Carla Garrido García | Universidad autonoma de barcelona (original) (raw)

Books by Carla Garrido García

Research paper thumbnail of Estudio petrográfico de las cerámicas de la Edad del Bronce del yacimiento del Cerro del Morrón (Moratalla, Murcia)

CERRO DEL MORRÓN – Un asentamiento en la frontera argárica, 2023

Estudio petrográfico del material cerámico encontrado en el asentamiento de el Cerro del Morrón, ... more Estudio petrográfico del material cerámico encontrado en el asentamiento de el Cerro del Morrón, situado en la frontera de El Argar con el Bronce Machego. Sus primera fase de ocupación se pueden fechar entre 2100-1900 cal ANE, el asentamiento argárico estaría ocupado entre 1850-1650 cal ANE.

Research paper thumbnail of Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project

by Vesna Vuckovic, Vojislav Filipovic, Roberto Risch, Jovan D . Mitrović, Vojislav Djordjević, Vajk Szeverényi, Carlos Velasco Felipe, Katarina Dmitrovic, Marija Ljustina, Carla Garrido García, Eva Celdrán Beltrán, János Dani, Gucsi László, Viktória Kiss, Petar Milojević, aleksandar bulatovic, Gabriella Kulcsar, María Inés F Fregeiro Morador, and D. Gómez-gras

Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project, 2021

Introduction The proceedings before us, comprised of seven papers, are inspired by the subjec... more Introduction

The proceedings before us, comprised of seven papers, are inspired by the subject of the almost completed CRAFTER programme Creative Europe project. The full title of the project is Crafting Europe in the Bronze Age and Today, and in brief, the idea was to draw inspiration from Europe’s Bronze Age pottery to help revive modern-day artisanship. The project targets the appreciation of Europe's cultural heritage as a shared resource and the reinforcement of a sense of belonging to a common European space. In particular, it hopes to make cultural heritage a source of inspiration for contemporary creation and innovation and strengthen the interaction between this sector and other cultural and creative sectors. The main framework of the project was the idea that four potters from Spain, Germany, Hungary, and Serbia will draw on their skills to (re)create ceramic vessels representative of some of the most outstanding Bronze Age cultures of Europe: El Argar (southeast Spain), Únětice (Central Europe), Füzesabony (eastern Hungary) and Vatin (Serbia).
The papers published within these proceedings are not strictly related to the project itself, but the problems of Bronze Age pottery in Europe in general. The problems discussed in the presented papers and the inspirations are drawn from the CRAFTER project. The original idea was to delve into the content of the pottery and define its composition and quality. These are, in fact, the elements responsible for the final appearance of the ceramic vessel and its function. Considering that out of four editors, two have presented papers within the proceedings, I have been honoured to write this short introduction on their significance and essence. The thread that connects all of the papers, although their concepts do not seem similar at the first glance, since some of the papers are dwelling on interdisciplinarity while others deal with certain chronological and cultural-historical problems, is that the primary analytical material in all of the papers is Bronze Age pottery, from beyond the Pyrenees, across Central Europe, to the Balkans, which is not unexpected considering that a Serbian institution was credited for publishing. The positive aspect is that the pottery is Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project discussed in a manner uncommon for archaeology, while on the other hand pottery studies have been more and more neglected in the past few decades, as such subjects are considered as passé in archaeology. The ever-rising number of specializations and specialists have pushed the pottery and potters into an undeserved corner, even though without such a set of analytic work the past can not be completely and adequately perceived.
The pottery is “slow-moving”. It changes, circulates, and exchanges at a slow pace and it enables the perception of the beginning, development, decadence, and the end of a certain society. The pottery has regional character and reflects the primary contacts, the esthetics of a community, and the inspiration of the artist. Certainly, this implies to prehistoric pottery and communities which do not function within centralized social systems, such as the Bronze Age beyond Mediterranean Europe, which is indeed in the focus of these proceedings. With the appearance of the potter’s wheel, the production and distribution of pottery merge with industry and economy, and at that moment a puzzle of a small man from the past loses a piece. A piece without which we are unable to perceive small communities through such an important, fruitful, and data-rich object such as pottery and which we often tend to neglect as a discipline. In order to identify the contacts, exchange, and trade or reconstruct the communication routes in past, we often reach to the so-called luxurious artifacts: metals, amber, glass, and artisan objects… Likewise, pottery could narrate a story of one meal, one house, one potter, one village, or one community in the past, which is, like it or not, a fact that will make the interdisciplinary and diverse analyses of prehistoric pottery one of the primary archaeological methods.

Vojislav Filipović
Institute of Archaeology, Belgrade

Talks by Carla Garrido García

Research paper thumbnail of El Argar Pottery: Production, Use and Circulation. New data from an interdisciplinary approach.

