The Krs Culture, named after its eponymious site, inchoates the food-producing economy(stock-breeding and agriculture) in Hungary, in the early Neolithic of 6000-4800BC and is related to the Rumanian Cris Culture, Bulgarian Karanovo Culture and Serbian Starcevo Culture, all introducing in Northern and Eastern Europe painted ceramics over an area encompassing from Macedonia and Thessalia to Transsylvania up north, accessing the Balkans and Danubian plains by rivers; while the influence of the East Mediterranean Bassin is unquestioned, opinions accept the possibility of acculturation by mesolithic locals.

The settlements betray the original "tell life"(tell=hill) or stretched house building(like everwhere else in the Balkans and Mediterranean) on narrow strips along rivers and brooks, commonly humid and forestal enviroments, with square or rectangular habitats(4 by 5m) which would have contained a nuclear or small family. The house made of timber, loam and gyps had sometimes a verticale wall with a plastered tent roof and a hearth in the middle of the floor, but they are found too outside the dwellings. To ward off evil, an animal skull was stacked on the gable. In the vicinity of the buildings plastered storage pits or large-sized storage vessels were dug.

Their economy didn't fully bar out the mesolithic subsistence direction into fishing and collecting shells and snails which proves the hoarded and impressive finds of net fishing weighs and anglings),while the stocks of goats and sheeps as well small growth points to a connection with the Mediterranean Bassin and Hither Asia.

Their ceramics favoured thick-walled plain vessels with patterns incised or embossed, outnumbering smaller and thin-walled, a bit glossy with a play of light(red) and shade(black) which expressed a bluntly capricious refined display. Polished spatular bone spoons were in use in manufacturing the vessels. So-called pinta deras or stamp seals bearing symbolic patterns were probably practiced for body painting, because they left no mark in the unsignificant decoration of pottery.

Creativeness was however nicely endowed on their simplified and naturalistic objects of representation, statuettes, reliefs and anthropomorphic and theriomorphic pots with female figures with emphasizing some body parts and neglecting others, stags and goats, rigidity and passivity of posture juxtaposed to stressed movement,..

Krs is famous for its "Venuses", small-sized anthropomorphic pots of about 10cm high, very stylized so that the feminity is dissolved, solely the buttocks gain the attention, limbs are indicated by cuts, clefts or husks. A small knob refers to the nose, horizontal notches the eyes, but the mouth is amiss. There seems to exist an connection to bird-shaped vessels, the one found in Felgy is bird-shaped but hafted with a human head.

Motion came about in reliefs on vessels of female figures with raised arms from the elbow in a kind of praying pose(orans)or giving blessings, rejection expressed by the arms turned down,another gesture is depicted by arms hauled in opposite directions. Sometimes the female is shown with a goat. Stylized animals are too integrated in four-legged, small table-shaped "lamps" with a bowl at the centre; the feet end in animal heads, otherwise shaped like the forelegs of animals.

"Though stylization and symbolism predominated from the beginning, these went through various stages from life-like representation to extreme simplification. The form was determined primarly by the meaning, the message expressed.

Religion and rite demanded the accentuation or expression of certain feature of form, particularly the emphasis on the female character, the indication of the eyes and the nose on the head, the neglecting of the mouth, and the regular reccurence of certain position and arm gestures. Within the framework of all these "laws", the abbility of the neolithic artist was then the determining factor in the artistic value of the completed object and the differences in aethethic effect."

The figurative representation and related symbolism were derivative to the Mediterranean cultures, but provincial executed, Central European, i.e. of a deviating religious system, lacking the need of figuralmodes of expression, decreasing in numbers in the periphery zones of a secondary neolithic nature or borderline mesolithics:

"In their place non-figurative symbols of an extremely simplificated type were of primary competence."

Quotes: Nnder Kalicz, Clay Gods, the Neolithic Period and the Copper Age in Hungary(1980).