded under the
guidance of Nikola Tasic in association with Gordana Vujovic. Since
1982 Neolithic layers have been worked on, under the responsibility of
Milutin Garasanin and Dragoslav Srejovic.

[INLINE]

Vinca - excavations in 1985

The new excavations have started by methods unknown at the time of M.
M. Vasic. These excavations in Vinca and publications thereon,
simultaneously printed, opened up new possibilities in studying
prehistory of the Danubian valley and south-east Europe. Graves of the
Bodrogkeresztur culture and the remains of Baden, Kostolac and Vatin
cultures were revealed thus far, as well as and old Serbian
necropolis.

Vinca and its Culture

Vinca is the largest and most comprehensively excavated Neolithic
settlement in Europe. It was a metropolis with a flourishing culture,
at the place where across the valleys of the Bolecica and Danube
Rivers a joyful relief of Sumadija meets with the plain of Banat.
Between 4500 and 3500 BC it was a major prehistoric settlement. Thus,
Vinca is a notion signifying nowadays the peak of Neolithic farming
settled culture in Europe.

Cultural layer of Vinca, some 10.5 m high, offers an unusually
interesting and exciting sight. As an opulent carpet, it is woven
vertically with red, yellowish, brown, ashy and black interlayers of
remains of the ruined settlements, burnt huts, deep diches and
filled-in holes and graves. Each of those interlayers, signifying
various stages of life in Vinca, contains treasury of most versatile
objects: stone and bone tools and weapons, pottery for everyday use,
richly decorated ritual vases, a number of anthropomorphic and
zoomorphic figures, jewellery of various rare and costly materials and
many other items whether worked in Vinca or acquired from distant
regions, from central Europe, lower Danubian valley or from the
Mediterranean. In spite of the fact that the works on prehistoric
Vinca settlement have taken many years, only its middle part was
examined. However, thousands of items have been found along the
excavated area, adorning many n museum collection today, their
examination still going on with undiminishing interest. Thanks to the
numerous and highly versatile items, and architectural relics and raw
materials used, it is possible to reliably reconstruct the whole
history of Vinca, its artefacts and beliefs of many generations
inhabiting at.

[INLINE]

Cultural layer of Vinca (10,5 m)

The first chapter of the history of Vinca being preserved in fragments
only is insufficiently clear. Based on scarce remains of the oldest
settlements discovered at about 10.5 m below the surface, it might be
concluded that Vinca was inhabited first at the time of decline of the
middle Neolithic Age (the Starcevo culture), around 4800 BC.

[INLINE]

Vinca-Bodrogkeresztur culture burial

The Yugoslav part of the then Danubian valley was densely populated,
hence the establishment of the first settlement in Vinca should be
probably linked with a smaller group of colonists, who in search of
free farming land and pastures left some adjacent larger settlement
located in the southern Banat. Although the settlement of those
colonists in Vinca was relatively short-lived and small in scope, and
although it is impossible to discover any new, specific expression in
their achievement, they nevertheless left a document in Vinca, of
extreme importance for the study of their physical appearance and
spiritual culture. This is a large grave with an access path and nine
skeletons, which was found in the centre of the oldest Vinca
settlement in 1931. The finds, unique in the Neolithic culture of
south-east Europe, show that the first farmers of the Danubian valley
belonged to a peculiar anthropological type, characterised by features
of the ancient European population combined with those of graceous
Mediterranean people. The same blend of old Balkanic, autochthonous
elements and Mediterranean are observed in the Starcevo culture,
namely in the first Vinca inhabitants. Thus, the early dwellings in
Vinca, like others of the time in the Danubian valley, have
ellipsoidal bases dug into the loss and gabled road of switch, reed
and straw, snugly fitted against the base.

