Ceramics

Introduction

This experimental project aimed to reproduce the Hellenistic (fourth-third century BC) Greek pottery production process. The project was conducted by the authors, Francesca Tomei, PhD graduate in Archaeology at the University of Liverpool, and Juan Ignacio Jimenez Rivero, a ceramist specializing in replicating ancient pottery technology, who frequently collaborates with the Department of Classics, Ancient History, Archaeology and Egyptology, University of Manchester, on ceramic experimental archaeology projects and activities.

Introduction

Ceramologists usually apply the term style to describe the set of visual (i.e., decorative and morphometric) attributes of a ceramic object (see, e.g., Rice, 2015, pp. 388-410). The term fabric is mainly employed in petrographic and technological studies to indicate the physical characteristics of the material (i.e., clay paste composition) a pot is made from ( Nordström and Bourriau, 1993, p. 162).

Introduction

Studies related to the craft of the potter whether it is the examination of manufacturing techniques of ancient Greek vases or clay analyses, have considerably developed over the last decades. Yet, experimental reconstructions and potter-centred analyses have mostly focused on Bronze Age pottery, Early Iron Age pottery, coarse wares, or kitchen wares (Knappett, 1999; Müller, Kilikoglou and Day, 2015; Choleva, 2020; Choleva, Jung and Kardamaki, 2020).

Introduction

The Peruaçu National Park is a nature conservation unit located in the environs of the Peruaçu River basin, in the North of the State of Minas Gerais, and it preserves an area for the Cerrado biome of Brazil. The Cerrado is an area of 2 million square kilometres and is the second largest biome covering the Brazilian territory. However, just 20% of it is preserved. The region of the Peruaçu National Park belongs to this preserved 20%. On it is one of the most important archaeological sites of rock paintings in the state of Minas Gerais.

Who Modelled and Assembled Peak Sanctuary Figurines?

In this paper, I explore the pervasive, yet only partially investigated, question of who made peak sanctuary figurines. Peak sanctuary figurines are small anthropomorphic and zoomorphic clay representations, found by the thousands at Cretan Bronze Age mountain sites, alongside a range of utilitarian ceramic vessels and, occasionally, ceramic votive body parts and models, metal objects, stone vessels and small pebble clusters.

Introduction

Byzantine chafing dishes constitute one of the least studied utensils of the Byzantine household. Though a series of publications discuss them in a more detailed manner (Morgan, 1942; Bakirtzis, 1989; Sanders, 1995; François, 2010; Poulou-Papadimitriou, 2008; Vassiliou, 2016), most of our knowledge about chafing dishes derives from their fleeting mention in excavation reports, where they are listed among other finds and only briefly described.

Introduction

The site of Hepojarvi is located upon the northern coast of Lake Hepojarvi (See Figure 1). 

The Bronze Age Vatin culture has been known in archaeology as a cultural phenomenon distinguished by a specific material culture which existed between c. 2200 to 1600 B.C. in the region of the southern part of the Pannonian Plain, and the area along the lower Sava river and south of the Danube river. The Vatin culture followed on from the Early Bronze Age cultures in the region, indicating stabilization in this area after the disintegration of the Aeneolithic Vučedol culture by tribes from the Russian steppe (Garašanin 1979, p. 504; cf.

The aim is to recover archaic customs of Etruscan-Padan pottery production