Pottery Production Research Papers - Academia.edu (original) (raw)

To evaluate the challenge of design, product development and practice in ceramics, in Uganda, a study of the Ugandan common designs processes and product analysis was undertaken, since 2001 to 2012, largely in Kampala and the suburbs and Western Uganda. The study consisted of both local hand and machine assisted product processes to provide a wider picture of production of what was being undertaken by the pottery strata. The pattern of the potters and their product was somewhat associated with the levels of understanding of their materials, the community they worked in, and the general clientele. Practices in ceramics continue to face challenges in terms of marketing local products given the trends of designs and the influence of pervasive global village. What it translates to is that Ugandan potters need to compete far beyond what had been the original practices some of which have lived for generations. The kinds of design processes employed by most potters tend to be erratic with ...

- by Philip Kwesiga
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- Pottery Production, Product Development, Customer Care, Design Processes

At the outskirts of the Roman town of Tongeren (Belgium), a potters’ work-shop dating to the Flavian period has been excavated. The site not only yielded waste material associated with the pottery production but also a find assemblage (cultural artefacts and organic consumption remains) that can be linked to the daily life of the potters themselves. This combination of finds enables to analyse the material culture of this specific group and to discuss their status and background. It was observed that the material culture of the potters did not differ from the material culture excavated elsewhere in town, a conclusion that seems logical as artisanal activity can almost be found throughout the entire town. In general, for the Flavian period, the material culture, as well as the consumption remains resulting from it, reflect different living standards in the administrative centre Tongeren compared to rural settlements. This brings into question the theory that Tongeren was exclusively ...

- by Anton Ervynck
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- Art, Roman Pottery, Social status, Roman Period

In diesem Beitrag wird für die spätrömische Epoche und das Frühmittelalter ein Überblick zur Mayener Ware gegeben. Diese Keramik wurde kontinuierlich von der spätrömischen Epoche über die Merowinger- bis in die Karolingerzeit in hoher Intensität in Mayen gefertigt und auf dem europäischen Markt verhandelt. In dem Oberzentrum Mayen dürfte über diesen gesamten Zeitraum dieverwaltungstechnische und wirtschaftliche Schaltzentrale von Produktion und Handel gelegen haben.

- by Christina Halperin and +1
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- Archaeology, Cultural Theory, Politics, Craft production (Archaeology)

Pottery finds from the Alzey fort cover a period from AD 368/370 up to the second half of the 5th century. By means of scientific analyses it can be tested definetely whether the vessels were imported from Mayen. Ceramics from the late phase of the Alzey vicus contribute to the knowledge of the production period and exportation area of the Weißenthurm potter's workshops.

- by Angelika Hunold
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- Late Antiquity, Roman Pottery, Roman Economy, Late Roman Archaeology

В статье приводятся результаты изучения керамического комплекса поселения Логинов Хутор-одного из наиболее ранних памятников поздняковской археологической культуры позднего бронзового века. Исследование проведено в рамках историко-культурного подхода и включает анализ внешней (форма и орнаментация сосудов) и внутренней (некоторые аспекты технологии) культуры гончарного производства. Изучение гончарной технологии охватывает культурные традиции подготовительной стадии производства (анализ глинистого сырья и формовочных масс). Итогом работы стало выделение трех групп гончарных традиций, две из которых принадлежали разному по происхождению населению. Первая группа связана с ранним этапом поздняковской культуры, втораясо срубной культурно-исторической общностью. Третья группа гончарных традиций сложилась в результате культурных контактов носителей двух первых.

- by Anastasia Shvetsova and +1
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- Technology, Pottery (Archaeology), Pottery, Late Bronze Age

Der Beitrag beleuchtet die Organisation, die Produktion und die Warendistribution von Mayener Keramik vom Herstellungsort in die römischen und mittelalterlichen Exporträume, wobei die Spätantike und die Karolingerzeit die Schwerpunkte... more

- by Lutz Grunwald
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- Pottery (Archaeology), Medieval Archaeology, Late Antiquity, Roman Pottery

catalogue de l'exposition organisée dans le cadre de la SFECAG, Congrès d'Amiens 2013

- by Sonja Willems
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- Roman History, History of Cuisine, Roman Pottery, Roman Economy

Poster presented at the 42nd International Symposium on Archaeometry (ISA), Mérida, Mexico. May 20-26, 2018.

