Coordonarea volumului/Coordinators of the volume

Prof. Dr. Mircea Petrescu-Dimbovita

Dr. Eugenia Zaharia

Dr. Nikolaus Boroffka

Cornelia Stoica

Mihai Rotea

Colegiu de redactie/Editors

Cornelia Stoica

Mihai Rotea

Dr. Nikolaus Boroffka

Traducere/Translations: Dr. Nikolaus Boroffka; Rodica Boroffka

Rani/Maps: Dr. Nikolaus Boroffka

Tabel cronologic/Chronological table: Dr. Nikolaus Boroffka

Foto: Marius Amariei

Desene/Drawings: Rodica Gaciu

Editura: S.C. DAIM P.R. S.R.L.

Tiparit la: S.C. Fabrica de Timbre S.A.

ISBN: 973-95349-18- x

e Ministerul Culturii, Bucuresti

MINISTERUL CULTURII

COMORI ALE EPOCH BRONZULUIDIN ROMANIA

TREASURES OF THE BRONZE AGEIN ROMANIA

BUCURE~TI, ROMANIA

MUZEUL NATIONAL DE ISTORIE A ROMANIEIOCTOMBRIE 1995

Cultura Glina/The Glina culture.

CULTURA GLINA

Radu BajenaruInstitutul de Arheologie "Vasile Pavan", Bucuresti

Definita in urma sapaturilor sistematice initiate in anul 1926 de I. Nestor pe tell-ulde la Glina (linga Bucuresti), cultura eponima a fost corect incadrata de majoritateacercetatorilor romani ~i straini in perioada timpurie a epocii bronzului.

Astazi cunoastern aproximativ 130 de asezari Glina raspandite pe un teritoriu vast,delimitat de Portile de Fier la vest, Mostistea la est ~i Dunarea la sud. Limita nordica 0

constituie, in linii mari, Carpatii Meridionali, insa se poate afirma cu certitudine ca, eel putinintr-un anumit moment al evolutiei sale, cultura Glina a ocupat sporadic ~iTara Barsei. Cazone intens locuite rernarcarn cursurile mijlocii ~i inferioare ale Dambovitei, Argesului ~iOltului. Se observa lesne preferinta pentru locurile dominante: 90% din asezarile culturiiGlina se afla pe pinteni de terasa in zona de campie ~i pe inaltimi naturale in zona colinara

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~i de munte. Pana in prezent, se cunosc doar doua asezari Glina fortificate: Orbeasca de Sus(jud. Teleorman) ~i Odaia Turcului (jud. Dambovita), ambele prevazute cu cate un sant deaparare ce inchide accesul pe promontoriile pe care se afla aceste asezari.

Un singur morrnant poate fi atribuit cu certitudine culturii Glina. Este yorba decomplexul funerar descoperit in asezarea de la Cascioarele (jud. Calarasi), compus dintr-unschelet puternic chircit pe stanga, a carui groapa funerara era acoperita de aglomerare dematerial ceramic, oase de animale ~i resturile unei vetre portabile, pe 0 suprafata de 14/2,5m, dar care initial era mai mare. Este cert ca ne aflam in fata unei inmorrnantari speciale,cu un rit deosebit, ce nu poate fi extins la intreaga cultura Glina.

Ceramica acestei culturi poate fi irnpartita .in doua categorii. Prima, cea mainumeroasa, are in cornpozitie pietre ~i cioburi pisate, arderea este neuniforrna la cenusiu saucaramiziu ~i suprafetele vaselor sunt nefinisate. Cele mai frecvente forme ale acestei categoriisunt vasele mari cu profilul arcuit sub forma de "S" prelung, vase-borcan, am fore ~istrachini. Decorul consta aproape exclusiv din gauri-buton executati in tehnica "au repousse"sub buza vasului, crestaturi si brauri alveolare. A doua categorie, mai putin numeroasa, 0

constituie ceramica fina, de culoare neagra sau cenusie. Ca forme, remarcarn bolurile ~icastroanele de mici dimensiuni. Aceasta categorie este, in general, nedecorata, rar intalnindu-se creste sau proeminente in relief, dispuse pe pantecul si sub buza vasului.

Ca inventar metalic (cupru si bronz), pe langa 0 serie de sule, daltite ~i cutitase, inasezarea de la Branet (jud. Olt) s-a descoperit un pumnal de arama triunghiular, de originesudica. Caracteristice pentru cultura Glina, sunt securile plate cu marginile drepte sauridicate. In legatura cu cultura Glina a fost pusa ~i raspandirea in Oltenia ~i Muntenia a

Itopoarelor cu gaura de inmanusare transversala de tip Veselinovo I ~i Durnbravioara.

