Pottery Traditions Research Articles

Studies of the cultural layer of the cities of Ufa and Birsk (based on the example of the work of the archaeological expedition of the "Ancient Ufa" museum-reserve)

The article presents the results of an analysis of the latest data of recent years, obtained during archaeological research of the first fortified settlements on the territory of the Republic of Bashkortostan. In the course of the work the analysis reviewed materials from archaeological heritage sites located in the historical center of the modern cities of Ufa (“Hillfort Ufa-II” and “Cultural layer of Ufa dated the late 18th – early 20th century at 29 Sochinskaya street”) and Birsk (“Old Birsk, historical cultural layer and burial ground”). Despite the fact that archaeological sites are subject to a significant anthropogenic influence, the obtained corpus of sources complements the information about the formation of the Russian population and their local tangible culture in chronological terms between 16th and the early 20th century. Studied fragments of pottery revealed differences and features of pottery traditions in the ornamentation, shapes of dishes and additional processing. The materials obtained from the site of Ufa-II indicate local damage (redeposited layer) of the cultural layer and no stratified layers of the New Age. Despite a more significant anthropogenic impact Sochinskaya Street is found with a local patch of preserved cultural layer dated by the period in question. Thus, it will make the reconstruction of the main stages of development of the immediate surroundings of the Ufa Kremlin possible. Alongside it will allow analysis of the adjacent territory. The research on the territory of Birsk documents a good condition of the lower cultural layer of the 17th–18th centuries. The potential of archaeological research of the city lies not only in studying the local features of the tangible culture of the local population, but also in the opportunity to describe the period of the early Russian settlement in Bashkiria in the 16th–18th centuries.

Pottery Traditions of Barbarian Population from the South-Western Crimea: Some Results of Research (Based on Hand-Made Pottery from Frontovoe 3 Necropolis)

Pottery Traditions of Barbarian Population from the South-Western Crimea: Some Results of Research (Based on Hand-Made Pottery from Frontovoe 3 Necropolis)

Technology and provenience of the oldest pottery in the northern Pannonian Basin indicates its affiliation to hunter-gatherers

Consensus holds that pottery technology came to Central Europe from the Northern Balkans with independent pottery traditions existing concurrently in Eastern Europe. An unusual grass-tempered pottery dating back to around 5800 cal BC found in lake sediments at Santovka, Slovakia, predated the earliest known Neolithic pottery in the region (~ 5500 cal BC), suggesting unexplored narratives of pottery introduction. Analyses of the pottery’s technology, origin, and grass temper shedding light on ceramic traditions' spread can unveil mobility patterns and community lifestyles. Our findings indicate a non-local provenance, low temperature firing, Festugc sp. grass temper and unique rectangular or cylindrical vessel shapes which align with Eastern European hunter-gatherer practices. Moreover, the pottery style and technology have no analogies in the contemporary Danubian pottery traditions and have more similarities to those of the Eastern traditions. The pottery's raw materials likely originated from distant areas, indicating extensive territorial access for its creators. Our findings imply late Mesolithic hunter-gatherers as the probable artisans and with implications for the site's significance in the late Mesolithic landscape.

Exploring handmade pottery traditions and Early Iron Age Iberian networks through the site of La Fonteta (Alicante, Spain)

The Phoenician colony of La Fonteta in southeastern Iberia holds significant importance for understanding Phoenician settlement patterns in the region. While previous research has primarily focused on wheel-thrown ceramics indicative of the new technological advancements and trade networks implemented after the Phoenician arrival, handmade ceramics have been somewhat overlooked despite their prevalence in the Early Iron Age (EIA) contexts. Our study, based on the analysis of 36 individuals from recent excavations at La Fonteta, sheds light on the technological aspects (temper choice and estimated firing temperature) and mobility patterns associated with handmade ceramics in this context. Contrary to previous assumptions, our findings indicate that handmade ceramics played a crucial role in regional and broader exchange systems, possibly with limited ties to wheel-thrown ceramics. Moreover, regional mobility seems to have been prominent, likely stemming from local networks and technological frameworks established during the preceding Late Bronze Age (LBA) period.