- by Evin Che-Hsien TSAI and +1
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- Aegean Bronze Age (Bronze Age Archaeology), Early Bronze Age (Archaeology), Ceramic Petrography, Aegean Prehistory
- by Carla Corti and +2
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- Pottery (Archaeology), Material Culture Studies, Roman Economy, Roman burial practices

- The deadline for the abstract submissions to the unguentarium symposium has just been prolonged to May 10, 2018. So, if anybody in your communities is planning to participate to this symposium, we are still able to accept them.
- Please feel free to post this program and/or booklet in your own Facebook, Academia or Researchgate accounts or circulate it to your friends/communities. Thank you in advance.

- by The Lydia Symposium and +2
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- Ancient History, Archaeology, Classical Archaeology, Greek History
- by Alessandro Lentini and +1
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- Early Bronze Age (Archaeology), Wine, Pottery Production, Chemical Analysis

Seit den grundlegenden Arbeiten über eisenzeitliche Graphittonkeramik von Oskar Paret (1929), Libuše Horáková-Jansová (1955) und Irene Kappel (1969) ist eine Fülle von Detailstudien und Materialvorlagen entstanden, die in der Zusammenschau neue Erkenntnisse über die Keramikproduktion,
die Graphitverwendung und die symbolische Bedeutung von Graphittonkeramik ermöglichen:
Erstens hat sich die Hypothese Parets und Kappels von großen Töpferzentren und weitreichendem Keramikhandel nicht bewahrheitet. Die Produktion von Graphittonkeramik (und allgemein von Keramik in der Latènezeit) erfolgte zwar sicherlich durch Spezialisten, war aber weit verbreitet und erreichte nirgendwo einen Maßstab, der die Versorgung überregionaler
Märkte zuließ. Dies zeigt sich ganz deutlich an den zahlreichen neu entdeckten Töpferöfen und ihrer Verteilung. Zwar wurde Gefäßkeramik in der mitteleuropäischen Eisenzeit auch gehandelt, getauscht oder sonstwie exportiert, dies betrifft aber höchstens wenige Prozent des gesamten Geschirrs.
Ein zweiter Fragenkomplex, dem bereits zahlreiche naturwissenschaftliche Keramikanalysen gewidmet wurden, betrifft die Herkunft des Graphits. Im Gegensatz zu älteren Forschungen kann mittlerweile als gesichert gelten, dass zum weitaus größten Teil der Rohgraphit importiert und dem lokal
gewonnenen Töpferton beigemengt wurde. Gerade aufgrund der Aufbereitung des Graphits und seiner Vermengung gestaltet sich die Herkunftsbestimmung so schwierig. In Zukunft sollten daher in erster Linie Rohgraphitstücke analysiert werden.
Drittens verlagert sich der Schwerpunkt der Keramikforschung weg von der Untersuchung der Produktion und Distribution hin zur Konsumtion, zum Gebrauch und zur symbolischen Bedeutung. Am Beispiel der Bodenzeichen und anhand eines frühlatènezeitlichen Beigabenbrauchs kann aufgezeigt werden, dass die latènezeitlichen Menschen der Graphittonkeramik auch eine bestimmte symbolische Bedeutung beimaßen, die über die rein technische Funktion hinausgeht. Daher möchte ich mit Ann Woodward schließen: „Das Hauptziel der Studien zur Töpfereitechnologie muss es sein, mehr über die prähistorischen Menschen selbst zu erfahren“.

