Chapter 5 part VIII “A Matrix of semiotic rules and markers for inspecting the sign system of the Danube civilization” from the book Neo-Eneolithic Literacy in Southeastern Europe PDF

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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...

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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). 319

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 of “Lady Vinča”. (After Bulgarelli D. Prehistory Knowledge Project).

Fig. 5.287 - On a figurine from Parţa (Romania) a divinity mark occurs, which distinguishes that settlement. (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 321

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

A

B

B

Fig. 5.288 - A divinity identifier occurs on a figurine from Jela (A). A comparison with another kind of multiple lozenge in the same position from Gomolava (B). (A) Graphic elaboration by Merlini after Winn 1981: 330, fig. 10; B) Adapted Brukner 1980: 43, Pl. VI/1 ).

Fig. 5.289 – A “double axe traversed by a line” is typical of the Smjadovo tell (Bulgaria) (After Mitkova 2005: fig. 2/2 and 2/1).

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”. 322

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. Fiveparallels 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 abdomen of “Lady Predionica” (Kosovo). (After Bulgarelli D. Prehistory Knowledge Project).

Fig. 5.291 – A divinity mark on the neck of a Cucuteni figurine from Scânteia (Romania). (Photo Merlini 2006).

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. 323

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, unclearlycut, 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”. 324

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 divi...