Originea culturii Glina este inca neclara, Un aport important pare a fi avut culturaCernavoda II - Foltcsti II. Si periodizarea interna ramane dificil de stabilit datorita, in primulrand, imobilismului formelor ~i ornamentelor ceramicii, aceleasi in toate nivelurile delocuire. Relativ recent s-a propus impartirea culturii Glina in patru faze de evolutie, fiecarereprezentand un moment al expansiunii acesteia spre vest, in dauna culturii Cotofeni. Desilogica, aceasta impartire ramane a fi confirrnata de 0 analiza tipologico-stratigrafica aceramicii din intreaga sa arie de raspandire.

Cultura Glina poate fi sincronizata cu Ezero A-B la sud de Dunare, cu manifestarileculturale de tip Bogdanesti in Moldova ~i cu grupul Jigodin in Transilvania. 0 serie defragmente ceramice descoperite in cateva asezari Glina, releva legaturi cu faza a III-a aculturii Cotofeni si cu cultura Vucedol, Sincronismul cu grupul Schneckenberg a fost pusrecent sub semnul intrebarii de catre A. Vulpe. Pe baza descoperirilor de la Naeni-v Colarea"~i a stratigrafiei de la Odaia Turcului ~i de la Sarata Monteoru, autorul mentionat a ararat caintreaga cultura Glina precede grupul Naeni-Schneckenberg.

Sfarsitul culturii Glina are loc odata cu aparitia ceramicii decorate cu maturica inOltenia si a grupului Odaia Turcului (nivelul superior din asezarea eponirna) in centrul sinord-estul Munteniei. Acestea din urma reprezinta ultimele manifestari culturale ale bronzului

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timpuriu din regiunea dintre Carpatii Meridionali ~i Dumire, ce vor face trecerea spreculturile c1asice ale bronzului mijlociu : Monteoru, Tei ~i Verbicioara.

Literatura:1. Ion Nestor, FOllilles de Glina. Dacia 3-4, 1927-1932, p. 226-252.2. Mircea Petrescu-Dimbovita, La civilisation Glina III-Schneckenberg a la lumiere de nouvelles recherches.

Preistoria Alpina 10, 1974, p. 277-289.3. Petre Roman, Die Glina III-Kultur. PZ 51, 1976, p. 26-42.4. Ersilia Tudor, Neue Angaben zur friihen Bronzezeit in Sudrumanien, Dacia N.S. 26, 1982, p. 59-75.5. Alexandru Vulpe, Neue Beitrage zur Chronologie und kulturellen Gliederung der Friihbronzezeit im unteren

Donaugebiet, Starinar N.S. 40-41, 1989-1990 (1991), p. 105.

46. TOPOR PLATCrivat (jud. Calarasi), punctul "Islaz". Descoperire fortuita.Bronz timpuriu. Cultura Glina.Cupru. Turnare, cizelare. L = 11,9 em; 1. tais = 7,3 ern; G = 262 gr.Topor-secure, cu muchia usor concava, laturile lungi ingrosate, taisul arcuit ~i latit.Patina nobila verzuie.Done Serbanescu, George Trohani, In SCIVA 26, 1975, 4, p. 531-532, fig. 2/3.MAO, Inv. 4581.Done Serbanescu,

~

47. CASTRONVerbicioara (jud. Dolj). Asezare,Bronz tirnpuriu. Cultura Glina.Ceramica. H = 19,2 ern; D gura = 24,3 cm.Gura larga, dreapta, cu buza evazata, corp arcuit bitronconic, cu etaje aproximativegale, fund plat; 2 terti alternand cu 2 grupe de care 3 proerninente.Inedit.MNIR, Inv. 13151.Valeriu Leahu.

48. CANAVerbicioara (jud. Dolj). Asezare.Bronz timpuriu. Cultura Glina.Cerarnica. H = 23,5 em; D gura = 13,5 em,Gura dreapta, eu buza usor evazata, gat relativ inalt, cilindric, pantece arcuitbitronconie, fund plat. Toarta verticala. Neornamentat.Inedit.MNIR, Inv. 13163.Valeriu Leahu.

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THE GLINA CULTURE

Radu BajenaruInstitutul de Arheologie "Vasile Pavan", Bucuresti

Defined after the systematic excavations in 1926 of I. Nestor at the tell near Glina(near Bucarest), the culture was correctly placed in the Early Bronze Age period by themajority of romanian and foreign researchers.

