Nikola Tasic

Dragoslav Srejovic
Bratislav Stojanovic

Vinca
Centre of the Neolithic culture of the Danubian region
Belgrade, 1990
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Centre of the Neolithic culture of the Danubian

region

Geography and History of Explorations

Vinca and its Culture

The Vinca Archaeology Park

Bibliography

Geography and History of Explorations

The Belo Brdo archaeological site in Vinca, on the right bank of the Danube, 14 km
downstream from Beograd, covers some ten hectares of land. A high lss terrace and
cultural layers are falling down towards periphery, thus forming a tell which rises high
above the surroundings. The position of the site favoured permanent habitation, with a
river on the one side for fishing and a valley of the Bolecica on the other, connecting
Vinca with the hinterland rich in minerals and ores (Avala, Rudnik), hunting animals
and fertile land. Geographical location of Vinca made its inhabitants mediators
Vinca and other neolithic
between the cultures blossoming in the south as far as the Aegean and in the north up
settlements in Serbia
to Central Europe. Significant events and changes in material and spiritual culture are
mirrored in individual levels of cultural layers of some 10 meters of deposit accumulated through the long time
people stayed in this area. It is understandable then that Vinca is singled out in the archaeological science as a
reliable benchmark in examining the emergence and development of a number of Neolithic and Copper Ages
cultures in the middle and south-eastern Europe.
The first archaeological excavation in Vinca was undertaken by Miloje M. Vasic in 1908 on some 400 m2. The
works were going on, except for minor intermissions, till the onset of the World War I. They were resumed as
late as 1924, but for a while, since the war impoverished state did have but a modest capability of financing
them. A lucky coincidence, which raised hopes, was an advertisement in "The Times" by Sir Charles Hyde,
offering financial aid for "excavation of remains", which came into possession of M. M. Vasic through Alec
Brown, a writer and a war comrade John Linton Myres, the then Oxford University professor. With good
recommendation of the past excavations in Vinca and the help of British friends, considerable finance flew in
and enabled resumption of works on a large scale. They were widely covered, particularly by the British press
("Birmingham Post", "Man", "Illustrated London News", etc.). Thus Vinca came into the focus of attention of
archaeological science between 1929 and 1931, the site being visited by known science and culture
personalities of Europe and the country (Ch. Hyde, J. L. Myres, W. A. Hurtley, Veselin Cajkanovic, Bogdan
Popovic, to mention but a few).

Vinca - excavations in 1924

The Prehistoric Vinca in four volumes (Beograd, 1932, 1936) and about 40 bibliographical articles written
mainly by M. M. Vasic, marked the completion of the second stage of excavations.. Another 47 years should
have passed to launch the Vinca works anew. The site bad been left to illegal excavations, to the profile
destruction by various amateurs and collectors.

Vinca - excavations in 1931

Only when the Serbian Academy of Sciences and Arts established a Committee on the Vinca Archaeological
Excavations, and practically when Vasa Cubrilovic, the President, and Jovan Todorovic, Vice-president, took an
interest in it, new excavations were undertaken, in 1978. At the outset, while the Bronze Age and the Middle
Age layers were examined, the works proceeded under the guidance of Nikola Tasic in association with
Gordana Vujovic. Since 1982 Neolithic layers have been worked on, under the responsibility of Milutin
Garasanin and Dragoslav Srejovic.

Vinca - excavations in 1985

The new excavations have started by methods unknown at the time of M. M. Vasic. These excavations in Vinca
and publications thereon, simultaneously printed, opened up new possibilities in studying prehistory of the
Danubian valley and south-east Europe. Graves of the Bodrogkeresztur culture and the remains of Baden,
Kostolac and Vatin cultures were revealed thus far, as well as and old Serbian necropolis.