[INLINE]

Anthropomorphic figurine from Vinca

Those tent-like huts, grouped according to a system in the oldest
settlements of Vinca around the central one, provide for vidid
reminiscence of architecture of the Danubian valley Early Mesolithic
Culture (the culture of the Lepenski Vir). Columnal anthropomorphic
figures of the time are ascribed to the same traditions, as well as
whole ceramic dishes, the form of which bears clear reference to the
older models of stone or wood. However, individual ornamental
techniques applied on ceramic (for instance painted vases) as well as
some rare materials used in jewellery (spondylus, paligorskite)
indicate that the proponents of the Starcevo culture maintained
relations with the inhabitants of the Aegean and wider East
Mediterranean areas. Even more frequent have been contacts with the
regions north of the Yugoslav Danubian valley. They are evidenced by
small knives of volcanic glass (obsidian) which were obtained by the
oldest inhabitants of Vinca from the upper Tisa (Tisza) valley.

[INLINE]

Anthropomorphic figurine from Vinca

Available archaeological material implies that the first colonists of
Vinca have had good neighbourly relations both with the communities in
the Pannonian basin and southern part of the Balkan Peninsula. The
oldest settlement in Vinca was neither fenced nor fortressed, and the
relics from the tent-like huts are associated with painstaking but
serene living of peasants, whose daily life consisted of hard work,
making stone tools and various ceramic dishes and naturally tending
their land, animals, and catch. The population of the oldest
settlement in Vinca, however, could not have enjoyed the fruit of
their labour for long. The chain movements of the Neolithic population
of Thracia and lower Danubian valley started already in the mid-5th
millennium BC and somewhat later reached the areas around Vinca.

The turbulence was caused by a slow penetration of Anadole-Halcolithic
Culture, type Can Hasan - Beycesultan, towards the Balkan peninsula
going on in two directions: by road, from south-eastern Thracian
towards the Danubian valley and by maritime communication from central
Greece to Northern Dalmatia. The cultures of the Late Neolithic Age
emerged on the whole Balkan peninsula and central Danubian valley. As
a consequence of these flows the Anadolian forms were first confronted
by and then assimilated in various forms, into the indigenous ones.
Thus, in contact with new immigrants, the Starcevo Culture turned into
a new Vinca Culture.

[INLINE]

Miniature altar from Vinca

It was in those troubled times that Vinca was completely deserted,
probably around 4500 BC. It is difficult to say how much time elapsed
before reconstruction and establishment of new life in Vinca. It
didn't take long, sure, because newcomers built a new large settlement
immediately above the deserted tent-like dwellings. In new environment
the newcomers were quickly assimilated with the neighbouring native
population and remained there for almost 1000 years fostering and
spreading a peculiar culture, the culture of Early Neolithic Age of
the Central Balkan area, named after Vinca.

[INLINE]

Pedestalled bowl from Vinca

Spirit of new culture and new way of life is clearly demonstrated in
architecture. Special attention was given to positioning of a
dwelling, when a new settlement was built. Unfortunately, only the
foundations remained preserved but it was established that they were
all oriented towards southeast-northwest, they had quadrangle, almost
square bases, vertical walls and gabled roofs. Lumber and clay were
continued to be used as building materials, but the building process
was enriched by new details and skills, such as levelling,
stabilisation of the foundation, insulation, wall covering and
painting.

[INLINE]

Zoomorphic pot from Vinca

The newcomers quickly accepted Vinca and its surroundings as their own
land, the generations living and creating on that soil around 3500 BC,
were their direct descendants. There was no disruption of life and
culture, only their permanent enrichment, despite the fact what in the
culture Vinca layer, at the depth of between nine and two meters,
contains remains of many settlements. Thus, within the time span of a
thousand years Vinca remained fenced settlement with straight streets,
the same system of communication, but on the other hand with a
noticeable extension of housing space and its functional layout. While
initial dwellings, as a rule, were one-celled and sufficient for a
small family, in later settlements large square buildings were
discovered of about 40 to 60 m^2 with a number of rooms and built-in
"furniture" (benches built onto the stove, braziers, waterwheels,
tables). Continuity of this culture is abundantly manifested in
movable archaeological finds, primarily ceramic works - dishes and
anthropomorphic statuettes. The two big groups of finds which testify
to a highly developed sense for artistic form, reflect, in a most
sensitive way, all daily situations of numerous Vinca's generations,
namely the dynamisms of the Vinca culture, on the whole. Stylistic
properties of ceramics and anthropomorphic plastic clearly reveal the
main stages of life in Vinca, namely the periods of the Late Neolithic
in the central Danubian valley.