El Argar society developed during the Early Bronze Age (ca. 2200-1550 BC) in southeast Iberia, be... more El Argar society developed during the Early Bronze Age (ca. 2200-1550 BC) in southeast Iberia, becoming one of the Ḁrst state-level societies in continental Europe. As part of its strategy to take control over the means of production, specialized craftsmen gener-ated such a characteristic, sophisticated and highly standardized pottery repertory, comprising mainly eight basic vessel types. Researches on pottery have mainly focused on morphometric traits often overlooking its functional, economic or ritual dimensions. In the context of the “Bastida Project”, we have carried out interdisciplinar studies focused on production, use and circulation of Argaric vessels. This research is based on organic residues analysis, determination of lipid component by gas chromatography/mass spectrometry (GC/MS), chromatography coupled to isotope ratio mass spectrometry (GC-C-IRMS), petrographic analyses and, Ḁnal-ly, the mesurement of volumetric capacities. The combination of data drawn from those analysis enables us to suggest several working hypothesis. First, there was a correlation between manufacturing techniques, capacity and material content. Second, many standardized bowls with a capacity of 300 ml can be interpreted as ration or measurement units. In this sense, we suggest that these units were tied to a controlled distribution of foodstuffs by the Argaric elites. Third, some functional differences between vessels found in funerary and domestic contexts may be suggested.

Book Chapters (Iberian Prehistory) by Carla Garrido García

Research paper thumbnail of El Argar ceramics: preliminary results of an interdisciplinary approach

Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project, 2021

In the Argaric society, developed during the Early Bronze Age (c. 2200–1550 BC) in the south-east... more In the Argaric society, developed during the Early Bronze Age (c. 2200–1550 BC) in the south-east of the Iberian Peninsula, a ruling class emerged, which controlled the land and the basic means of production. In view of the available evidence concerning the centralisation of cereal surplus as well as other products in certain settlements and buildings, we hypothesize that a group of high-ly standardized ceramic repertoire of classical El Argar (c.1900–1550 cal BC), distributed in 8 basic shapes, was produced by specialised potters and fulf lled specific functions in the storage, distribution and transformation of subsistence goods. In this research we have studied an import-ant assemblage of vessels from the El Argar coastal areas of Murcia and Almería (Spain) focusing on its production and use, through petrographic, organic residues, volumetric capacity, and usewear analyses. This interdisciplinary analytical approach to pottery is surprisingly rare in pottery studies but seems crucial in order to better understand the social, political and economic dimension of the El Argar pottery.

Papers by Carla Garrido García

Research paper thumbnail of Carlos III: mecenas en las excavaciones de Pompeya y Herculano

Research paper thumbnail of Estudio petrográfico de las cerámicas de la Edad del Bronce del yacimiento del Cerro del Morrón (Moratalla, Murcia)

CERRO DEL MORRÓN – Un asentamiento en la frontera argárica, 2023

Estudio petrográfico del material cerámico encontrado en el asentamiento de el Cerro del Morrón, ... more Estudio petrográfico del material cerámico encontrado en el asentamiento de el Cerro del Morrón, situado en la frontera de El Argar con el Bronce Machego. Sus primera fase de ocupación se pueden fechar entre 2100-1900 cal ANE, el asentamiento argárico estaría ocupado entre 1850-1650 cal ANE.

Research paper thumbnail of Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project

by Vesna Vuckovic, Vojislav Filipovic, Roberto Risch, Jovan D . Mitrović, Vojislav Djordjević, Vajk Szeverényi, Carlos Velasco Felipe, Katarina Dmitrovic, Marija Ljustina, Carla Garrido García, Eva Celdrán Beltrán, János Dani, Gucsi László, Viktória Kiss, Petar Milojević, aleksandar bulatovic, Gabriella Kulcsar, María Inés F Fregeiro Morador, and D. Gómez-gras

Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project, 2021

Introduction The proceedings before us, comprised of seven papers, are inspired by the subjec... more Introduction