Керамика древнеберингоморской культуры со стоянки возле утеса Кожевникова (мыс Шмидта): особенности технологии

During the excavations of a dugout at the Kozhevnikov Cliff site (Cape Schmidt), N.N. Dikov obtained a collection of pottery vessels of the Old Bering Sea culture (fourteen specimens). The technology of ceramic production was analyzed using the methodology developed by A.A. Bobrinsky. It was determined that potters selected iron-rich clays of two subtypes, differing in the amount of natural sand content, for pottery production. Five recipes for the molding clay were identified, including three unmixed: 1) clay + sand (7 specimens); 2) clay + wool (3 specimens); 3) clay + organic solution (2 specimens); and two mixed – 4) clay + sand + organic solution (1 specimen); and 5) clay + sand + wool (1 specimen). The vessels were made in a base form, and the shape was additionally formed by paddling. On the outer surface of one artifact, a strap handle with an ear for threading a cord was made, and the remaining hole on the inside was patched with a cloth scrap. The surfaces of the vessels were treated by mechanical smoothing with a hard-smooth tool and/or fingers. Firing took place at temperatures above clay calcination and could be done in bonfires or hearths. The heterogeneity of pottery traditions was found among the population living in the dugout. The two identified two-component recipes for molding clay were formed as a result of mixing the adaptive pottery skills of bearers of different traditions of making unmixed recipes for molding clay. This indicates the beginning of cultural integration processes among bearers of different pottery skills that began to occur under the dominance of the tradition of using low-sanded clay of the first subtype and artificial sand addition in a 1 : 1 concentration.

From Memory Complex to Heritage Tourism Practices Linked With the Bien Hoa Ceramics Ecosystem, Dong Nai, Vietnam

Across diverse geographical regions globally, the art of pottery has been intricately linked with the historical development of humanity. The Bien Hoa pottery tradition, despite its relative youth, embodies significant historical, utilitarian, symbolic, and unique aesthetic values that resonate with the Vietnamese ethos of creative labor. These values, encapsulated within a memory complex, require careful unpacking to fully appreciate and elevate the legacy of Bien Hoa's ceramic heritage. This research posits that one effective method to disseminate and augment the heritage value of Bien Hoa ceramics involves harnessing the intrinsic worth of traditional craftsmanship in conjunction with practices of heritage tourism. With the objective of forging spaces for heritage tourism experiences tied to the Bien Hoa ceramics craft, the study delineates: i) the process of unraveling the memory complex tied to the Bien Hoa ceramics ecosystem; ii) preliminary explorations aimed at enriching the Bien Hoa ceramics ecosystem's value through heritage tourism endeavors.

Barsova Gora I/23 Settlement of the Beloyarskaya Culture: Technology and Morphology of Ceramics

Purpose. At the beginning of the second quarter of the 1st millennium B.C. in the Surgut Ob region, the beloyarskaya culture was formed based on the preceding cultures of the Late Bronze Age – the barsovskaya and atlymskaya cultures, and as a result of their interaction. The technical and technological analysis of Beloyarskaya culture ceramics from the Barsova Gora I/23 settlement, including a fragment of a wall with an anthropomorphic image on it, was carried out.Results. The vessels were created using tin clay of low-sanded clay. The product with an anthropomorphic image is made of another clay selected from the river or floodplain. One recipe is defined for pottery of the beloyarskaya culture – Clay + Chamot + Organic solution. The product with an anthropomorphic image is made according to a different recipe – Clay + Broken stone. The anthropomorphic image on the vessel outer surface was made using a tool with a sharpened edge. It is determined that the anthropomorphic image was made on wet clay, after which the vessel was fired. This confirms the simultaneous creation of the vessel and its decoration with an anthropomorphic image. The stratigraphic and planning data allows us to synchronize the complex of ceramics of the beloyarskaya culture and the vessel with an anthropomorphic image on it, as all the analyzed ceramics was found inside one dwelling 1.Conclusion. The vessel with an anthropomorphic image differs from other ceramics from the Barsova Gora I/23 settlement in its appearance and technology. This indicates that this vessel was made according to the pottery tradition uncharacteristic for the settlement of Barsova Gora I/23. Perhaps this vessel got there in the course of interaction with another population group of the beloyarskaya culture.

Investigating figulina pottery technology in the southern Po Plain through an integrated archaeometric approach

Figulina pottery refers to a fine, light-coloured ceramic class commonly occurring in Neolithic assemblages of southern and central Italy and, on the opposite side of the Adriatic Sea, along the Dalmatian coast of Croatia. In northern Italy, figulina pottery occurs in limited quantities during the 5th millennium cal. BCE and seems to diverge from the local ceramic productions in terms of technological choices and firing procedures. In light of these technical considerations, past scholarly research hypothesised the existence of networks involving either the exchange of figulina vessels or dynamics of knowledge transmission between Neolithic communities bearing distinct pottery traditions. In this paper, figulina sherds from five mid-late Neolithic settlements located in the southern Po Plain area of northern Italy have been analysed through a multi-analytical archaeometric approach that comprises macroscopic fabric analysis, thin section petrography, X-Ray Powder Diffraction (XRPD) and portable X-Ray Fluorescence (p-XRF). The investigation was carried out with the scope of exploring the technological choices behind the rare figulina pots exceptionally retrieved at the Po Plain sites. Results shed light on the production technology and presumable provenance of the raw materials selected for figulina productions in the region, disclosing possible scenarios of technological transmissions while calling into question the ceramic production model currently hypothesised for Neolithic northern Italy.

