This ornamental differentiation becomes even more evident in the Neolithic. So a large number of different variants of ornaments based on the rhombo-meander Paleolithic composition give us Neolithic “seals” (on which one can find rows of S-shaped meander elements – “jibs”, and meander stripes, and swastika elements) and Neolithic clay statuettes depicting women, covered with all sorts of meander composition motifs. B. A. Rybakov notes that if the meander pattern was widely used in the Neolithic for ornamentation of ceramics in general, then “for ritual dishes and plastics, it was almost mandatory”.

There is an opinion in science that the geometric ornament was transferred to ceramics made of soft materials.

Agreeing with this, we can assume that, probably, the same ornaments were obligatory for clothing, at least for clothing that performs ritual and protective functions. We can assume that already on the border of the Neolithic and Eneolithic, marked by an even more vivid flourishing of geometric ornament in Eastern and Southeastern Europe, clothes were decorated with woven ornaments.

This is all the more likely, since “the second half of the 3rd thousand BC refers to the mass distribution of spinning, i.e. the intensive development of spinning, noted not only for Eastern Europe, especially for the Tripolye circle, but also for Asia Minor”. Naturally, we can only roughly imagine what the fabrics from which the clothes of the Eneolithic people were made, but as for the rhombo-meander pattern in its various modifications, its development and transformations at this time are very well illustrated by the ceramic products of the brightest culture of the Eastern Eneolithic and South-Eastern Europe – Tripoli-Cucuteni. B. A. Rybakov notes that in this culture: “The rhombo-meander ornament is found on dishes (especially on ritual, lavishly decorated vessels), on clay anthropomorphic figurines, too, undoubtedly ritual, on the clay thrones of goddesses and priestesses.” V. N. Danilenko, speaking of the fact that even in the early Neolithic in the territories later occupied by the Tripolye culture, meander compositions almost completely dominated, comes to the conclusion about the substrate nature of the meander ornament of the Tripillya dishes and its deep archaism, which numerous positive-negative compositions.

On the ceramics and cult sculpture of the Eneolithic, we find a steadily repeating scheme of the meander pattern, which already somewhat differs from the Upper Paleolithic Mezinian and Neolithic in its great geometrism and clarity of rhythm. This is evidenced by the decoration of ceramic products found in Moldavia in the settlements of Frumushika I, Hebeshesti, Gura Vey. The meander pattern adorns the sides of the Kernosovsky idol found in the Dnieper region: the central phallic image is, as it were, supplemented by side compositions, one of which is represented by a set of zigzag and meander stripes, on the other such zigzag and meander stripes rise above the fertilization scene and the image of a bull with moon-shaped horns under this scene. The whole complex of plots leaves no doubt about their sacred character. A. A. Formozov writes: “Sometimes ancient things have a magnificent pattern covered with areas hidden from the viewer’s eyes – the bottoms of vessels or the reverse side of the plaques sewn onto clothes. From an aesthetic point of view, this is meaningless”. A lot of such senseless from the point of view of aesthetics, but probably playing a huge ritual role of ornaments, we meet precisely on the bottoms of Tripolye vessels.