- by Peter Trebsche
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- Archaeology, Iron Age, Pottery, Ceramics
- by Manuel Zeiler
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- Archaeology, Iron Age, Pottery Production, Iron Age pottery
- by Clément Bellamy and +1
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- Pottery (Archaeology), Archaeology of Southern Italy, Ceramics (Archaeology), Iron Age (Archaeology)

L’uso di tubi fittili era piuttosto diffuso nella Pisa medievale e post-medievale come dimostrano i numerosi reperti di questo genere rinvenuti negli scavi urbani che hanno posto l’attenzione su una probabile produzione cittadina o suburbana.
La forma di questi oggetti, prodotti già a partire dal XIII secolo, rimane invariata almeno fino alla fine del XIX/inizi del XX secolo.
Si pensa ad una produzione pisana, almeno in un primo momento, a causa della similitudine, sia nel corpo ceramico sia nella finitura delle superfici, con le ceramiche prive di rivestimento depurate di manifattura locale.
Queste forme potevano essere inserite a scasso, esternamente, nelle murature delle abitazioni.
Il ruolo di queste tubature era legato allo scolo delle acque chiare e scure.
Alcune differenze nella forma dei tubi fittili intervengono in avanzata età moderna, allorquando questi manufatti, prodotti ormai nel contado, vedono l’ispessimento delle pareti e l’invetriatura delle superfici interne, oltre una certa grossolanità dell’impasto.

The excavations at the site of Sidon College Site in southern Lebanon have yielded a large funerary and cultic complex dated to the Middle (MBA) and Late Bronze Ages (LBA). As of 2019, more than 172 tombs were found associated with a feasting area as well as a temple in use throughout the Bronze and Iron Ages. During the MBA, dozens of Cypriot
ceramics were unearthed either in tombs or in rooms associated with cultic or feasting rituals. A LBA underground cella also yielded dozens of Cypriot pottery vases. These imported vessels belong to nearly all Cypriot styles commonly exported to the Levant, attesting to vigorous trade interactions between the coastal Levantine city of Sidon and Cyprus.
This paper presents the latest account of these imports, categorises, using the available data, the first occurrences of Cypriot wares at Sidon and compares the representativeness of this assemblage with other sites regionally (Lebanon) and interregionally, leading to an initial attempt at understanding the network patterns that governed the trade of these vases to southern Lebanon.

- by Hanan Charaf
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- Archaeology, Near Eastern Archaeology, Cypriot Archaeology, Cyprus Studies

Neolithic wetland sites in the Swiss Plateau provide an extraordinary database for the study of mobilities, entanglements and transformations in material culture. Based on dendrochronologically dated settlements between 3900 and 3500 BC, two regional pottery styles and their local variations are well known, Pfyn and Cortaillod. The vessels share the same habitus and were made of local raw materials. However, some vessels specific to other pottery styles are also present in the sites. By focusing on itineraries of vessels and shifts in pottery knowledge, their appropriation in different contexts and the resulting material entanglements, we want to approach the multiple regimes of mobility: At Lake Constance - known for Pfyn pottery - specific Michelsberg vessels like tulip beakers and lugged jars occur in small numbers. These traveling objects were produced with exogenous raw materials and transported to the sites from Southern Germany. At Concise (Lake Neuchâtel) besides the local Cortaillod pottery the whole repertoire of NMB pottery, characteristic for Eastern France, was also produced. Further cases from the same space-time frame point to other regimes of mobility. In our two PhD-projects we compare pottery practices - styles, techniques, raw materials - from over 20 key sites in the region. Based on Bourdieu’s reflexive anthropology, we apply different qualitative and quantitative archaeological and archaeometrical methods, thus striving for a deeper understanding of habitus and the transformative potential of moving people, objects and ideas on local and regional scales and related social contexts.