[INLINE]

Ritual vessel from Vinca

The establishment, development and the peak of the Vinca culture are
illustrated in the finds of Vinca, located at the depth of nine and
six meters. At this period, which by method of C-14 may be dated to
approximately 4500 to 3800 BC, the inhabitants of Vinca and their
co-tribes created a culture of a particular style, which radiated far
and dominated over the largest part of the central and south-east
Europe. The Vinca culture covered a territory larger than only other
Neolithic culture in Europe around 4000 BC; its individual
settlements, for instance Vinca, Potporanj, Selevac or Divostin,
surpassed in scope and population not only the Neolithic settlements
of the time, but the first towns which emerged later, in Mesopotamia,
Aegea and Egypt. The communities of those large settlement used to
adapt their main activities to the local conditions. Thus, more
attention was paid to farming and stock - breeding in some
settlements, to weaving and trade in others, while in those abounding
in rare materials started mining and various arts and crafts.

[INLINE]

Pot with incised desiing from Vinca

Due to specialised activities all communities in the Vinca culture
grew fast economically, differentiated socially and became rich. The
communities in Sumadija, Banat and Srem had by careful land
cultivation and cattle-raising created surpluses which enabled them to
obtain raw materials they lacked in their own territory, primarily
obsidian of Erdelj, precious raw material for sickles and precision
tools, owned by the neighbouring ethno-cultural groups. On the other
hand stability of economy enabled the Vinca communities to relieve
some of their members of manual work and devote their efforts to
discovery of local raw materials and then their processing. So, the
Vinca people came to cinabarite, which was mined at Suplja Stena and
minerals (alabaster, marble). Vinca became the biggest market in
Southeast Europe not only because of an exceptional value of own
products but rare materials or objects, which were brought in from
Transylvania, upper Tisza valley, lower Danubian valley and even from
the coasts of Aegean and Adriatic seas.

[INLINE]

Anthropomorphic pot from Vinca

An extensive exchange of goods and development of communications
released the creators of the Vinca culture from the clutch of a small
plot of land and ancestral habit, gave wings to their imagination and
let them hint at new worlds and take an attitude of trust towards
nature, life and future. Vinca and some other Neolithic settlements
near Vrsac (Potporanj), Kragujevac (Grivac, Divostin) Titova Mitrovica
(Valac) and Pristina (Predionica) turned into major religious centres
and simultaneously artistic retreat which influenced decisively visual
arts in all Neolithic communities of Central and South-East Europe.

Hundreds and thousands of clay statuettes and ritual vases, discovered
in the mentioned settlements, attest not only to creative imagination
and gift but to a boom of magic-religious practices within the Vinca
culture. Thematic variation of clay statuettes (naked or dressed
figurines of women and men, standing, kneeling or sitting, statuettes
with masks on their faces, hermaphroditic statuettes) and their
stylistic advancement starting from naturalistic, to realistic through
to quite abstract forms, are an evidence of the prevailing primitive
magic power, namely the shaping of clear religious thoughts. Judging
on the looks of clay idols and various culture objects, it was
expressed in rituals and myths connected with the turn of seasons,
sawing or harvesting times births and deaths, and permanent life
cycle, visually most completely expressed in the presentation of a
woman with a baby in her arms.

[INLINE]

Bowl on three moulded legs from Vinca

Those Vinca communities that had not opted for crop farming or
stock-breeding but for mining and working new raw materials, created
however, quite a different spiritual world. Those living between the
heights of Kucajna and Deli Jovan Mountains near caves, big holes and
hot springs had early guessed that in the depths of earth, in its
complete dark, there grow and mature fantastic minerals and rocks.

Members of those communities were the first in Europe to penetrate
into the spell of the underground world, take its fruit to the light
of the day and with the help of fire, make them turn into new
materials - into metals, in this case copper.