A Brief Analysis of the Inheritance and Development of Axi Earthen Pottery

Axi earthen pottery is a traditional Chinese pottery produced in Asi Village which turns black after firing. Its history can even be traced back to the original black pottery dates back to the Hemudu culture in Yuyao 7,000 years ago. On June 14, 2008, Asi pottery was included in the second batch of national intangible cultural heritage list. It is not only a national "intangible cultural heritage" but also a unique traditional folk handicraft product. It is also known as one of the "Four Wonders" of Daocheng Yading. As the times change, it also encounters many difficulties and contradictions in the process of protection and development, and its living conditions, production, production, form, function, etc. will all change. In the context of today's Internet+ era, as well as the comprehensive development of the modern cultural tourism industry, this article actively explores effective countermeasures from multiple angles through field research, and proposes to introduce the intangible cultural heritage project Asi pottery into college classrooms and break the outdated family tradition of Asi pottery. It is hoped that it will play a certain positive role in the inheritance and development of Asi pottery, an intangible cultural heritage with unique national characteristics.

Late prehistoric and early historic chronology of Myanmar: a four-millennia sequence from Halin

Myanmar is located within an important geographic corridor of prehistoric demographic and technological exchange, yet relatively few archaeological sites have been securely dated. Here, the authors present a new radiocarbon chronology for Halin, a UNESCO-listed complex in the north-central Sagaing Division of Myanmar, which contributes to the generation of nuanced regional chronologies and to improving the temporal resolution of Southeast Asia more generally. Discussion of 94 radiocarbon determinates, together with site stratigraphy and pottery traditions, provides a chronological sequence from the early third millennium BC to the early second millennium AD. Corroboration of the beginning of this sequence would place Halin as the oldest currently dated Neolithic site in Mainland Southeast Asia and would provide support for the two-layer model of Neolithic migration.

Pottery craft in the early urban world: two EB IVA traditions in focus in Tell Mishrifeh-Qatna, Hypogeum IV (Syria)

Tell Mishrifeh, ancient Qatna, is a prominent Syrian site founded c. 2700–2600 BCE during the urbanization of inner Syria in the Early Bronze Age (EB). Hypogeum IV was one of the first EB IV (2500–2000 BCE) structures excavated in the 1920s. This collective tomb yielded 292 vessels, mostly complete, 127 of which are preserved in the Musée du Louvre (France). This paper provides updated data on this exceptional pottery set that has not been studied since its discovery and first publication in 1935. The typo-chronological examination indicates an EB IVA (2500–2250 BCE) assemblage dominated by drinking vessels. Technology and petrography reveal the co-existence of two pottery traditions: similar shapes are produced with different techniques (chaînes opératoires) and raw materials. Comparisons demonstrate that they correspond to distinct regional traditions from the Upper Orontes and Syrian steppe — Grey ware and the Middle Orontes Valley — calcareous ware. This study offers new insights into pottery production and diffusion in the EB IVA urban centres of inner Syria, the joint presence of distinct traditions at Tell Mishrifeh-Qatna evidencing overlapping regional pottery cultures.

한국 융기문토기의 연대 재고

Raised-design pottery is a type of pottery representative of the early Neolithic period in Korea. Particularly in the southern part of the Korean peninsula, pottery was divided into four types and created a long tradition of pottery lasting about 1,000 years. It is a well-known fact among Neolithic researchers in both countries, Korea and Japan that this type of pottery has been found in many coastal sites in the northwestern Kyushu region in Japan. In particular, the Koshitaka Site on Tsushima Island, Nagasaki Prefecture, is famous for the discovery of many pottery of the first half of the comb-patterned pottery, which is common to the southern part of the Korean peninsula, including Raised-design pottery. We, the Department of Archaeology, Kumamoto University, have conducted excavations at this site four times since 2015, jointly with the Tsushima Board of Education, and have obtained various information about the characteristics of the site that were not well understood until now. This paper examines the revision of the age of Raised-design pottery, one of the results of excavations that could not be fully explained due to the limited number of characters in the previous report, by adding new materials. In analyzing the dating values, we studied the types of charcoal, seeds, and charcoal attached to pottery, examined the presence or absence of a marine reservoir effect by the C value, and performed calibration using IntCal 20 and Marine 20. As a result, the age values indicated by the plant samples showed the most reliable age values, and in the case of Korean Neolithic sites located on the coast, it was reconfirmed that the influence of the marine reservoir effect is large. Although Raised-design pottery in southern Korea and Tsushima follow almost the same pattern changes, we concluded that the existing chronology of Raised-design pottery in Korea is about 400 years older than the new chronology based on reliable age values and that a revision is necessary.

