Analysis of information sources in references of the Wikipedia article "Encrusted Pottery culture" in English language version.
the stray gold lock-rings found in transdanubia are usually linked to the Encrusted Pottery culture, together with the hoards brought to light at uzdborjád/Kölesd–Hangospuszta, nagyberki–Kisberki and in the Pécs area (Fig. 5).
The close of the Early Bronze Age saw the arrival of new, southern population groups to the territory earlier occupied by the Somogyvár–Vinkovci culture. These groups blended with the local population, giving rise to the Kisapostag culture. ... It is difficult to draw a sharp boundary between the Early and Middle Bronze Age since the layer sequence of certain tells indicates a peaceful and continuous development, although ethnic, economic and historic changes can be noted, as a result of which three major cultural and regional units can be distinguished in the Middle Bronze Age (19th–14th centuries B.C.): the Encrusted Pottery culture of Transdanubia, practicing a Central European economy, the tell cultures of the Tisza region and the Vatya culture – distributed partly in Transdanubia and partly in the Danube–Tisza interfluve – the latter two both part of the southern cultural koine.
In the formation of the Dubovac—Zuto Brdo group an important role must certainly have been played by the influence of the neighbouring West Pannonian encrusted pottery. The great similarity between the idols of this group and those of Mycenaean art has often been pointed out. Moreover, the link between the Dupljaja cart and the Hyperborean myth of Apollo, as well as the appearance of Greek meanders on pottery and the discovery at the Ceramicus cemetery in Athens of later vessels and figurines with similar ornamentation, suggests connexions with the world of Greece. For the present the question remains open whether one sees here a wider spiritual koine in the Balkan Peninsula or the participation of the bearers of our group in Aegean migrations farther south.
The first group that meets all essential criteria of the Urnfield package in the Danube area is Dubovac–Žuto Brdo–Gârla Mare (DŽG), a southern manifestation of the large supra-regional phenomenon known as 'Danubian Encrusted Pottery'
As a consequence of the pressure exercised by the communities of the Tumular Culture (Hügelgräberkultur), warrior populations coming from Central Europe, to which the hiding of the bronze hoards from Koszider horizon are hypothetically related, communities of the northern-Pannonian inlayed ceramics culture (Esztergom group) leave Transdanubia and they withdraw to the south along the valley of the Sió river, occupying the area between the Danube and the Tisza. The movement to the south of the communities of the northern-Pannonian inlayed ceramics stimulated, but at a reduced extent, elements from the southern area of Transdanubia, too. The grafting of the elements of civilization typical of the communities of the northern-Pannonian inlayed ceramics with local ones (Gerjen, Vatina and Verbicioara) determined the appearance of a new ethnical-cultural manifestation known especially as "Szeremle group" ... The short evolution of this cultural group played a very important role in the genesis of some new ethnical-cultural manifestations. One of them was the Žuto Brdo–Gârla Mare culture, which developed from the Szeremle communities, that were coming down to the neighbouring of the western side of the Carpathians.
