ÇATALHÖYÜK 1997 ARCHIVE REPORT


Stamp Seals by Ali Türkcan

32 seals illustrated here were mainly coming from the James Mellaart's excavation which took place during the first half of the 60's. 4 of them are coming from the ongoing excavation in Çatalhöyük. The majority of clay seals are from Level II,III,IV,VI ,one from Level VII. So far 20 seals were published by J. Mellaart (Mellaart,1964,p.96-98) as giving its details. Whereas 8 more examples (one is fragmentary) have not been published somehow , only some of them can be seen in other books as photo beside the others. They are for the first time coming up in this publication. My first aim is to publish what we have got known as seals from Çatalhöyük owing to the permission given by Ministry of Culture of Turkey to make research in the Museum of Anatolian Civilizations in Ankara. Therefore, the seals could be examined meticulously so as to take their photos and present them in 1/1 size drawings in a more detailed way.
 
These seals are made of baked clay and bear incised ornaments with many different shapes apart from the classical shapes known from other Levant & S.E European neolithic stamp seals (i.e Balkans). Despite the dominant form is flat faced round (or elliptical) base with conical or rounded apex (sometimes pierced) as handle. Some of them show interesting forms which are very unique to Çatalhöyük.This eccentric forms make them us more suspicious about their functions suggested before in other publications. The function will be discussed later in detail.

Firstly, a typological analysis and description will be essential before the discussion to re-examine all material with the new ones discovered in Ankara A. M. Muzesi.The shape and incised patterns on the facesides are two indicators to understand the relevant function and meaning behind the concepts which constitutes the patterns( or symbols).
The forms of the seals could be divided into 4 groups as following:

    1, Classic stamp seal forms: These are mainly stamps which have oval, elliptical(or sub-rectangular) base with conical or rounded apex as handles .Some handles are perforated (, These forms consist of main repertoire of the Neolithic seals from Levant and Balkans.

    2, Drilled forms: These objects;Nos,1,7,8,13 are drilled right from the center. The shapes recall wristguards or stone-polishers . They are sub-rectangular or round, drilled at the center of the face-side, in shape. They might be used as pendants. When we think their slightly curving edges and shallow carved patterns. It is hard to think of them as stamp-seals. Especially one of them can not be seal, its form (very rounded ) and its grid pattern (very smooth incision which does not leave any mark) are definitely not suitable for stamping. In fact , these objects which are sharing same patterns (pseudo-meanders), should be considered another assemblage for another purpose.

    3, Hand shaped stamps: These forms could be either reflection of ownership as printing the hand onto clay, etc. or remains of U. Paleolithic hand symbolism which is seen also on many Çatalhöyük wallpaintings from shrines of VII.8,VI.B.8, VI.B.10 and VI.B.15 (Mellaart,J;1967;Pl, 41,43)

    4, Floral form: The form with 4 leaf panels (quatrefoil) recalls a floral design which is also seen on many wall paintings in Çatalhöyük (Mellaart,J,1967,Pl,29,31,33,34). The same pattern can be seen in L.Neolithic Hacilar bowls( Mellaart,J,1970,Vol.I,ps,58,61,65) and on many wall paintings from the east wall of shrine VI.B.I and shrine A.III.8 as floral symbols.
On the other hand, the patterns or ornaments are very exceptional. These are generally unique motives which could be investigated as following:
    1) Pseudo-meander patterns: Especially these patterns, Nos.4,6,7,8,9,10,11,20 make the majority group of the patterns among the seals. They are subject of great interest .They can be traced up to Early Chalcolithic Anatolian assemblages and Early and Late Balkan Neolithic cultures. In Chalcolithic Anatolia, a millennium later, the same pseudo-meander(The regular meanders with dots in the center) forms reappear in CanHasanI wallpaintings (French,D;1962,Pl II, Fig 9-4) and pottery, In Hacilar, Chalcolithic Seals of IIB, 5480-5250 B.C, ( of a bit distorted style) shows the continuity of this tradition right from Çatalhöyük until Middle Chalcolithic in Anatolia. According Mellaart, Chalcolithic pottery with bold curvilinear ornaments in fantastic style owes its origins to the meandroid patterns of the C.H seals.
     These patterns are frequently seen in every major category of the Çatalhöyük seals. Moreover. No.6 is much noteworthy with its two curving figures confronting each other. Inevitably, it seems likely to be the main concept behind the pseudo-meander patterning.
     The meaning behind this repetitive design which occurs on pottery , wallpaintings and later seals, should be investigated within the character of abstract, symbolist Neolithic art .