Todayapproximatively 130 Glina settlements are known, spread over a vast territory,bordered in the west by the Iron Gates, the river Mostistea in the east and the Danube in thesouth. The northern limit is formed, in general, by the Carpathians, however we canascertain that, at least at a given moment in its evoltion, the Glina culture sporadicallyoccupied the Tara Barsei (south-eastern Transilvania). As intensely settled areas we mayremark the middle and lower course of the Dambovita, Arges and Olt. One observes easilya preference for dominant locations: 90% of the Glina settlements are found on terrace spursin the area of the plain and on heights in the hilly regions and in the mountains. At presentonly two fortified Glina settlements are known: Orbeasca de Sus (jud. Teleorman) and OdaiaTurcului (jud. Dambovita), both with a ditch each, that closes the access to the promontoryon which the settlement lies.

A single burial may be certainly ascribed to the Glina culture. It is the funerarycomplex discovered in the settlement at Cascioarele (jud, Calarasi), which contained astrongly crouched skeleton, lying on its left side and whose funerary pit was covered by anagglomeration of pottery, animal bones and the remains of a portable hearth, spread over asurface of 14 x 2,5 m, but originally more. It is clear that this is a special burial, with anexceptional rite, that cannot be extended for the whole culture.

The poterry of the culture may be classified into two categories. The first, morenumerous, contains gravel and ground ceramics in the paste, the colour is not uniform,varying from grey to brick red and the surface is untreated. The most frequent forms of thiscategory are large vessels with curved profile, in form of a slight "S", storage vessels,amphorae and bowls. The decoration consists, almost exclusively, of hole-knobs, executedin an "au repousse" technique under the vessels rim, incisions and finger-impressed,horizontal ribs. The second, rarer, category is formed by the fine pottery of black or greycolour. As forms we may remark bowls and small cups. This category is, generally, notornamented. Seldomly we meet ribs or knobs that are placed on the belly or under the rim.

As metalic inventory (copper and bronze), besides a number of piercers, chisels andsmall knives, in the settlement at Branet (jud. Olt) a triangular copper dagger of southernorigin was discovered. Characteristic for the Glina culture are flat axes with straight or raisedmargins. The spread of shaft-hole axes of the Veselinovo I and Dumbravioara types inOltenia and Muntenia has also been conected to the Glina culture.

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The origin of the Glina culture is still unclear. An important contribution seems tohave come from the Cernavoda II - Foltesti II culture. The internal periodisation also remainsdifficult to establish, mainly due to the unchangeing pottery forms and decorations, thatremain the same through all living levels. Relatively recently a division of the Glina cultureinto four phases has been proposed, each phase representing a stage of its expansion towardsthe west, to the disadvantage of the Cotofeni culture. Although logic, this subdivisionremains unconfirmed by typologico-stratigraphic analysis of the pottery from the wholesettled area.

The Glina culture may be synchronised with Ezero A-B south of the Danube, withthe cultural phenomena of Bogdanesti type in Moldavia and with the Jigodin group inTransylvania. Several sherds discovered in some Glina settlements show conections to phaseIII of the Cotofeni culture and to the Vucedol culture. The synchronism with theSchneckenberg group has recently been questioned by A. Vulpe. On the basis of the findsfrom Naeni-v'Colarea" and the stratigraphy at Odaia Turcului and Sarata Monteoru, thementioned author has shown, that the entire Glina culture precedes the Naeni-Schneckenberggroup.

The end of the Glina culture comes with the appearance of striated pottery in Olteniaand the Odaia Turcului group (upper level of the eponymous site) in central and north-easternMuntenia. The latter represents the last cultural phenomenon of the Early Bronze Age in theregion between the southern Carpathians and the Danube, that forms the transition theclassical Middle Bronze Age cultures: Monteoru, Tei and Verbicioara.

Literature:1. Ion Nestor, Fouilles de Glina. Dacia 3-4, 1927-1932, p. 226-252.2. Mircea Petrescu-Dimbovita, La civilisation Glina III-Schneckenberg a la lumiere de nouvelles recherches.

Preistoria Alpina 10, 1974, p. 277-289.3. Petre Roman, Die Glina III-Kultur. PZ 51, 1976, p. 26-42.·4. Ersi1ia Tudor, Neue Angaben zur friihen Bronzezeit in Siidrumanien. Dacia N.S. 26, 1982, p. 59-75.5. A1exandru Vulpe, Neue Beitrage zur Chronologie und kulturellen Gliederung der Friihbronzezeit im unteren

Donaugebiet. Starinar N.S. 40-41, 1989-1990 (1991), p. 105.

46. FLAT AXECrivat (jud. Calarasi), "Islaz". Chance discovery.Early Bronze. Glina culture.Copper. Casting, chiselling. L = 11,9 em; w. cutting edge = 7,3 em; W = 262 gr.

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