Neolitska Plastika [antikvár]

NEOLITSKA PLASTIKA U MUZEJU GRADA BEOGRADA Fenomen neolitske plastike, po sebno plastike vincanske kultume grupe, ostaje i pored brojnih clana-ka, studija pa i monografija, nedo-voljno objaSnjen i protumacen u praistorijskoj umetnosti. Sta pred-stavljaju brojne terakote, kakav je njihov znacaj i uloga u primitivnoj magiji i verovanju coveka koji tek áto je zakoracio u period koji se obiéno naziva vreme primame agri-kulture? Nije li ba§ ovaj trenutak u njegovoj evoluciji, u evoluciji njegove spoznaje sveta i u saznanju da sam moza da utice na pravac svoje egzistencije, nisu 11 bas to uz-roci sto se na neolitskim nalazisti-ma, najpre u manjem broju a zatim sve ceáée nalaze antropomorfne i zoomorfne statuete od peöene ze-mlje? Istrazivacima ovog dalekog vremena i fenomena neolitske plastike, nije ni lako, ni jednostavno da prodru u sustinu znacenja ovih figura. Formalno i tipoloski u struc-noj literaturi izvrsene su mnoge pódele i periodizacije neolitske, po-sebno plastike vincanske grupe.' Medutim dalje od toga nije se mno- 1 Ovde se pominju pre svega pódele M. Vasiéa (up. bibliografsku jedinicu 2 i 4), J. Koroseca, M. Garasanina, D. Srejovica (jedinice 6, 5, 8 i 9). — Broj posle imana oznacava jedinicu u Bi-bliografiji koja je na kraju ove knjige. NEOLITHIC SCULPTURE IN THE BEOGRAD MUSEUM The phenomenon of Neolithic sculpture in general, and of the Vinca sculpture in particular, has not been adequately explained and interpreted within the context of prehistoric art, in spite of the existence of numerous articles, studies and even monographs. What did the numerous clay figures represent, what was their significance and role in the primitive magic and beliefs of the man who had just stepped over the threshold of what is usually called the period of primary agriculture? Was not precisely that moment in his evolution and in the evolution of his knowledge of the world, the new awareness that he can influence the course of his existence, were not precisely these the causes that antropomorp-hic and zoomorphic statuettes of baked clay began to appear in an ever greater number on Neolithic sites? The explorers of this remote period and of the phenomenon of Neolithic sculpture find it neither easy nor simple to grasp the meaning of these figures. There are many formal and typological classifications and periodizations of Neolithic sculpture, and of the Vinca Group sculpture in particular, in archaeological literature.' Not ^ I mention here primarily the classifications of M. Vasic (cf. Bibliography, nos. 2 and 4), J. Korosec, M. Gara§a-nin, D. Srejovic (Bibliography, nos. 6, 5, 8 and 9). The number following an author's name refers to the item in the Bibliography at the end of this book.