    2) Spirals: These ones,no.21,22, shows spiral on the seal face with a conical handles rising from the base. Face bears deep and wide engraved channel of simple clockwise spiral. These patterns which are very common in Balkan Neolithic seals , makes very close parallels with the ones from E.Neolithic Nea Nikomedia in Greece, Karanovo I-II sites Azmaska, Kirdzali in Bulgaria (J.Makkay,1984) The deep carved ones from N.Nikomedia are especially noteworthy. It should not be forgotten that these cultures are slightly later than Çatalhöyük!
     
     3) Miscellaneous patterns :

THE FUNCTION

When the shapes and form of the patterns are examined, we encounter with the abundance of the forms and patterns. Naturally, these combinations are forcing me to think of some "stamp-seals" even beyond its true function as "seal". So, 2 possible category can be considered for the seals as follows below.
 
1) STAMPING or AS SEAL: The majority of "seals" seem to be used on stamping However, we do not have any sealing, despite the recent excavations for 5 years, or any positive evidence which can show on which material were they applied. But it should not mean that these may not be discussed. We have still interesting evidence from Çatalhöyük itself and from other relatively late Neolithic settlements.
 Firstly, the flat sided seals might be considered to be applied onto textile if we think the textile works existed once in Çatalhöyük. Besides that, wooden stamps are still used or painting textiles by using vegetable dyes (basma in Turkish; means stamping) in Anatolia, especially in Central Anatolia, and the Near East. Here the question arises, were these textiles ornamented with vegetable dyes by Çatalhöyük folk? Unfortunately, vegetable dyes are fugitive (i.e organic remains) and carbonized material does not preserve color. Although some white or black spots can be distinguished on some seals,nos.7,12, by naked eye, We can not make any decisions about it. So, they need chemical analysis inevitably. These spots can be remains of either stamp's own painted itself or its application on textile.
 Mellaart pointed out "such stamp seals become extremely common in Level , from which no wall paintings have so far been recovered. Did Stamped cloth hangings take the place of textile paintings in the earlier shrines?"(J,Mellaart,1964,p.97) But, when we examine the number of seals related to their levels, the result contradicts with Mellaart's. Because, the majority of seals coming from Level IV which the wallpaintings are seen in 5 shrines!

On the other hand, they might have been applied on textile bags to show ownership or classify  them , still used on tea or wheat bags in Turkey.

Second, some small cylindyrical stamps; Nos. 25,26 contradicts the seal use with their smooth patterns which does not leave a recognizable mark or trace even on clay. Their shapes and patterns are as if they were made roughly and gropingly. They look like the ones from The Near East. I think, they ,probably, were being used as "calculi" as a counting device. However, the clay balls in uniform size can be considered within this "calculi" system as well. They might have been in use for quantities of grain and livestock. In other words, the earliest tokens probably recorded the most basic staples. A wider argument was made by Denise-Schmandt-Besserat(D,S,Besserat,1997,p;151-156)

Their context are another subject of matter; Especially, the ones coming from burials,Nos.16,23, are noteworthy. They were found in lesser male burials in Level IV and VI , Here the question arises , are they signs of male gender which have the control of the resources in Çatalhöyük, It is hard to answer exactly how they can be associated with male or beyond it, power situation in Çatalhöyük. I think , they will give the best answer If they come up in burials in future excavations, So far, they are only two seals from burials

CONCLUSION

They might be the objects for identity of the individual or a group(a clan?), identify property for its security or a prehistoric information system we can not decipher yet. Çatalhöyük "stamp-seals" are the first precursors of its kind in Anatolia and much probably of southeastern E. Neolithic clay seals, They should be introduced into Balkans with the use of pottery. Moreover, with the similar patterns in Balkan Neolithic, They seem likely to share the same traits with S.E European Neolithic.
 