The proceedings before us, comprised of seven papers, are inspired by the subject of the almost completed CRAFTER programme Creative Europe project. The full title of the project is Crafting Europe in the Bronze Age and Today, and in brief, the idea was to draw inspiration from Europe’s Bronze Age pottery to help revive modern-day artisanship. The project targets the appreciation of Europe's cultural heritage as a shared resource and the reinforcement of a sense of belonging to a common European space. In particular, it hopes to make cultural heritage a source of inspiration for contemporary creation and innovation and strengthen the interaction between this sector and other cultural and creative sectors. The main framework of the project was the idea that four potters from Spain, Germany, Hungary, and Serbia will draw on their skills to (re)create ceramic vessels representative of some of the most outstanding Bronze Age cultures of Europe: El Argar (southeast Spain), Únětice (Central Europe), Füzesabony (eastern Hungary) and Vatin (Serbia).
The papers published within these proceedings are not strictly related to the project itself, but the problems of Bronze Age pottery in Europe in general. The problems discussed in the presented papers and the inspirations are drawn from the CRAFTER project. The original idea was to delve into the content of the pottery and define its composition and quality. These are, in fact, the elements responsible for the final appearance of the ceramic vessel and its function. Considering that out of four editors, two have presented papers within the proceedings, I have been honoured to write this short introduction on their significance and essence. The thread that connects all of the papers, although their concepts do not seem similar at the first glance, since some of the papers are dwelling on interdisciplinarity while others deal with certain chronological and cultural-historical problems, is that the primary analytical material in all of the papers is Bronze Age pottery, from beyond the Pyrenees, across Central Europe, to the Balkans, which is not unexpected considering that a Serbian institution was credited for publishing. The positive aspect is that the pottery is Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project discussed in a manner uncommon for archaeology, while on the other hand pottery studies have been more and more neglected in the past few decades, as such subjects are considered as passé in archaeology. The ever-rising number of specializations and specialists have pushed the pottery and potters into an undeserved corner, even though without such a set of analytic work the past can not be completely and adequately perceived.
The pottery is “slow-moving”. It changes, circulates, and exchanges at a slow pace and it enables the perception of the beginning, development, decadence, and the end of a certain society. The pottery has regional character and reflects the primary contacts, the esthetics of a community, and the inspiration of the artist. Certainly, this implies to prehistoric pottery and communities which do not function within centralized social systems, such as the Bronze Age beyond Mediterranean Europe, which is indeed in the focus of these proceedings. With the appearance of the potter’s wheel, the production and distribution of pottery merge with industry and economy, and at that moment a puzzle of a small man from the past loses a piece. A piece without which we are unable to perceive small communities through such an important, fruitful, and data-rich object such as pottery and which we often tend to neglect as a discipline. In order to identify the contacts, exchange, and trade or reconstruct the communication routes in past, we often reach to the so-called luxurious artifacts: metals, amber, glass, and artisan objects… Likewise, pottery could narrate a story of one meal, one house, one potter, one village, or one community in the past, which is, like it or not, a fact that will make the interdisciplinary and diverse analyses of prehistoric pottery one of the primary archaeological methods.

Vojislav Filipović
Institute of Archaeology, Belgrade

Research paper thumbnail of El Argar Pottery: Production, Use and Circulation. New data from an interdisciplinary approach.

El Argar society developed during the Early Bronze Age (ca. 2200-1550 BC) in southeast Iberia, be... more El Argar society developed during the Early Bronze Age (ca. 2200-1550 BC) in southeast Iberia, becoming one of the Ḁrst state-level societies in continental Europe. As part of its strategy to take control over the means of production, specialized craftsmen gener-ated such a characteristic, sophisticated and highly standardized pottery repertory, comprising mainly eight basic vessel types. Researches on pottery have mainly focused on morphometric traits often overlooking its functional, economic or ritual dimensions. In the context of the “Bastida Project”, we have carried out interdisciplinar studies focused on production, use and circulation of Argaric vessels. This research is based on organic residues analysis, determination of lipid component by gas chromatography/mass spectrometry (GC/MS), chromatography coupled to isotope ratio mass spectrometry (GC-C-IRMS), petrographic analyses and, Ḁnal-ly, the mesurement of volumetric capacities. The combination of data drawn from those analysis enables us to suggest several working hypothesis. First, there was a correlation between manufacturing techniques, capacity and material content. Second, many standardized bowls with a capacity of 300 ml can be interpreted as ration or measurement units. In this sense, we suggest that these units were tied to a controlled distribution of foodstuffs by the Argaric elites. Third, some functional differences between vessels found in funerary and domestic contexts may be suggested.

Research paper thumbnail of El Argar ceramics: preliminary results of an interdisciplinary approach

Crafting pottery in Bronze Age Europe: the archaeological background of the CRAFTER project, 2021

In the Argaric society, developed during the Early Bronze Age (c. 2200–1550 BC) in the south-east... more In the Argaric society, developed during the Early Bronze Age (c. 2200–1550 BC) in the south-east of the Iberian Peninsula, a ruling class emerged, which controlled the land and the basic means of production. In view of the available evidence concerning the centralisation of cereal surplus as well as other products in certain settlements and buildings, we hypothesize that a group of high-ly standardized ceramic repertoire of classical El Argar (c.1900–1550 cal BC), distributed in 8 basic shapes, was produced by specialised potters and fulf lled specific functions in the storage, distribution and transformation of subsistence goods. In this research we have studied an import-ant assemblage of vessels from the El Argar coastal areas of Murcia and Almería (Spain) focusing on its production and use, through petrographic, organic residues, volumetric capacity, and usewear analyses. This interdisciplinary analytical approach to pottery is surprisingly rare in pottery studies but seems crucial in order to better understand the social, political and economic dimension of the El Argar pottery.