[INLINE]

Anthropomorphic figurine from Vinca

With the discovery of the great secret of transformation of substance,
those first European miners and smiths got involved in the processes
of cosmic life and linked with a special world of gods and heroes.
After discovery of copper, their imagination populated the nature with
an endless number of secret beings: dwarfs, fairies and pixies, who
joined the demons of grain and ghosts of fruit-bearing trees. That
peculiar secret world of theirs in the Vinca

culture was established at the onset of the 4th millennium BC, at the
latest and persisted on the Balkan peninsula till the times of
Christianity, the part of which was most probably built into the roots
of the oldest recorded European mythology, in the ancient Greek myths
about Demeter, Dionysus and Hephaestus the god-smith.

The Vinca culture was at the peak by about 3800 BC. Ruins of the
settlement and archaeological items discovered between the sixth and
the second meter of culture layer of Vinca, dated by C-14 method back
to between 3700 and 3500 BC, revealed that the Vinca culture started
loosing its significance progressively to die out, definitely.

[INLINE]

Seated anthropomorphic figurine from Vinca

The observations reveal first that the settlements belonging to this
part of the culture layer are considerably smaller compared to the
earlier ones. Then began the construction of new defence system.
Although local manufacture of all types of tools and pottery went on,
it is nevertheless characteristic that the number of imported items
increased and models of other cultures copied, ever more frequently.

Obviously a radiating metropolis once, Vinca turned merely into a
place which collected the elements from all parts of the world.

This general fatigue, expressed both in non-original ceramic
production and in anthropomorphic statuettes, was initiated by the
discovery and widespread use of metals, primarily copper and gold.

[INLINE]

Tisza culture vessel from Vinca

This was not, however, the discovery of the Vinca inhabitants but of
the people around the Pannonian basin who, searching for raw
materials, found copper and pure gold. The discovery of these metals
spoiled the previous culture balances and started disintegration of
the structure of the Neolithic world.

These developments affected deeply the material and spiritual culture
of the Vinca population. At first, the stimulus from outside
positively influenced them, since traditional elements combined with
new style gave rise in Vinca to a short-lived cultural renaissance,
characterised primarily by original forms of anthropomorphic plastic
and new ornament techniques on ceramic.

[INLINE]

Tisza culture vessel from Vinca

The new stylistic synthesis resulted in preserved realistic forms,
basically an anthropomorphic statuettes, but once three dimensional
surfaces became flat, plastically modelled details were gradually
schematised and turned into hardly understandable ornamental signs.

The consistently applied ornamental style was aimed at compensating,
by a sort of drawing and shadowing, for the lost sense of the third
dimension. Some statuettes were even painted, but it only stressed the
pictural character of the new ornamental style.

[INLINE]

Bowl from Vinca

Hence carved or painted details on the Vinca statuettes signify
neither apparel nor tattooed signs, but emerged as a result of the
development of stile which ranged from three dimensional realistic
forms towards linear, abstract ones. Formation of that style has to be
linked with the technique of cutting and adorning metal sheet and
bones.

Similarly as during the earlier stages of the Vinca culture, clay
determined the basic forms of anthropomorphic statuettes, so in the
later one figurines of metal sheet and bones became the proponents of
linear abstract style which was transposed to other materials with
more or less success.

[INLINE]

Anthropomorphic figurine from Vinca

In contrast to the statuettes, dishes were largely unadorned. This
apparently contradictory fact, actually goes in line with the basic
stylistic concept to which the third dimension is completely alien, as
is the spatial development of ornamental motives.

Consequently, only painted decoration came to the fore, done in
pasteouse paint or incrustation, the rest of the techniques being
largely neglected.

The uninterrupted adorning motives were no longer applied (current
spiral, meander), but all the ornaments are either limited in space
(metopic style) or associated with individual parts of a vase.

[INLINE]

Prosopomorphic lid from Vinca

This strict tectonic style on ceramic, as well as ornamental abstract
forms on plastic, are an expression of a serious crisis, instigated by
introduction of metal, into still predominantly agrarian environment.

With the development of metallurgy of copper, new social relations
were gradually taking shape, which contradicted the traditional way of
life. The inhabitants of Vinca were not ready to accept progressive
economic and gods, already present in the cultures of neighbouring
area.

Being as it was, the old gods of Vinca had to be raised as high as
possible in confrontation to alien divinity.

Hence new form of religious practice in Vinca, documented primarily by
the known iconographic pattern of mother and child in her arms, the
general female bread-winner and the great lady.