NO EXC. NO. DIMENSIONS LEVEL & DATE YEAR FOUND    
1 239 H:3.5,L:3.4 Lev.II, AreaB 1962 Drawing Photo
2 5 H:3,5,L:6;W;5,4 Lev.II, Room3 1961 Drawing  
3 241 H:3,2;L:6,2;W:4,3 Lev II, A1(shrine) 1962 Drawing  
4 242 H:2;L:5,8;W:4,7 Lev.II, A1(shrine) 1962 Drawing  
5 243 H:2,9;L:6,2;W:4,3 Lev.II, A1(shrine) 1962 Drawing Photo
6 240 H:4,1;L:4,1;W:2,1 Lev.II, A1(shrine) 1962 Drawing Photo
7 238 H:2,5;L:6,2;W:6 Lev.II, B2 1962 Drawing Photo
8 28 H:2,2;L:5;W:4,6 Lev.III,A2 1961 Drawing Photo
9 12 H:3;L:7,5;W:3,5 Lev.III,A4 1961 Drawing  
10 4 H:3,R:5,7 Lev.III,AI 1961 Drawing  
11 601 H:2;L:4,8;W:2,1 Lev.IV,F(Area) 1965 Drawing  
12 608 H:3,5;L:5,5,W:4,2 Lev.IV,F(Courtyard) 1965 Drawing  
13 577 H:1,8;L:3,6;W;3,1 Lev.IV,F 1965 Drawing Photo
14 237 H:1,6;R:2,9 Lev.IV;E(Area),A1 1962 Drawing Photo
15 270 H:2;R:4,5 Lev.IV,E(8?) 1962 Drawing  
16 431 H:2,9;L:4,8,W:4,2 Lev.IV,E(burial) 1963 Drawing Photo
17 14 H;1,8;L:3,8,W:3,5 Lev.IV,E2 1961 Drawing Photo
18 236 H:2,9:L:5,9;W:3,6 Lev.IV,E1 1962 Drawing Photo
19 72 H:1,6;L:4,8:W:4 Lev,IV,E1 1961 Drawing Photo
20 20 H:2,2;L:5,9;W:3,5 Lev.IV.E3 1961 Drawing Photo
21 13 H:3,6;R;3,2 Lev.IV.E3 1961 Drawing  
22 282 H:2,3;R:3 Lev,VI.E(A1) 1962 Drawing Photo
23 433 H:3,6;L:3,6;W:3,1 Lev.VI.E(20)burial 1965 Drawing Photo
24 679 H:2,8;R:3 Lev.VII.E(15) 1965 Drawing Photo
25 44 H:2,5;R:2,2 From Excavation 1961 Drawing Photo
26 62 H:2;R:2 ? 1961 Drawing Photo
27 15 H:3,1;L:9,2;W:4,3 ? 1961 Drawing  
28 30 H:1,6;L:2,6;W:2 From Surface 1994 Drawing  
29 37 H:2,1;L:2,7;W:2,4 From Surface 1995 Drawing  
30 2 H:2;L:3;W:3 From Surface 1993 Drawing  
31   H:1,9;L:2,4;W:2,2 From Surface 1996 Drawing  
32 47 H;1,3;L:2,4:W:2,1 From Excavation 1961 Drawing Photo

 



© Çatalhöyük Research Project and individual authors, 1997