Open Access
On the Post-Ubaid stratigraphy and complex architecture of the Birecik Dam Area (Turkish Euphrates): Surtepe and Tilbes-Körche Late Chalcolithic 1 levels
Author(s) -
Jesús Gil Fuensanta,
Alfredo Mederos Martín,
Otabek Uktamovich Muminov
Publication year - 2020
Publication title -
cuadernos de prehistoria y arqueología/cuadernos de prehistoria y arqueología
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 0.13
H-Index - 1
eISSN - 2530-3589
pISSN - 0211-1608
DOI - 10.15366/cupauam2020.46.001
Subject(s) - archaeology , pottery , prehistory , chalcolithic , geography , excavation , mesopotamia , bronze age , geology , ancient history , history
During the Later Prehistory of the Euphrates and Tigris Rivers and adjacent regions, a great cultural spread took place during the Late/Terminal Ubaid phases of Southern Mesopotamia. In the Northern Mesopotamian regions, it happened during the immediate pre-Late Chalcolithic phases. Excavations in Southeastern Turkey prove a continuity of Ubaid cultural traits at least during the earlier phases of the local Late Chalcolithic (LC1). Two archaeological sites, Surtepe and Tilbes-Körche, close to the Birecik Dam area (Turkish Euphrates) are presented and evaluated here. Surtepe höyük, a 8 ha Late Ubaid settlement that provided Coba bowls, has levels with painted pottery from the late Late Chalcolithic 1 or earlier LC 2 phases in an area of at least 4 hectares in south and southwestern slopes. The small site of Tilbes-Körche has probably a bigger inter-connected structure and no simple isolated buildings. Among the stone foundations we identify at least one tripartite premise with a surface over 90 m2 and two bipartite buildings. From the largest excavated unit (H3-H10) was recovered a stamp seal depicting a crosshatching motif and another token/stamp seal with 8 incised lines. Within LC1 or a transitional phase between it and LC2, the 18 % of the pottery found in the Tilbes-Körche buildings was painted and there is a huge abundance of unpainted bowls, which are about half the ceramic ensemble, many with traces of a wheel or slow-wheel, mass-produced bowls, various variants of LC1 flint scraped, and two that most resemble the so-called “flower pots”.