Ceramic traditions on the territory of the Permian Urals during the Great Migration of Peoples: application of technical, technological and statistical analyses

The article presents the results of technical, technological and statistical analyses of ceramics from the epoch of the Great Migration of Peoples found on the monuments of the Permian Urals. The technical and technological analysis was carried out within the framework of the historical and cultural approach developed by A.A. Bobrinsky. Statistical analysis of the sample, including 136 vessels from 10 archaeological sites, using the k-means method allowed us to talk about a motley and diverse cultural palette of the population of the studied territory. The authors identified 8 clusters, each of which can be identified with a particular cultural tradition of pottery making. The analyzed ceramic material allows us to talk about the mixing of at least two groups of the population, one of which is associated with the tradition of using crushed shells in the production of ceramics, and the second – manure, organic solution, chamotte and dry processing of the initial plastic raw materials. The intertwining of traditions is clearly recorded by the facts of the identification of mixed multicomponent compositions of molding masses (clay + crushed shell + organic solution; clay + crushed shell + chamotte; clay + crushed shell + chamotte + organic solution). According to the results of the analysis, local ceramic traditions were also recorded, demonstrating the high dependence of ceramic production technology on available raw materials (sanded clay raw materials; silty clays). In the course of the study, the tradition of using crushed raw materials in the production of ceramics was described and interpreted, the origins of which may be associated with the area of distribution of the Mazunin culture.

Multidisciplinary approach to the study of Neolithic pottery technology (based on the materials of the Luzhki II site)

The excavations of a new Neolithic site in the Samara Volga region, conducted by archaeologists of Samara State University of Social Sciences and Education in 2020–2023, yielded numerous ceramic materials, a comprehensive analysis of which is currently being conducted. The results of the technical and technological analysis of ceramics according to the method of A.A. Bobrinsky and the specifics of the geographical location of the Luzhki II site led to the appeal to more detailed methods of study. In addition to archaeological (morphological grouping of vessels, typology, technical and technological analysis of ceramics based on binocular microscopy, tracology and physical modeling), the methods of geology (petrography, X-ray phase analysis) and paleosolvology were used in the study. The results of the multidisciplinary approach to the study of Neolithic pottery technology are presented in this article. They suggested that a small site without stationary dwellings could be used as a seasonal place for making household utensils (in addition to the usual hunting and fishing activities). As a result of the technical and technological analysis of pottery ceramics of the Luzhki II site, a significant proximity of the pottery traditions of the population groups who left different ceramic complexes was revealed, which indicates the simultaneity of their existence in this area and active mixing processes. The archaization of the potters' ideas about plastic raw materials is noted – a return to more archaic methods: the share of the use of silt in the production of post-Yelshan ceramic complex lot is 82%; pricked – 75%; combed – 89%; «mixed» group – 83%. From the point of view of the historical and cultural approach, such a result could arise only because of the appearance in the southern Middle Volga of new groups of Neolithic population with archaic ideas about raw materials.

Research on the Discrepancy and blending of Lacquer Ceramic Art

The rich historical use of lacquer in China and the enduring tradition of Oriental pottery have laid the foundation for preserving traditional handicrafts. This research seeks to uncover the cultural significance of lacquer items and innovative pottery, delving into their artistic elements to preserve their cultural essence. By examining the interaction between lacquer and pottery within an artistic framework and exploring the expert fusion of lacquer craftsmanship, this study provides valuable insights to foster the contemporary growth of traditional craft design. The research findings demonstrate that a precise integration of design elements inspired by the aesthetic qualities of lacquer artifacts into lacquer products effectively conveys cultural heritage in the present era. The design process for creative products evolves through the innovative amalgamation of lacquer and ceramic techniques, resulting in the creation of unique lacquer and ceramic pieces. The primary goal of this study is to inspire emerging designers to contribute to the ongoing innovative development of lacquer pottery products.