- by Regine Stapfer and +1
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- Pottery (Archaeology), Mobility/Mobilities, Appropriation, Pottery Production
- by Vesna Bikic
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- Pottery (Archaeology), Medieval Pottery, Medieval Balkans, Byzantine Pottery

This study presents four case studies that elaborate on the results of two field survey projects (the Astura and the Nettuno surveys) that were carried within the ambit of the Pontine Region Project. These comprise 1) revisits to previously mapped sites, 2) the study of a local museum collection, 3) intensive on-site surveys and 4) small-scale excavations at a reference site for the Late Roman and Early Medieval period. The results obtained provide detailed insight the settlement dynamics for the study area and increase the potential of the dataset to approach different aspects of the Roman economy (such as trade, town-countryside relations, demography). At the same time, the study contributes to our understanding of biasing factors associated with archaeological survey.

- by Gijs Tol
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- Archaeology, Museum Studies, Pottery (Archaeology), Landscape Archaeology

Abstract
Kadıkalesi located on the south coast of Kuşadası, is one of the most important middle age settlements in the west of Anatolia. During the excavations in Kadıkalesi, started in 2001, it has been revealed that this is a harbour castle which was built on a proto-historical mound. In addition, the findings have also revealed that the castle was built not only for the defence of the area but also for the protection of inside the building which was a place for the residence of Anaian archiepiscopate in Laskarid period (1204-1261). It has been declared that the castle may have hosted a kommerkiarios owing to the function as a “custom station”. The ongoing excavations have presented that numerous and different pottery was dated to the Middle Age. One of these potteries was found that they were related with Zeuxippus Family Ware and
a typology of these potteries. The series of chemical analysis were performed to be proved that some of these potteries were produced in the Kadıkalesi area or near of this area. Yet the kiln has not been unearthed, the local production of Kadıkalesi (or Anaia) was probably active in 13th century. Beside, many tripods and a few conics, straws, semi-finished fragments, the three fragments of Zeuxippus Ware were found out with the tripods adjacently. For this reason it could be considered that Zeuxippus Ware of Anaia is directly connected
to the kiln equipment in Kadıkalesi. And some of the semi-finished
fragments have the same form with bowl, deep bowl and plate findings. The findings of Zeuxippus Family Ware was examined in detail and classified into 11 different groups and the groups were compared with the test results. This study is aimed that determining the most common types of Kadıkalesi local production.

- by Filiz İnanan
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- Medieval Pottery, Pottery Production, Byzantine art

The aim of this article is to discuss the production and distribution of Champlevé pottery. This Middle Byzantine glazed table ware dates from the late twelfth to mid thirteenth century AD. Its production was likely confined to the Greek Aegean area: hitherto, there is substantial archaeological evidence to indicate local productions in the cities of Chalkis, Sparta and Heraklion. Argos, Athens and, perhaps, Larissa are also suspected to have manufactured this pottery type. Although Champlevé Ware circulated mainly within the Aegean Sea, its distribution had a much larger range. Vessels were exported to Anatolia, the Black Sea, the Levant and the western Mediterranean. The maritime-based distribution reached mostly urban trading centres along the coast. This preliminary study suggests a diverse and specialised production as well as a dynamic and widespread commercialisation.

- by Diana Dobreva
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- Late Antique Archaeology, Late Roman Pottery, Aquileia, Roman Lamps

