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Abstract
This paper could also be a contribution to a new concept for understanding space and time in Neolithic settlements. We abandoned the methodological concept of construction complexes of houses and used individual archaeological features as the basic analytical unit. The analysis of quantitative correlations of decorative style conducted on this basis produced five style groups; four of these belonged to a LBK style, and it was these that were spatially distinct at the Bylany settlement. The discovered spatial patterns of style correspond in general to the existing chronology of the site. This means that chronological horizons understood both as intervals on the time axis and as geographic units are not dependent on “construction complexes” or even on individual houses. The value of this study does not lie in a more detailed chronological division of the Neolithic settlement at Bylany, but in a confirmation of the robustness of its existing form; the study also draws attention to a possible problem in the concept of construction complexes.
Highlights
The oldest agricultural population of Central, and partly Western, Europe is archaeologically tied to the Linear Pottery culture (LBK—Linearbandkeramik) and covers the period 5500–5000 BC
The long pits located near the houses contain objects whose dating falls into substantially shorter intervals
The work is based on a quantitative analysis of the style of linear decoration and pottery technology performed on the level of archaeological features/contexts
Summary
The oldest agricultural population of Central, and partly Western, Europe is archaeologically tied to the Linear Pottery culture (LBK—Linearbandkeramik) and covers the period 5500–5000 BC. The basic archaeological manifestation of this period comes in the form of remains of settlements This originally included various numbers of longhouses made of wooden pole structure with walls of wattle and daub. It is significant that finds from these pits are normally regarded as representing the direct image of the residents of a particular house, which is clearly reflected in classic [3, 4] or recent works on the subject [5, 6]. This need not necessarily to be the only methodological model. The work is based on a quantitative analysis of the style of linear decoration and pottery technology performed on the level of archaeological features/contexts
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