[INLINE]

Anthropomorphic figurine from Vinca ("The Lady of Vinca")

Those numens without real power or face, were burnt together with the
huts of their creators at the assault of invading cultures of the
Copper Age. That horizon marks the last major chapter in the history
of Vinca, history of some fifteen centuries full of significant
cultural achievement and exciting events.

Life went on in Vinca till the arrival of the Romans to our parts, but
neither with the same intensity and new economic and social
structures, nor on the same area. Today, Vinca is known for a series
of finds dating back to the Copper, Bronze and Iron Ages (including
Old Serbian necropolis from Middle Age - note by PR).

However, these are only traces, often very important for an
understanding of certain phenomena in prehistoric culture of the
central Danubian valley, but they are only secondary to the Vinca
history.

[INLINE]

Relief showing a woman holding a child from Vinca

It seems that the Vinca soil has preserved its attractive power even
in the civilisation of our age.

Next to the prehistoric settlement namely, there is nowadays an
emposing building of the Boris Kidric Institute of Nuclear Sciences.

The Vinca Archaeology Park

[INLINE]

The Vinca Archeology Park

The Master plan of Beograd puts the Danubian River bank around Vinca
as an Archaeology Park. This future park will consist of the Museum of
the Neolithic in the Central Danubian Valley, an International Centre
for Neolithic Studies in the Central Danubian Region, facilities for
conservation works and, of course, greenery. (The author of the
Project Bratislav Stojanovic, an architect and town planner, member of
the Archaeological Vinca Committee of the Serbian Academy of Sciences
and Arts).

[INLINE]

Anthropomorphic figurine from Vinca

The Museum should preserve a selected part of the excavation
("excavation as permanent exhibit"), provide for exhibiting space for
items excavated in Vinca and in other Neolithic localities in the
central Danubian region and an extra space for topical exhibitions. So
designed, the Museum is partly an "architectural sheet" protecting and
presenting the excavations - vertical profile of cultural layers from
top to bottom, about 10 m height, and the oldest prehistoric
settlement in Vinca. The visitors shall move along the ramps and
stairs from one to the other exhibit; it is going to be a single space
cut by paths and galleries, to give an impression about life going on
at that place in the distant prehistoric past. The other part shall be
a classical archaeological museum of selected exhibits, composed as a
global and adjusted science/culture piece of information about
archaeological finds in the central Danubian region.

The International Center should become a meeting place of
co-ordination, exchanges and adjustment of scientific achievements in
archaeology of the Neolithic Age of the south-east Europe, a venue of
international congresses, symposia, seminars and the similar.

The main components of the Center should be a hall for plenary,
gatherings, lectures, smaller halls for committees, offices for
individual work, library, offices of international sponsors and for
current activities of the Center. Beograd and advantages it offers,
favour such activities, since it is a major center in this country and
the seat of institutions such as the Serbian Academy of Sciences and
Arts, Center of Archaeology at the Faculty of Philosophy, National
Museum, the Museum of the City of Beograd, the Congress Sava Center in
Novi Beograd and the similar.

[INLINE]

Anthropomorphic figurine from Vinca

Conservation and workshop facilities shall deal with the finds in the
field, classify and reconstruct them, draw and make photos. They will
house laboratories for determining absolute chronology by physical and
chemical methods and a laboratory of paleozoological and
paleobotanical analyses. Other workshops were planned, for
conservation, photography, etc., along with the central archives,
documentation, photo documentation, films and other archive documents.

The components of the Museum, and the Center will be housed in a
single building. Although each is independent and may exist on its own
merit, they are parts of synchronised whole of the Archaeology Park.

Green areas will cover most of the area (the total protected area is 6
km, at the upper level and about two along the river bank). The
building itself with its semi-open and covered parts will be
surrounded by greenery, cut by paths, as an aesthetic and dendrologic
patch within a larger project of arranging the river banks and
protecting the surroundings of Belgrade. Greenery would follow the
countryside. In selecting the green cultures an attempt shall be made
to maintain a sort of botanical continuity from prehistory to our
times in this part of the Danubian valley.