ÖZET Van'ın Bardakçı Köyü tarih boyunca geleneksel yöntemler ile yerel çanak çömlek üretimi gerçekleştirmiş olmasına karşın bu çömlekçilik faaliyetleri yeteri kadar araştırılmamıştır. Köyde 2013 yılında etno-arkeolojik ve deneysel arkeoloji çalışmalarının yanı sıra yok olmaya yüz tutmuş geleneksel Bardakçı seramik üretimini ayrıntılarıyla belgelemeye yönelik çalışmalar başlatılmıştır. Bu çalışmalar, kilin yerel kil yataklarından çıkartılması, işlemeye hazır hale getirilmesi, işlenmesi, kap formlarının belirlenmesi, Bardakçı Köyü'ndeki kendine özgü seramik terminolojisinin kayıtlanması, pişirim süreçlerinin belgelenmesi şeklinde özetlenebilir. Bugün köyde hayatta olan eski çömlekçi ustaları olmasına karşın çeşitli sebeplerle bu gelenek devam ettirilememektedir. Köyde aktif olarak üretim gerçekleştiren tek atölye Osman Eşme'ye aittir. Eşme modern alet kullanmadan seramik hamuru hazırlar, klasik, uzun bir mile monte edilmiş ayakla dönen yataklı bir çarka sahip seramik tezgâhı kullanır ve ateşi alttan verilen ve üst kısmında seramik yüklüğü bulunan yuvarlak formlu ve kemerli kerpiç fırında pişirim gerçekleştirir. Fırında kullanılacak yakacak için çok miktarda ve çeşitte yerel bitkiler kullanılmaktadır. Bu yazıda geleneksel Bardakçı çömlekçiliği hakkında genel bir çerçeve çizilmiş sonra özellikle pişirim süreçleri üzerine odaklanılmıştır. Abstract The ethno-archaeological studies in Bardakçı (Van) village began in 2013 focusing on ceramic studies. While studying the production methods of Urartian pottery, we aimed to document the ceramic ethnography of Bardakçı and to integrate this background with archaeological data. One important target of the research was to document of local pottery producing consist of raw material procurement, paste preparation, identifying forms of vessels, local terminology of pottery making, modelling process and firing. The last known potter producing Bardakçı pottery is Osman Eşme. He shapes pottery via a kick-wheel with a disc spun on a long spindle. The vessels are placed in the upper area of an arched, rounded, sectioned kiln. It has three arches, an open top, heating from below and pottery fired in a heap above. Many plants and trees are provided for the fire from the immediate vicinity. The present paper outlines the traditional Bardakçı pottery making and focuses especially on the firing processes.

- by Zeynep Meriç
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- Byzantine Archaeology, Medieval Pottery, Byzantine Pottery, Pottery Production

Para el noroeste de Costa Rica el final del Período Bagaces ha sido percibido como un momento de cambio cultural, ocasionado por alteraciones demográficas producidas por migraciones mesoamericanas a las tierras de la Gran Nicoya. A partir del análisis de la producción y la tecnología alfarera, por medio del conocimiento en la manufactura cerámica y la técnica de difracción de rayos X, se propone que si bien hubo cambios que apuntan a un proceso de especialización alfarera, también se hallan indicadores que sugieren una continuidad en la tecnología. Esto permite inferir que con la entrada de los grupos mesoamericanos a la zona del Rincón de la Vieja (Guanacaste, Costa Rica) no hubo un cambio radical de la tradición alfarera sino, más bien, un proceso de intercambio de conocimientos. En esta dinámica, los elementos preservados a través del tiempo responden a necesidades técnicas y aquellas modificaciones en la tecnología cerámica fueron, a su vez, respuestas a necesidades sociales.

- by Jeffrey Peytrequín and +1
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- Archaeology, Pottery (Archaeology), Ceramics (Ceramics), Chibchan Archaeology

This article reports the results o an archaeometric study using NAA on 20 samples o wheelmade fine-ware pottery and one pithos from Roca Vecchia in Apulia. The study aims at elucidating the circulation of Mycenaean-type and Italo-Mycenaean-type vessels across southern Italy. For comparison with Punta di Zambrone, we have focused on ceramics from the RBA levels of Roca Vecchia, as this is a coastal settlement, which, according to previous studies, yielded both Aegean imports and local or regional Italo-Mycenaean products, all well-stratified in a continuous ertical settlement se uence. The chemical analysis identified a ew imports rom Greece (mainly rom Achaea Elis) and many Apulian products (forming two chemical groups), some of which adhere closely to the Mycenaean style, while others are of Italo-Mycenaean type. These Apulian chemical groups are absent from the previously analysed pots from Punta di Zambrone. One medium coarse pithos from Roca Vecchia turned out to be an import from the southern plain of Sybaris, i.e. the same region that is represented with a ew Mycenaean fine-ware essels at Punta di ambrone.

