Abstract This study applies thin-section petrography to a wide selection of ceramic and geological samples from four archaeological sites (Belovode, Plocnik, Gradiste-Iđjos, and Potporanj) belonging to both the Neolithic and Chalcolithic phases of the Vinca culture phenomenon (c. 5350 to 4600 BCE) to track intra- and interregional traditions of pottery production with a focus on paste recipes. The results of this study suggest that Vinca pottery manufacturing traditions possess general technical similarities, with significant differences resulting from both environmental constraints and deliberate choices. The comparison of these results with those of other petrographic studies in the Neolithic/Chalcolithic Balkans further emphasises that Vinca pottery reflects numerous communities of practice that fall under the umbrella of 'Vinca culture'. This is visible in the varying processes of selecting and manipulating raw materials for ceramic production. Therefore, differences between Vinca pottery assemblages reflect various models of interaction between people and their landscape as well as different technological traditions. Overall, this approach allows us to discuss the problem of similarities and differences in material culture from a perspective that emphasises the socially constructed nature of ceramics.

中文翻译：

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表面之下：探索 Vinča 文化中陶泥配方的变化

摘要 本研究将薄片岩相学应用于来自四个考古遗址（Belovode、Plocnik、Gradiste-Iđjos 和 Potporanj）的大量陶瓷和地质样品，这些遗址属于长春花文化现象的新石器时代和铜石时代（约 5350到公元前 4600 年）以跟踪区域内和区域间的陶器生产传统，重点是糊料配方。这项研究的结果表明，长春花陶器制造传统具有普遍的技术相似性，但由于环境限制和刻意选择而产生了显着差异。将这些结果与新石器时代/铜石器时代巴尔干地区其他岩石学研究的结果进行比较进一步强调，长春花陶器反映了属于“长春花文化”保护伞下的众多实践社区 . 这在选择和操作陶瓷生产原材料的不同过程中可见一斑。因此，长春花陶器组合之间的差异反映了人与其景观之间的各种互动模式以及不同的技术传统。总体而言，这种方法使我们能够从强调陶瓷的社会建构性的角度来讨论物质文化的异同问题。