[INLINE]

Zoomorphic figurine from Vinca

The lower, river bank plateau, river dikes and the space of the
vertical profile, will be turned into useful, grass areas under the
planning concept for the Danubian banks. Thus, the Archaeology Park,
although a whole in itself shall be an excursion and recreation site
at the bank of one of the two Beograd rivers. Fishing will continue to
be fostered, boating and excursion by ship. A tourist information
stall at the bank is also a part of the picture.

The items the Vinca site will be exposed in the Park itself, either in
the open or in sheds. They shall feature reconstructed historical
houses or their parts, models of settlements and their parts, based on
the knowledge arrived at during past and current excavations. The
exhibit shall have an education purpose, it will be changed, namely
replaced according to new developments.
_______________________________________________________________

Bibliography

1908 M. M. Vasic, South-Eastern Elements in the Prehistoric
Civilisation of Servia, Annual of the British School at Athens XIV,
Athens, 319-342.

1910 M. M. Vasic, Die Hauptergebnisse der prahistorischen Ausgrabung
in Vinca in Jahre 1908, Prahistorische Zeitschrift II, Berlin, 1,
23-39.

1911 M. M. Vasic, Die Datierung der Vincaschicht, Prahistorische
Zeitschrift III, Berlin, 126-132.

1932 M. M. Vasic, Preistorijska Vinca I, Beograd.

1936 M. M. Vasic, Preistorijska Vinca II-IV, Beograd.

1939 F. Holste, Zur chronologischen Stellung der Vinca Keramik, Wiener
Prahistorische Zeitschrift XXVI/1, Wien, 1-21.

1950 V. Milojcic, Koros - Starcevo - Vinca, Reinecke Festschrift,
Mainz, 108-118.

1951 M. Garasanin, Hronologija vincanske grupe, Ljubljana.

1957 D. Srejovic - B. Jovanovic, Pregled kamenog orudja i oruzja iz
Vince, Arheoloski Vestnik VIII/3-4, 256-296.

1959. D. Srejovic - B. Jovanovic, Orudje i oruzje od kosti i nakit iz
Vince, Starinar IX-X, 181-190.

1964 Z. Letica, The Neolithic Figurines from Vinca, Archaeology 17/1,
New York, 26-32.

1972 I. Schwidetzky, Menschliche Skelettreste von Vinca, Glasnik
antropoloskog drustva Jugoslavije 8-9, Beograd, 101-112.

1979 G. Marjanovic-Vujovic, Necropole Medievale Vinca, Inventaria
Archaeologica, fasc. 22, Zagreb, Y 209-218.

1984 Vinca u praistoriji i srednjem veku, Katalog Galerije SANU 50,
Beograd.

// [14]Project Rastko / [15]Archaeology //
[ [16]Serbian | [17]Search | [18]Map | [19]Contact | [20]Help ]

References

1. http://www.google.com/help/features.html#cached
2. http://www.rastko.org.yu/arheologija/vinca/vinca_eng.html
3. http://www.rastko.org.yu/arheologija/vinca/vinca_eng.html
4. http://64.233.167.104/search?q=cache:nDgtOAGDigYJ:www.rastko.org.yu/arheologija/vinca/vinca_eng.html+figurines+%2Bneolithic+&hl=en&lr=lang_en&ie=UTF-8&strip=1
5. LYNXIMGMAP:file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#bar
6. LYNXIMGMAP:file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#navigacija
7. LYNXIMGMAP:file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#janus
8. http://www.janus.co.yu/
9. file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#_Toc504111709
10. file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#_Toc504111710
11. file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#_Toc504111711
12. file://localhost/www/jnocook.net/saturn/files/figurines/vinca.html#_Toc504111712
13. http://www.rastko.org.yu/arheologija/vinca/img/img_03a.jpg
14. http://www.rastko.org.yu/index_c.html
15. http://www.rastko.org.yu/arheologija/index_c.html
16. http://www.rastko.org.yu/arheologija/vinca/vinca.html
17. http://www.rastko.org.yu/o/pretraga.html
18. http://www.rastko.org.yu/strani/e-index.html
19. http://www.rastko.org.yu/strani/e-impresum.html
20. http://www.rastko.org.yu/o/pomoc/index.html