Mosaic. Festschrift for A.H.S. Megaw. BSA Studies, 8_Bryn Mawr Classical Review 2003.pdf (original) (raw)
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Jerusalem Excavations in the Tyropoeon Valley (Givati Parking Lot) Volume II: The Byzantine and Early Islamic Periods, 2020
Following the earthquake of 363 CE, which destroyed the Late Roman (Stratum VI) structures at the site, a large administrative building was erected here in the Byzantine period (Building 1821, Stratum V; see Chapter 2). This building was in use until its destruction in 614 CE, as determined by the numismatic evidence (see Chapters 4, 5). Thus, the pottery assemblages presented below are chronologically defined by these two absolute anchors. The material discussed here comprises a selection of the ceramics retrieved in the 2008-2014 seasons, and originates in secure loci from within Building 1821 and associated Channels 1852, 1889 and 1934, and from the surface of the slabs (L1877) and a sequence of plastered floors (L1809, L1820, L1823) of Street 1886. In addition, an assemblage of pottery sherds from the soil in the agricultural field to the south of Building 1821, which is of a mixed nature, is also presented. The Byzantine Stratum V was divided stratigraphically into three main building phases, VC, VB and VA (see Chapter 2). The goal of this ceramic study was to date these phases through analysis of the associated ceramic assemblages. Due to the firm dating of the Byzantine assemblage, the stratigraphic sequence within this period provides an opportunity for a further refinement of the dating of the Byzantine repertoire in Jerusalem. The ceramic assemblages are very fragmentary, with almost no complete vessels, and only a few restorable vessels. 1 The material was sorted in the field and only diagnostic sherds were retained. The diagnostic pieces were further selected according to secure loci. As the material from the three phases is largely homogenous and the ceramic types recur in most of the loci, the description of the vessels is presented in typological order. However, the assemblages from the secure loci are illustrated in the figures according to the architectural features assigned stratigraphically to a specific phase, to aid in the chronological analysis. The ware descriptions were assisted by the Munsell Soil Color Charts (1998). The table ware consists of imported fine wares, such as African Red Slip ware (ARS) from North Africa, Late Roman C ware (LRC) from Asia Minor, and some Cypriot Red Slip ware (CRS) from Cyprus, mainly plates and bowls. Local fine wares appeared alongside the imports, such as rouletted bowls and Fine Byzantine Ware (FBW) bowls and jugs, as 1 The digital ceramic drawings were prepared by the team of the Hebrew University.
d i n i n g i n t h e s a n c t ua r y o f de m e t e r a n d k or e 1 Vo l u m e 7 9 2 0 1 0 Copyright © The American School of Classical Studies at Athens, originally published in Hesperia 79 (2010), pp. 423-464. This offprint is supplied for personal, non-commercial use only. The definitive electronic version of the article can be found at <http://dx.
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The Archaeological Museum of Bursa in Bithynia houses seven pieces of Byzantine ceramics, originating mostly from Bithynia in northern part of western Turkey. In order to give an updated insight into the material a detailed catalogue of these objects will be presented here. This is also a brief contribution to the valorisation of museums in western Turkey and aims to broadening of our knowledge about Byzantine ceramics of Asia Minor.
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L. Vance Watrous et al. The Galatas Survey: The Socio-Economic and Political Development of a Contested Territory in Central Crete during the Neolithic to Ottoman Periods (INSTAP Prehistory Monographs 55), INSTAP Academic Press., 2017
Right from the first moment since clay vessels were invented, humans began to strive to constantly improve and beautify them. The evolution of pottery started then and continues to the present day. More and more types of vessels were developed for ever more different functions, and likewise decorations were invented, depending of course, on particular opportunities and cultural backgrounds. The exposed parts of vessels were used as a medium to tell stories of heroes or gods, but also to sketch events of daily life. From time to time this continuing evolution of ceramics underwent a significant boost. The reasons are often technical in nature, such as the invention of the potter's wheel which led not only to an increase in production, but also to higher quality vessels of a uniform shape. Other inventions included decorative techniques, whereby the appearance of the vessels sometimes underwent great changes. Thus, around 530 BC, the red-figure technique began to replace the black-figure style. Research has explained such changes with the adoption of an improvement and consequently rated them as progress in the positive sense. But two hundred years later, during the later 4th century BC, a more dramatic change in the development of ceramic occurred: red-figure decoration was abandoned and replaced by the technique of overpainting -while depictions of figures disappeared in a very short time from the surface of the vessels. Modest ornaments were now called for where previously magnificent scenarios had taken the entire paintable surface. Remarkably is that especially the representation of humans disappeared from the repertoire. This development is accompanied by the abandonment of numerous established vessel types, such as the skyphos of Attic type which was a mainstay within a typical set of representative table-ware for many generations. Until today the cause for this significant turning point has not been uncovered. Abandoning complex narrative scenes for simple ornaments and repetitions of similar motifs has been widely considered the beginning of the decline of vase-painting, even of the entire ceramics. Yet, behind these changes -the technical innovations as well as the obvious substantial change of content -a highly complex development process can be suggested. The subsequent development of ceramics during the Hellenistic period is characterized by strong dynamics. Constantly throughout this period, new shapes, new wares and new types of decoration appear, and well-known techniques and patterns are being rediscovered and are gaining in importance within new decoration systems. Applied clay reliefs, for example, which were previously used only sparingly to hide distracting technical details, now serve as primary vessel decoration. The new ceramic classes of shapes and decorations also spread with a rapid rate over the entire Mediterranean area.