Vinca and its Culture

Vinca is the largest and most comprehensively excavated Neolithic settlement in Europe. It was a metropolis
with a flourishing culture, at the place where across the valleys of the Bolecica and Danube Rivers a joyful
relief of Sumadija meets with the plain of Banat. Between 4500 and 3500 BC it was a major prehistoric
settlement. Thus, Vinca is a notion signifying nowadays the peak of Neolithic farming settled culture in Europe.
Cultural layer of Vinca, some 10.5 m high, offers an unusually interesting and exciting sight. As an opulent
carpet, it is woven vertically with red, yellowish, brown, ashy and black interlayers of remains of the ruined
settlements, burnt huts, deep diches and filled-in holes and graves. Each of those interlayers, signifying various

stages of life in Vinca, contains treasury of most versatile objects: stone and bone tools and weapons, pottery
for everyday use, richly decorated ritual vases, a number of anthropomorphic and zoomorphic figures, jewellery
of various rare and costly materials and many other items whether worked in Vinca or acquired from distant
regions, from central Europe, lower Danubian valley or from the Mediterranean. In spite of the fact that the
works on prehistoric Vinca settlement have taken many years, only its middle part was examined. However,
thousands of items have been found along the excavated area, adorning many n museum collection today, their
examination still going on with undiminishing interest. Thanks to the numerous and highly versatile items, and
architectural relics and raw materials used, it is possible to reliably reconstruct the whole history of Vinca, its
artefacts and beliefs of many generations inhabiting at.

Cultural layer of Vinca (10,5 m)

The first chapter of the history of Vinca being preserved in fragments only is insufficiently clear. Based on
scarce remains of the oldest settlements discovered at about 10.5 m below the surface, it might be concluded
that Vinca was inhabited first at the time of decline of the middle Neolithic Age
(the Starcevo culture), around 4800 BC.
The Yugoslav part of the then Danubian valley was densely populated, hence
the establishment of the first settlement in Vinca should be probably linked with
a smaller group of colonists, who in search of free farming land and pastures
left some adjacent larger settlement located in the southern Banat. Although the
settlement of those colonists in Vinca was relatively short-lived and small in
scope, and although it is impossible to discover any new, specific expression in
their achievement, they nevertheless left a document in Vinca, of extreme
importance for the study of their physical
appearance and spiritual culture. This is a large
grave with an access path and nine skeletons,
which was found in the centre of the oldest
Vinca settlement in 1931. The finds, unique in
the Neolithic culture of south-east Europe,
show that the first farmers of the Danubian
valley belonged to a peculiar anthropological
Vinca-Bodrogkeresztur culture burial
type, characterised by features of the ancient
European population combined with those of graceous Mediterranean people.
The same blend of old Balkanic, autochthonous elements and Mediterranean
are observed in the Starcevo culture, namely in the first Vinca inhabitants. Thus,
the early dwellings in Vinca, like others of the time in the Danubian valley,
have ellipsoidal bases dug into the loss and gabled road of switch, reed and
straw, snugly fitted against the base.
Those tent-like huts, grouped according to a system in the oldest settlements of
Vinca around the central one, provide for vidid reminiscence of architecture of
the Danubian valley Early Mesolithic Culture (the culture of the Lepenski Vir).
Anthropomorphic figurine from Vinca

Columnal anthropomorphic figures of the time are ascribed to the same traditions, as well as whole ceramic
dishes, the form of which bears clear reference to the older models of stone or wood. However, individual
ornamental techniques applied on ceramic (for instance painted vases) as well
as some rare materials used in jewellery (spondylus, paligorskite) indicate that
the proponents of the Starcevo culture maintained relations with the inhabitants
of the Aegean and wider East Mediterranean areas. Even more frequent have
been contacts with the regions north of the Yugoslav Danubian valley. They are
evidenced by small knives of volcanic glass (obsidian) which were obtained by
the oldest inhabitants of Vinca from the upper Tisa (Tisza) valley.

Available archaeological material implies that the first colonists of Vinca have
had good neighbourly relations both with the communities in the Pannonian
basin and southern part of the Balkan Peninsula. The oldest settlement in Vinca
was neither fenced nor fortressed, and the relics from the tent-like huts are
associated with painstaking but serene living of peasants, whose daily life
consisted of hard work, making stone tools and various ceramic dishes and
naturally tending their land, animals, and catch. The population of the oldest
settlement in Vinca, however, could not have enjoyed the fruit of their labour
for long. The chain movements of the Neolithic population of Thracia and
lower Danubian valley started already in the mid-5th millennium BC and
somewhat later reached the areas around Vinca.
The turbulence was caused by a slow penetration of Anadole-Halcolithic
Culture, type Can Hasan - Beycesultan, towards the Balkan peninsula going on
in two directions: by road, from south-eastern Thracian towards the Danubian
Anthropomorphic figurine from Vinca
valley and by maritime communication from central Greece to Northern
Dalmatia. The cultures of the Late Neolithic Age emerged on the whole Balkan peninsula and central Danubian
valley. As a consequence of these flows the Anadolian forms were first confronted by and then assimilated in
various forms, into the indigenous ones. Thus, in contact with new immigrants, the Starcevo Culture turned into
a new Vinca Culture.