- by Francesco Iacono and +1
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- Aegean Bronze Age (Bronze Age Archaeology), Aegean Late Bronze Age, Mycenaean pottery, Pottery Production

Presentamos en este trabajo los resultados de una intervención arqueológica realizada el año 2007 en el yacimiento de la c/ Luís Milena de San Fernando (provincia de Cádiz, Andalucía, España), que permitió la documentación de una fosa/conchero con millares de desechos malacológicos. La presencia mayoritaria de murícidos (Hexaplex trunculus y Thais haemastoma) así como la detección de un constante patrón de fractura de las conchas, por machacado, apunta a que nos encontramos ante los restos del área de vertedero de un taller de púrpura. El detallado análisis de todas las evidencias aparecidas permite valorar que se trata de una fosa colmatada con residuos heterogéneos, vinculados también con otras actividades haliéuticas –pesca e ¿industria conservera?- y con la alfarería. Se incluye una caracterización arqueozoológica de la fauna marina, así como el análisis de residuos orgánicos documentados en dos fragmentos cerámicos pertenecientes al depósito. La datación de estos vertidos puede situarse hacia finales del s. III a.C. (en torno al 200 a.C. circa), lo que convierte a este yacimiento en el taller de púrpura bien caracterizado arqueológicamente más antiguo de los conocidos hasta la fecha en el área del Círculo del Estrecho.

- by Antonio Saez Romero
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- Archaeology, Classical Archaeology, Archaeomalacology, Pottery (Archaeology)
- by David Gilman Romano and +1
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- Provenance, Neolithic Archaeology, Sedimentary provenance, Mycenaean era archaeology
- by Adorno Linda
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- Greek Archaeology, Pottery Production
- by Jennifer Webb
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- Mediterranean prehistory, Pottery Production

A kerámiaedények formázásának technológiai vizsgálata egy antropológiai megközelítésű kutatási módszer, mellyel feltérképezhetők a kerámiaegyüttesek mögött húzódó készítési tradíciók és szociális mechanizmusok. Jelen tanulmány rövid áttekintést nyújt a metódus alapjairól, valamint bemutat néhány alapvető, fazekaskorong nélküli formázási technikát és ezek lehetséges azonosítási nyomait a régészeti leletanyagban.

- by Antonio Sáez Espligares
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- Archaeology, Geoarchaeology, Roman Pottery, Late Roman Pottery
- by Myles McCallum
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- Archaeology, Classical Archaeology, Classics, Roman History

