Inscribed human figurines illustrated by the painter Daniela Bulgarelli >A virtual exhibition of the F-MU.S.EU.M. project
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Writing on Human Skin Made of ClayThe human body was employed as one of the first books to write messages. Hundreds of anthropomorphic statuettes from the Neo-Eneolithic of Southeastern Europe are incised with inscriptions of the Danube script, the writing technology that developed between c. 6000-3500 BC to compress and express ideas. Among the 4,408 occurrences of script signs recorded by DatDas (Databank for the Danube script), the most frequently inscribed objects (after potshards) are human figurines: more than one artifact in five.
I have the pleasure to present here some inscribed human figurines illustrated by the painter Daniela Bulgarelli in collaboration with the F-MU.S.EU.M. project developed under the framework of LLL Leonardo da Vinci Programme. The F-MU.S.EU.M. project exposed them in May-June 2008 as component of the exhibition The Danube Script: Neo-Eneolithic Writing in Southeastern Europe organized by The National Brukenthal Museum (Sibiu, Romania), which is beneficiary partner of the F-MU.S.EU.M. project, and the Institute of Archaeomythology (Sebastopol, USA).
Bulgarellis images cover the entire time-frame of the Danube script in Southeastern Europe from the Early Neolithic to the Late Copper Age. Most of the figurines belong to the Vina culture, which led in the development of the Danube script. The Vina culture had its hub in the area that is now the Republic of Serbia. Figurines from Albania, Bulgaria, Macedonia (F.Y.R.O.M.), Greece, Hungary Italy, Romania and Ukraine are also portrayed.
Many anthropomorphic statuettes are characterized by the prominent display of short inscriptions that demonstrate a highly formalized organization. In the Danube civilization, the intentional positioning of signs in a specific location on an object was an important element of the communicative act. This was not a technical choice, but an essential phase of the writing process. The emblematic objects themselves, on which signs were engraved (e.g., dwelling models, ritual vessels, seals, zoomorphic statuettes, and human figurines), functioned as essential components of the messages.
When the writer decided to communicate a certain message, she/he selected an appropriate artifact such as a human statuette with a specific typology (e.g., female/male/androgynous/without evident gender; young/mature/old, naked/dressed, etc.). Inscriptions were made only on the anatomical areas considered strategic for the targeted message (e.g., the vulva, belly, buttocks, throat, and forehead). Associated with the anatomical placement of an inscription, the particular silhouette of a figurine, a special necklace or garment, a distinct design on the dress or an anatomical peculiarity (such as divine eyes, for example) are elements that were also significant to the meaning of the signs.
Many inscribed figurines have female gender and have often been recovered within a ritual context, such as domestic altars, sanctuaries, temples, and open ceremonial areas. It is reasonable to infer that the mono-sign inscriptions engraved on figurines possibly represented the monogram of a divinity, indicating that the object had been used as a ritual offering. This kind of inscription might have announced the presence and the powers of a local divinity associated with a specific cultic place. Such a monogram, identifying divinity on an abstract level, sometimes appears as a substitute for key organs with specific signs: meanders instead of vulvas, spirals in place of buttocks, for example. Longer inscriptions engraved on human representations might have addressed a divine name or an attribute to be invoked, the name of the faithful, or a ritual formula for supplication, dedication, blessing or protection.
Artist and anthropologist, Daniela Bulgarelli, works on the links between body ornament, ceramic decorations and parietal art. She is the author of Come dipingere su ceramica e porcellana (1994), Como decorar la ceramica loza y porcellana, tecnicas, estilos, secretos (1995), and Comment peindre la porcelain: toutes le pates colorees et les differentes techniques (2000). Bulgarelli teaches at the European Institute of Design in Turin and has conducted anthropological research at the University of Turin and in Rome.Bulgarelli has been collaborating since 1999 with the Prehistory Knowledge Project at EURO INNOVANET. Some of her paintings of artifacts bearing inscriptions of the Danube script are displayed on the website of the Prehistory Knowledge Project: www.prehistory.it.Marco Merlini
Co-ordinator of F-MU.S.EU.M. project

Inscribed human figurines illustrated by the painter Daniela Bulgarelli
A virtual exhibition of the F-MU.S.EU.M. project

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The National Brukenthal Museum where the exhibition The Danube Script: Neo-Eneolithic Writing in Southeastern Europe was held.

