The LPC in Transdanubia

In western Hungary, especially the oldest phase of the LPC is well researched. It bears special significance due to the fact that it might be possible to establish a potential region of origin for the LPC. Settlements yielding archaic pottery which can be placed in between the youngest Starčevo culture and the oldest actual LPC can be found, with some frequency, in Zala Megye (Bánffy 2004; cf. the main article with further references).

The so-called “Tapolca” group, which was defined by K. Sági and Z. Törőcsik after excavations in the area around Tapolca close to Lake Balaton (Sági/Törőcsik 1989), might rather be a local variant of the oldest LPC than an independent group.

The further LPC development comprises two different groups defined with pottery. On the one hand, we find the so-called “music-note pottery”: vessels are decorated with lines and impressed dots (”music-notes”. Kalicz 1998). Such music-note pottery is a common feature in the LPC of the Danube regions. We can also find it in east Austria, Slovakia, Moravia, Romania and the Ukraine.

The second phenomenon which we see in Transdanubia and also in east Austria is called, after a location, Keszthely group (Kalicz 1993). Keszthely pottery is characterized by a seemingly archaic imprint: it is decorated with broad lines with a u-shaped profile which are actually typical for the oldest LPC. Motifs are made up of rectilinear decorations surrounding the whole vessel.

The youngest phase in the LPC of Transdanbia is characterized by the Želiezovce group (cf. for this LPC of south-west Slovakia).


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