Painted Decorations on Pottery of the Chernihiv Region of the 18th – first Third of the 20th Century

The purpose of the article is to outline the main issues of the following scientific problem – the history of the origin, assortment, and typology of the principal motifs, compositional schemes, and techniques for making painted decor of the Chernihiv region pottery tableware. The research methodology corresponds to the purpose of this study and includes a comprehensive approach to the study, systematisation, and interpretation of the empirical material using historical-comparative, formal-typological, and art analysis methods. The scientific novelty of this study. It is the first attempt at the comprehensive analysis of painted decor as a manifestation of the artistic culture of the population. While working over the material, the origins and evolution of the most common decorative motifs for the decoration of pottery were determined, their art specificity in the regional and national context was considered, classification was done, and a number of works from museum collections were put into scientific circulation. Conclusions. Analysing the pottery-painted decor of the Chernihiv region of the 18th century – the first third of the 20th century, it can be concluded that it developed within the national tradition of Ukrainian pottery, and used its main aesthetic and stylistic principles. The pottery of the region is characterised by a wide range of motifs (geometric, plant-geometrised, plant, zoomorphic, and others), a variety of techniques, and creative manners. The evolution of the painted decor stylistics contains the interaction of traditional and innovative factors, the influence of neighbouring regions' pottery, artistic and other types of decorative art, for example, art – industrial products – earthenware, and porcelain. The painted decor had pronounced regional features of the form, interpretation of motifs and images, compositional schemes, plastic solutions, and colouring.
 Keyword:.pottery, decor, painting, tradition, innovation, artistic features.

:Lagash I: The Ceramic Corpus from Al-Hiba, 1968–1990. A Chrono-Typology of the Pottery Tradition in Southern Mesopotamia during the 3rd and Early 2nd Millenium BCE

:<i>Lagash I: The Ceramic Corpus from Al-Hiba, 1968–1990. A Chrono-Typology of the Pottery Tradition in Southern Mesopotamia during the 3rd and Early 2nd Millenium BCE</i>

“Africanness” in the Oeuvre of the Ceramist Esias Bosch (1923–2010)

It has been claimed that the oeuvre of stoneware studio pottery by Esias Bosch (1923–2010), the country’s pioneering figure of that discipline, conveys an Africanness in the look and feel of the works. Such assumed attributes relating to Africa are contestable when considering which and whose values and meanings are assigned to Africa, Africanity, and Africanness. Newly found archival material elaborates on the first-hand engagement by Bosch with an indigenous cultural tradition of pottery in Nigeria and the revisioning of some of its forms by Michael Cardew (1901–1983) at the Abuja Pottery Training Centre. Although the new archival material sheds light on Bosch’s encounter with one of Africa’s indigenous cultural traditions of pottery, it does not support the claims that his stoneware oeuvre can be characterised as being reflective of Africa. The context of such characterisation must be considered against the backdrop of the evolution of South African studio pottery, with practitioners seeking to develop signature styles that would appeal to the consumer and collector base, hitherto prejudiced towards mass-produced ceramics with Western features. This article addresses issues of Western-orientated perspectives of “tradition”, cultural referencing, and identity.

A Holocene Ceramic Sequence in the Central Sahara: Pottery Traditions and Social Dynamics Seen from the Takarkori Rockshelter (SW Libya)

A Holocene Ceramic Sequence in the Central Sahara: Pottery Traditions and Social Dynamics Seen from the Takarkori Rockshelter (SW Libya)

Hunting, fishing, gardening: Re-evaluating Middle Neolithic mobility and cultural diversity on the Norwegian Skagerrak coast

The settlements along the Norwegian Skagerrak coast from the period 3300–2350 cal. BCE (Middle Neolithic period) represented an epitome of the sub-Neolithic phenomenon, however, recent experience from archaeological, osteological, palynological, and geological studies encourages a rethinking of this cultural complex. Here we reconstruct aspects of Middle Neolithic economies, mobility patterns, and pottery production traditions based on recent field work along the central stretch of the Norwegian Skagerrak coast. We find evidence of mixed economies – collecting, fishing, hunting, farming, husbandry – and local pottery traditions structured by seasonal coastal-inland mobility patterns. We propose a redefinition of this archaeological complex from a ‘Neolithic culture’, or a sub-Neolithic phenomenon, to an ecohistorical regime. The diversity in mobility and subsistence in this geographical area reflect robust early fisher-farmer societies resilient in the face of environmental variations.