Miniature altar from Vinca

It was in those troubled times that Vinca was completely deserted, probably around
4500 BC. It is difficult to say how much time elapsed before reconstruction and
establishment of new life in Vinca. It didn't take long, sure, because newcomers
built a new large settlement immediately above the deserted tent-like dwellings. In
new environment the newcomers were quickly assimilated with the neighbouring
native population and remained there for almost 1000 years fostering and spreading
a peculiar culture, the culture of Early Neolithic Age of the Central Balkan area,
named after Vinca.

Spirit of new culture and new way of life is clearly demonstrated in architecture.
Special attention was given to positioning of a dwelling, when a new settlement
was built. Unfortunately, only the foundations remained preserved but it was
established that they were all oriented towards southeast-northwest, they had
quadrangle, almost square bases, vertical walls and gabled roofs. Lumber and clay
were continued to be used as building materials, but the building process was
enriched by new details and skills, such as levelling, stabilisation of the foundation,
insulation, wall covering and painting.

Pedestalled bowl from Vinca

The newcomers quickly accepted Vinca and its surroundings as their own land,
the generations living and creating on that soil around 3500 BC, were their
direct descendants. There was no disruption of life and culture, only their
permanent enrichment, despite the fact what in the culture Vinca layer, at the
depth of between nine and two meters, contains remains of many settlements.
Thus, within the time span of a thousand years Vinca remained fenced
settlement with straight streets, the same system of communication, but on the
other hand with a noticeable extension of housing space and its functional
layout. While initial dwellings, as a rule, were one-celled and sufficient for a
small family, in later settlements large square buildings were discovered of
about 40 to 60 m2 with a number of rooms and built-in "furniture" (benches
built onto the stove, braziers, waterwheels, tables). Continuity of this culture is
Zoomorphic pot from Vinca
abundantly manifested in movable archaeological finds, primarily ceramic
works - dishes and anthropomorphic statuettes. The two big groups of finds which testify to a highly developed
sense for artistic form, reflect, in a most sensitive way, all daily situations of numerous Vinca's generations,
namely the dynamisms of the Vinca culture, on the whole. Stylistic properties of ceramics and anthropomorphic
plastic clearly reveal the main stages of life in Vinca, namely the periods of the Late Neolithic in the central
Danubian valley.
The establishment, development and the peak of the Vinca culture are
illustrated in the finds of Vinca, located at the depth of nine and six
meters. At this period, which by method of C-14 may be dated to
approximately 4500 to 3800 BC, the inhabitants of Vinca and their cotribes created a culture of a particular style, which radiated far and
dominated over the largest part of the central and south-east Europe.
The Vinca culture covered a territory larger than only other Neolithic
culture in Europe around 4000 BC; its individual settlements, for
instance Vinca, Potporanj, Selevac or Divostin, surpassed in scope and
population not only the Neolithic settlements of the time, but the first
towns which emerged later, in Mesopotamia, Aegea and Egypt. The
Ritual vessel from Vinca
communities of those large settlement used to adapt their main activities to the local conditions. Thus, more
attention was paid to farming and stock - breeding in some settlements, to weaving and trade in others, while in
those abounding in rare materials started mining and various arts and crafts.
Due to specialised activities all communities in the Vinca culture grew fast
economically, differentiated socially and became rich. The communities in
Sumadija, Banat and Srem had by careful land cultivation and cattle-raising
created surpluses which enabled them to obtain raw materials they lacked in
their own territory, primarily obsidian of Erdelj, precious raw material for
sickles and precision tools, owned by the neighbouring ethno-cultural groups.
On the other hand stability of economy enabled the Vinca communities to
relieve some of their members of manual work
and devote their efforts to discovery of local
raw materials and then their processing. So, the
Vinca people came to cinabarite, which was
mined at Suplja Stena and minerals (alabaster,
marble). Vinca became the biggest market in
Southeast Europe not only because of an
Pot with incised desiing from Vinca
exceptional value of own products but rare
materials or objects, which were brought in from Transylvania, upper Tisza
valley, lower Danubian valley and even from the coasts of Aegean and Adriatic
seas.
An extensive exchange of goods and development of communications released
the creators of the Vinca culture from the clutch of a small plot of land and
ancestral habit, gave wings to their imagination and let them hint at new worlds