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Daniela Bulgarelli s exposition Writing on Human Skin Made of Clay organized by the F-MU.S.EU.M. project.main image
An inscription composed of five signs is engraved on a schematic anthropomorphic statuette made of stone. It belongs to the Early Neolithic and was discovered at the feet of the Cocev Kamen observatory (F.Y.R.O.M.). main image
An inscription was incised in vertical row on a Middle Neolithic female figurine from a palafittes village at Dunavec ( Korce District, Southeastern Albania). It belongs to the Dunavec II culture. main image
A linear inscription composed of A, I, M, H, Y motifs is positioned on a large triangle incised on the chest of a Middle Neolithic female figurine found at Supska (Republic of Serbia). It belongs to the Vina B culture.

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Vertical inscriptions are framed within four panels all around a female figurine from Gomolava (Republic of Serbia). It belongs to the mid Vina B culture.main image
Two arched inscriptions are running in parallel within a room of 5 centimetres on a mignon ritual mask worn by a terracotta statuette. The first is incised on the mouth-cheek, the other on the forehead. The mask was found at Vina (Republic of Serbia) and belongs to the Vina B culture.

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Zigzag and butterfly signs occur below the breasts of a masked female figurine from Passo di Corvo (near Foggia, Italy). It belongs to the Southern Italian Neolithic.

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Several good luck pictograms of the brush are incised on abdomen, vulva and hips of a female a Late Neolithic statuette from Jablanica (Kosovo). It belongs to the Vina C culture.

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Two inscriptions are incised on a Late Neolithic female figurine from Jela (Republic of Serbia). It belongs to the Vina C culture.

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The script is on play on the back and over the chest of a Late Neolithic female fragmented statuette recovered at the wide single-level settlement of Nova Zagora-Hlebozavoda, (Karasura in the region of Chirpan, Bulgaria). It belongs to the Karanovo IV-Kalojanovec culture.main image
A long inscription runs around the belly and hips of a Late Neolithic pregnant anthropomorphic statuette from Vina (Republic of Serbia). It belongs to the Vina C culture.

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An inscription divided into three areas by a giant X is engraved on a Late Neolithic statuette of twins. It belongs to the Vina C culture and was unearthed at the eponymous settlement (Republic of Serbia).

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A long linear inscription framed within a metope distinguishes the lower front of an Eneolithic - Early Copper Age anthropomorphic figurine found at Vina (Republic of Serbia). Linear signs are framed within a triangle positioned on the chest and a quadrangular sign occurs on the throat. The same artifact is characterized by a large on the hips a long inscription on the lower area of the back. The statuette belongs to the Vina C culture.

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Several inscriptions run on a Late Neolithic masked anthropomorphic statuette from Medvednjak (Republic of Serbia). It belongs to the Vina C culture.

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On a Late Neolithic inscribed figurine from Slatino (Bulgaria) signs of writing cohabit with a decoration. It belongs to the Gradenica culture.

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Late Neolithic legs of a fragmented inscribed figurine from Dimitra (Greece). It belongs to the Dimitra Ib (Classical Dimini culture)

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Inscribed back of an Eneolithic - Early Copper age female statuette from S (Hungary). It belongs to the Lengyel I culture.main image
Inscriptions are incised on stomach-abdomen and under the feet of a roughly modeled Gumelnia B1 female figurine from Middle Copper Age. It was discovered at Vitneti (county Teleorman, Romania).

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The pictographic sign of the good luck comb is worn by a Late Copper Age anthropomorphic statuette from Bilcze Zlote (Upper Dniester, Ukraine). It belongs to the Cucuteni B culture.

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