In the Hungarian Danube region, Transdanubian Encrusted Ware develops during the MBA and the theory remains that migration brought this style into the Serbian Danube area, having developed into the related encrusted Szeremle style and influenced the Dubovac-Žuto Brdo style. The Szeremle style developed along the north-south stretch of the Danube corridor and Dubovac-Žuto Brdo style along the same river after its turn to an easterly flow. There are close similarities to both styles during the LBA with regard to motifs, decorative schema and vessel shapes, but the earliest phases of each style are traced to the MBA when they initially draw on related but distinct local traditions. Sidestepping discussion of minor differences for our purposes here during the LBA phase we consider them as a broad stylistic family under the acronym SDŽB. The consumption of SDŽB was focussed on the Danube but it was consumed commonly in the southern reaches of the lower Pannonian network
The first group that meets all essential criteria of the Urnfield package in the Danube area is Dubovac–Žuto Brdo–Gârla Mare (DŽG), a southern manifestation of the large supra-regional phenomenon known as 'Danubian Encrusted Pottery'
In the Hungarian Danube region, Transdanubian Encrusted Ware develops during the MBA and the theory remains that migration brought this style into the Serbian Danube area, having developed into the related encrusted Szeremle style and influenced the Dubovac-Žuto Brdo style. The Szeremle style developed along the north-south stretch of the Danube corridor and Dubovac-Žuto Brdo style along the same river after its turn to an easterly flow. There are close similarities to both styles during the LBA with regard to motifs, decorative schema and vessel shapes, but the earliest phases of each style are traced to the MBA when they initially draw on related but distinct local traditions. Sidestepping discussion of minor differences for our purposes here during the LBA phase we consider them as a broad stylistic family under the acronym SDŽB. The consumption of SDŽB was focussed on the Danube but it was consumed commonly in the southern reaches of the lower Pannonian network
In the Hungarian Danube region, Transdanubian Encrusted Ware develops during the MBA and the theory remains that migration brought this style into the Serbian Danube area, having developed into the related encrusted Szeremle style and influenced the Dubovac-Žuto Brdo style. The Szeremle style developed along the north-south stretch of the Danube corridor and Dubovac-Žuto Brdo style along the same river after its turn to an easterly flow. There are close similarities to both styles during the LBA with regard to motifs, decorative schema and vessel shapes, but the earliest phases of each style are traced to the MBA when they initially draw on related but distinct local traditions. Sidestepping discussion of minor differences for our purposes here during the LBA phase we consider them as a broad stylistic family under the acronym SDŽB. The consumption of SDŽB was focussed on the Danube but it was consumed commonly in the southern reaches of the lower Pannonian network
In the Hungarian Danube region, Transdanubian Encrusted Ware develops during the MBA and the theory remains that migration brought this style into the Serbian Danube area, having developed into the related encrusted Szeremle style and influenced the Dubovac-Žuto Brdo style. The Szeremle style developed along the north-south stretch of the Danube corridor and Dubovac-Žuto Brdo style along the same river after its turn to an easterly flow. There are close similarities to both styles during the LBA with regard to motifs, decorative schema and vessel shapes, but the earliest phases of each style are traced to the MBA when they initially draw on related but distinct local traditions. Sidestepping discussion of minor differences for our purposes here during the LBA phase we consider them as a broad stylistic family under the acronym SDŽB. The consumption of SDŽB was focussed on the Danube but it was consumed commonly in the southern reaches of the lower Pannonian network
As a consequence of the pressure exercised by the communities of the Tumular Culture (Hügelgräberkultur), warrior populations coming from Central Europe, to which the hiding of the bronze hoards from Koszider horizon are hypothetically related, communities of the northern-Pannonian inlayed ceramics culture (Esztergom group) leave Transdanubia and they withdraw to the south along the valley of the Sió river, occupying the area between the Danube and the Tisza. The movement to the south of the communities of the northern-Pannonian inlayed ceramics stimulated, but at a reduced extent, elements from the southern area of Transdanubia, too. The grafting of the elements of civilization typical of the communities of the northern-Pannonian inlayed ceramics with local ones (Gerjen, Vatina and Verbicioara) determined the appearance of a new ethnical-cultural manifestation known especially as "Szeremle group" ... The short evolution of this cultural group played a very important role in the genesis of some new ethnical-cultural manifestations. One of them was the Žuto Brdo–Gârla Mare culture, which developed from the Szeremle communities, that were coming down to the neighbouring of the western side of the Carpathians.
The first group that meets all essential criteria of the Urnfield package in the Danube area is Dubovac–Žuto Brdo–Gârla Mare (DŽG), a southern manifestation of the large supra-regional phenomenon known as 'Danubian Encrusted Pottery'
The first group that meets all essential criteria of the Urnfield package in the Danube area is Dubovac–Žuto Brdo–Gârla Mare (DŽG), a southern manifestation of the large supra-regional phenomenon known as 'Danubian Encrusted Pottery'