Anthropomorphic pot from Vinca

and take an attitude of trust towards nature, life and future. Vinca and some other Neolithic settlements near
Vrsac (Potporanj), Kragujevac (Grivac, Divostin) Titova Mitrovica (Valac) and Pristina (Predionica) turned into
major religious centres and simultaneously artistic retreat which influenced decisively visual arts in all
Neolithic communities of Central and South-East Europe.

Hundreds and thousands of clay statuettes and ritual vases, discovered in the mentioned settlements, attest not
only to creative imagination and gift but to a boom of magic-religious practices within the Vinca culture.
Thematic variation of clay statuettes (naked or dressed figurines of women and men, standing, kneeling or
sitting, statuettes with masks on their faces, hermaphroditic statuettes) and their stylistic advancement starting
from naturalistic, to realistic through to quite abstract forms, are an evidence of the prevailing primitive magic
power, namely the shaping of clear religious thoughts. Judging on the looks of clay idols and various culture
objects, it was expressed in rituals and myths connected with the turn of seasons, sawing or harvesting times
births and deaths, and permanent life cycle, visually most completely expressed in the presentation of a woman
with a baby in her arms.
Those Vinca communities that had not opted for crop farming or stockbreeding but for mining and working new raw materials, created
however, quite a different spiritual world. Those living between the
heights of Kucajna and Deli Jovan Mountains near caves, big holes and
hot springs had early guessed that in the
depths of earth, in its complete dark, there
grow and mature fantastic minerals and rocks.

Bowl on three moulded legs from Vinca

Members of those communities were the first

in Europe to penetrate into the spell of the
underground world, take its fruit to the light
of the day and with the help of fire, make
them turn into new materials - into metals, in

this case copper.

With the discovery of the great secret of transformation of substance, those first
European miners and smiths got involved in the processes of cosmic life and linked
with a special world of gods and heroes. After discovery of copper, their imagination
populated the nature with an endless number of secret beings: dwarfs, fairies and
pixies, who joined the demons of grain and ghosts of fruit-bearing trees. That peculiar
secret world of theirs in the Vinca
culture was established at the onset of the 4th
millennium BC, at the latest and persisted on the
Balkan peninsula till the times of Christianity, the part Anthropomorphic figurine from Vinca
of which was most probably built into the roots of the oldest recorded European
mythology, in the ancient Greek myths about Demeter, Dionysus and
Hephaestus the god-smith.
The Vinca culture was at the peak by about 3800 BC. Ruins of the settlement
and archaeological items discovered between the sixth and the second meter of
culture layer of Vinca, dated by C-14 method back to between 3700 and 3500
BC, revealed that the Vinca culture started loosing its significance progressively
to die out, definitely.
The observations reveal first that the settlements belonging to this part of the
culture layer are considerably smaller compared to the earlier ones. Then began
the construction of new defence system. Although local manufacture of all

Seated anthropomorphic figurine from Vinca

types of tools and pottery went on, it is nevertheless characteristic that the number of imported items increased
and models of other cultures copied, ever more frequently.
Obviously a radiating metropolis once, Vinca turned merely into a place which collected the elements from all
parts of the world.
This general fatigue, expressed both in non-original ceramic production and in anthropomorphic statuettes, was
initiated by the discovery and widespread use of metals, primarily copper and
gold.

This was not, however, the discovery of the Vinca inhabitants but of the people
around the Pannonian basin who, searching for raw materials, found copper and
pure gold. The discovery of these metals spoiled the previous culture balances
and started disintegration of the structure of the Neolithic world.
These developments affected deeply the material and spiritual culture of the
Vinca population. At first, the stimulus from outside positively influenced them,
since traditional elements combined with new style gave rise in Vinca to a
Tisza culture vessel from Vinca
short-lived cultural renaissance, characterised primarily by original forms of anthropomorphic plastic and new
ornament techniques on ceramic.