Riassunto. Per gli esperti di ceramica minoica lo studio delle tecniche di modellazione ha tradizionalmente rappresentato un corollario delle ricerche sulla nascita dello stato a Creta. Di conseguenza, a fronte dei numerosi progetti dedicati all'introduzione del tornio, un prezioso strumento di lavoro che consentiva di abbattere i tempi di produzione, la ceramica modellata a mano solo raramente ha ricevuto un'attenzione specifica. Nella parte meridionale dell'isola, nel III e II millennio a.C., si producevano alcuni vasi di uso cerimoniale unendo elementi di argilla fine e grossolana, una particolare tecnica nota come layering difficile da comprendere e ancora più difficile da eseguire. In questo articolo, prendendo spunto dai dati forniti da un'area di produzione ceramica identificata a Festòs, attiva tra il III e il II millennio a.C., e sulla base di modelli ampiamente documentati dalle ricerche etnografiche, si propone che questo procedimento tecnico abbia svolto un'importante funzione sociale e culturale: da una parte consentiva ai ceramisti di dare prova delle loro abilità, dall'altra rappresentava l'indicatore di una categoria di vasai riconoscibili proprio per via dell'adozione di questa peculiare modalità di realizzazione dei loro prodotti. Introdotto a Creta dai fondatori di Festòs, il layering funse quindi da identificativo culturale, dimostrando che anche per i Minoici svolgeva un ruolo cruciale per la definizione della loro identità culturale
Περίληψη. Για τους ειδικούς της μινωικής κεραμικής η μελέτη των τεχνικών κατασκευής αντιπροσώπευσε παραδοσιακά μια προσθήκη της έρευνας για τη γέννηση του κράτους στην Κρήτη. Κατά συνέπεια, μπροστά στα πολυάριθμα προγράμματα που ήταν αφιερωμένα στην εισαγωγή του τροχού, ενός πολύτιμου εργαλείου δουλειάς που επέτρεπε τη μείωση των χρόνων παραγωγής, η χειροποίητη κεραμική μόνον σπάνια έγινε αντικείμενο συγκεκριμένης προσοχής. Στο νότιο τμήμα του νησιού, κατά την 3 η και τη 2 η χιλιετία π.Χ., παράγονταν διάφορα αγγεία για λατρευτική χρήση ενώνοντας στοιχεία λεπτού και χονδροειδούς πηλού, μια ιδιαίτερη τεχνική γνωστή ως layering, δύσκολη στην κατανόησή της και ακόμη περισσότερο στην εκτέλεσή της. Σε αυτό το άρθρο, με αφετηρία τα στοιχεία που μας προσφέρει μια περιοχή κεραμικής παραγωγής που εντοπίστηκε στη Φαιστό, ενεργή ανάμεσα στην 3 η και τη 2 η χιλιετία π.Χ., και με βάση τα ευρέως τεκμηριωμένα από τις εθνογραφικές έρευνες πρωτότυπα, προτείνεται η άποψη ότι η συγκεκριμένη τεχνική διαδικασία είχε σημαντική κοινωνική και πολιτιστική σημασία: από τη μια επέτρεπε στους κεραμείς να αποδείξουν την ικανότητά τους, από την άλλη αντιπροσώπευε τον δείκτη μιας κατηγορίας κεραμέων που μπορούσαν να αναγνωριστούν από την υιοθέτηση αυτής της ιδιαίτερης διαδικασίας δημιουργίας των προϊόντων τους. Εισηγμένο στην Κρήτη από τους ιδρυτές της Φαιστού, το layering λειτουργεί λοιπόν ως εργαλείο πολιτιστικής ταύτισης, αποδεικνύοντας ότι και για τους Μινωίτες έπαιζε σημαντικό ρόλο για τον καθορισμό της πολιτισμικής τους ταυτότητας.
Abstract. Minoan pottery studies have rarely devoted a specific attention to forming techniques and have usually done so in the context of researches aimed at assessing when rotational kinetic energy was first used in Crete. Social aspects of pottery production are addressed through the study of fabric which permitted several technological traditions to be identified among production groups that were located across the Island and sometimes even in the same region. Ethnographic researches in Africa and Mesoamerica have instead demonstrated that it is forming techniques that reflect the most rooted and enduring aspects of a potter's social and cultural identity, and that it is maintained through time and across space. This paper aims to address the potential of forming techniques to assess the cultural identity of specific production groups by using as a case study a particular category of multi-layered vessels made at Phaistos, in the Mesara plain, in the Prepalatial and Protopalatial period. It will focus on a peculiar technological practice of combining differently textured clays in the same vessel (labelled "layering"), and it will argue that this habit, which is counterproductive and risky, allowed potters to display their skill and acted as an "identity marker" that permanently linked vessels exhibiting this technique to their producers and suggests that forming technique was pivotal to the definition of the cultural identity of Minoan potters.

This paper will consider the scale of pottery workshop production in ancient Egypt and Sudan through a comparison
of ethnographic pottery studies, representations of ancient workshops, archaeological remains and the author’s own experiments with replicating ancient pottery. Despite many investigations throughout Egypt, with 10,000s of
pottery sherds analysed at each site, surprisingly few pottery workshops have been uncovered. Most settlements would have required the services of at least one pottery workshop to provide the local populace with the containers needed to store, produce, cook, and brew beer and so on. Is the reason for this dearth of pottery production sites
due to archaeological bias?

- by Sarah Doherty
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- Egyptology, Experimental Archaeology, Ceramics (Archaeology), Ancient Egypt