The new stylistic synthesis resulted in preserved realistic forms, basically an

anthropomorphic statuettes, but once three dimensional surfaces became flat,
plastically modelled details were gradually schematised and turned into hardly
understandable ornamental signs.
The consistently applied ornamental style was aimed at compensating, by a sort
of drawing and shadowing, for the lost sense of the third dimension. Some
statuettes were even painted, but it only stressed the pictural character of the
new ornamental style.

Tisza culture vessel from Vinca

Hence carved or painted details on the Vinca statuettes signify neither

apparel nor tattooed signs, but emerged as a result of the development
of stile which ranged from three dimensional realistic forms towards
linear, abstract ones. Formation of that style has to be linked with the
technique of cutting and adorning metal sheet and bones.
Similarly as during the earlier stages of the Vinca culture, clay
determined the basic forms of anthropomorphic statuettes, so in the later
one figurines of metal sheet and bones became the proponents of linear
abstract style which was transposed to other materials with more or less success.

Bowl from Vinca

In contrast to the statuettes, dishes were largely unadorned. This apparently

contradictory fact, actually goes in line with the basic stylistic concept to which
the third dimension is completely alien, as is the spatial development of
ornamental motives.
Consequently, only painted decoration came to the fore, done in pasteouse paint
or incrustation, the rest of the techniques being largely neglected.
The uninterrupted adorning motives were no longer applied (current spiral,
meander), but all the ornaments are either limited in space (metopic style) or
associated with individual parts of a vase.

Anthropomorphic figurine from Vinca

This strict tectonic style on ceramic, as well as ornamental abstract

forms on plastic, are an expression of a serious crisis, instigated by
introduction of metal, into still predominantly agrarian environment.
With the development of metallurgy of copper, new social relations
were gradually taking shape, which contradicted the traditional way of
life. The inhabitants of Vinca were not ready to accept progressive
economic and gods, already present in the cultures of neighbouring
area.

Prosopomorphic lid from Vinca

Being as it was, the old gods of Vinca had to be raised as high as possible in confrontation to alien divinity.
Hence new form of religious practice in Vinca, documented primarily by the known iconographic pattern of
mother and child in her arms, the general female bread-winner and the great lady.
Those numens without real power or face, were burnt together with the huts of
their creators at the assault of invading cultures of the Copper Age. That
horizon marks the last major chapter in the history of Vinca, history of some
fifteen centuries full of significant cultural achievement and exciting events.
Life went on in Vinca till the arrival of the Romans to our parts, but neither with
the same intensity and new economic and social
structures, nor on the same area. Today, Vinca is
known for a series of finds dating back to the Copper,
Bronze and Iron Ages (including Old Serbian
necropolis from Middle Age - note by PR).

Anthropomorphic figurine from Vinca ("The

Lady of Vinca")

However, these are only traces, often very important

for an understanding of certain phenomena in
prehistoric culture of the central Danubian valley, but
they are only secondary to the Vinca history.

It seems that the Vinca soil has preserved its attractive power even in the civilisation
of our age.
Relief showing a woman holding a child from
Vinca

Next to the prehistoric settlement namely, there is nowadays an emposing building of the Boris Kidric Institute
of Nuclear Sciences.

The Vinca Archaeology Park

The Master plan of Beograd puts the Danubian River bank around
Vinca as an Archaeology Park. This future park will consist of the
Museum of the Neolithic in the Central Danubian Valley, an
International Centre for Neolithic Studies in the Central Danubian
Region, facilities for conservation works and, of course, greenery. (The
author of the Project Bratislav Stojanovic, an architect and town
planner, member of the Archaeological Vinca Committee of the Serbian
Academy of Sciences and Arts).

The Vinca Archeology Park

The Museum should preserve a selected part of the excavation ("excavation as

permanent exhibit"), provide for exhibiting space for items excavated in Vinca
and in other Neolithic localities in the central Danubian region and an extra
space for topical exhibitions. So designed, the Museum is partly an
"architectural sheet" protecting and presenting the excavations - vertical profile
of cultural layers from top to bottom, about 10 m height, and the oldest
prehistoric settlement in Vinca. The visitors shall move along the ramps and
stairs from one to the other exhibit; it is going to be a single space cut by paths
and galleries, to give an impression about life going on at that place in the
distant prehistoric past. The other part shall be a classical archaeological
museum of selected exhibits, composed as a global and adjusted science/culture
piece of information about archaeological finds in the central Danubian region.
The International Center should become a meeting place of co-ordination,
exchanges and adjustment of scientific achievements in archaeology of the
Neolithic Age of the south-east Europe, a venue of international congresses,
symposia, seminars and the similar.

Anthropomorphic figurine from Vinca

The main components of the Center should be a hall

for plenary, gatherings, lectures, smaller halls for
committees, offices for individual work, library,
offices of international sponsors and for current
activities of the Center. Beograd and advantages it
offers, favour such activities, since it is a major center
in this country and the seat of institutions such as the
Serbian Academy of Sciences and Arts, Center of
Archaeology at the Faculty of Philosophy, National
Museum, the Museum of the City of Beograd, the
Congress Sava Center in Novi Beograd and the
similar.

Conservation and workshop facilities shall deal with the finds in the field, classify
and reconstruct them, draw and make photos. They will house laboratories for
Anthropomorphic figurine from Vinca

determining absolute chronology by physical and chemical methods and a laboratory of paleozoological and
paleobotanical analyses. Other workshops were planned, for conservation, photography, etc., along with the
central archives, documentation, photo documentation, films and other archive documents.
The components of the Museum, and the Center will be housed in a single building. Although each is
independent and may exist on its own merit, they are parts of synchronised whole of the Archaeology Park.
Green areas will cover most of the area (the total protected area is 6 km, at the upper level and about two along
the river bank). The building itself with its semi-open and covered parts will be surrounded by greenery, cut by
paths, as an aesthetic and dendrologic patch within a larger project of arranging the river banks and protecting
the surroundings of Belgrade. Greenery would follow the countryside. In selecting the green cultures an attempt
shall be made to maintain a sort of botanical continuity from prehistory to our times in this part of the Danubian
valley.
The lower, river bank plateau, river dikes and the space of the vertical
profile, will be turned into useful, grass areas under the planning
concept for the Danubian banks. Thus, the Archaeology Park, although
a whole in itself shall be an excursion and recreation site at the bank of
one of the two Beograd rivers. Fishing will continue to be fostered,
boating and excursion by ship. A tourist information stall at the bank is
also a part of the picture.
The items the Vinca site will be exposed in the Park itself, either in the
open or in sheds. They shall feature reconstructed historical houses or
Zoomorphic figurine from Vinca
their parts, models of settlements and their parts, based on the
knowledge arrived at during past and current excavations. The exhibit shall have an education purpose, it will
be changed, namely replaced according to new developments.

Bibliography
1908 M. M. Vasic, South-Eastern Elements in the Prehistoric Civilisation of Servia, Annual of the British
School at Athens XIV, Athens, 319-342.
1910 M. M. Vasic, Die Hauptergebnisse der prahistorischen Ausgrabung in Vinca in Jahre 1908, Prahistorische
Zeitschrift II, Berlin, 1, 23-39.
1911 M. M. Vasic, Die Datierung der Vincaschicht, Prahistorische Zeitschrift III, Berlin, 126-132.
1932 M. M. Vasic, Preistorijska Vinca I, Beograd.
1936 M. M. Vasic, Preistorijska Vinca II-IV, Beograd.
1939 F. Holste, Zur chronologischen Stellung der Vinca Keramik, Wiener Prahistorische Zeitschrift XXVI/1,
Wien, 1-21.
1950 V. Milojcic, Koros - Starcevo - Vinca, Reinecke Festschrift, Mainz, 108-118.
1951 M. Garasanin, Hronologija vincanske grupe, Ljubljana.
1957 D. Srejovic - B. Jovanovic, Pregled kamenog orudja i oruzja iz Vince, Arheoloski Vestnik VIII/3-4, 256296.
1959. D. Srejovic - B. Jovanovic, Orudje i oruzje od kosti i nakit iz Vince, Starinar IX-X, 181-190.

1964 Z. Letica, The Neolithic Figurines from Vinca, Archaeology 17/1, New York, 26-32.
1972 I. Schwidetzky, Menschliche Skelettreste von Vinca, Glasnik antropoloskog drustva Jugoslavije 8-9,
Beograd, 101-112.
1979 G. Marjanovic-Vujovic, Necropole Medievale Vinca, Inventaria Archaeologica, fasc. 22, Zagreb, Y 209218.
1984 Vinca u praistoriji i srednjem veku, Katalog Galerije SANU 50, Beograd.