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No description available.

No description available.

The innovation of crucible steel, a high-carbon, homogeneous, slag-free steel, is regarded as a milestone in the history of the development of ferrous metallurgy. Associated in popular literature with the making of swords, particularly in the Early Islamic period, crucible steel, also known as wootz, possesses exceptional properties of hardness and strength. While much is now understood about its metallurgical composition and structure, little is known of its origins and spread. Few archaeological sites have been uncovered and to date pre-industrial production of this alloy is only known from Central Asia and South Asia. Previous studies have largely focused on individual sites in isolation from wider regional patterns of ferrous metallurgy. As a refining process of iron, it is argued here that crucible steel has a symbiotic relationship with the smelting technologies that produced the raw material for refining. This thesis explores the value of assessing crucible steel production within its wider landscape, cultural and technological context by presenting the evidence from Northern Telangana, India. Historical sources and recent archaeological field surveys have shown that Telangana has a rich metallurgical past, including the manufacture of crucible steel. Despite this, little archaeological work has been conducted in the region to elucidate the nature, scale and diversity of the metallurgical technologies that underpinned its production. Following a major reconnaissance survey in 2010 by the Pioneering Metallurgy Project, the present study tackled the assessment of the large body of field data and the recording of the technological waste assemblage collected. By combining detailed morphological analyses of the collected materials and contextual information recorded during field survey, a better understanding of the techno-cultural role of crucible steel was gained. Technological variations were identified across the survey area and the inter-relationship between iron smelting and crucible steel was assessed. The study reveals that crucible steel was embedded within a long-established local and regional tradition of iron smelting and concludes that it represented the intensification of a pre-existing iron processing industry. The evidence points to a widespread crucible steel production industry with varying degrees of site specialisation, indicating that it was perhaps more common than the few isolated sites commonly referred to in the literature suggests. The comparison of the material evidence with other production sites in Central and South Asia also revealed close parallels to the latter suggesting that they belonged to the same regional manufacturing tradition.

The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.

Decades of archaeological research have established the chronology of the history of culture by farmers in northern South Africa from the beginning of the first millennium AD to the recent past (1900). This thesis sought to explore the archaeology and archaeometallurgy of the early inhabitants of the Lowveld region. Rigorous methodological and theoretical approaches, which include Ethno-Historical, archaeological and archaeometallurgical studies, were employed to acquire the relevant information required to address research problems. Ceramic typology and settlement pattern studies were used to establish the culture-history to contextualise Iron Age sites, while Optical Microscopy, X-Ray Fluorescence analysis (XRF) and Scanning Electron Microscopy (SEM) were used to investigate the metallurgical remains to understand metal production technology. Both Mutoti and Thomo sites share several similarities, namely, they are situated near the perennial streams, the presence of metal-production sites and the predominant pottery types, consisting of short and long neck vessels dominated by comb stamping, incision and punctate decorations on the rim, neck and shoulder of the vessels. Ceramic tradition analysis revealed that both Mut 2 and Thomo combine ceramic designs and attributes that appeared in the region near the beginning of the first Millennium AD, that is the Urewe and the Kalundu traditions. Garonga Phase tradition developed from the Urewe tradition which represent the first facie, represented by the Silver Leaves sites of the Kwale branch ceramic tradition which dates to AD 280- 420 and the Kalundu tradition (which starts from Happy Rest and progresses to Diamant - Phase 2) which dates from the sixth century AD, both traditions share distinctive ceramics styles and decoration attributes (Burrett, 2007; Huffman, 2007). The radiocarbon-based chronology suggests that Mut 2 and Thomo sites were occupied contemporaneously and dated to AD 650-850. Analysis of the distribution of materials objects across Mut 2 site revealed active participation in both local and international trade network (Soapstone and Islamic ceramics) operated at a village status. Some of the craft production related evidence include metal production, eggshell beads and cloth manufacturing. Metal production was regarded as signature of power and authority in Iron Age period (Herbert, 1996). More research may strengthen this observation.

Studies with primary focus on Viking age gilding techniques in Scandinavia has not been carried out since the sixties. During the past 50 years knowledge about prehistoric gilding techniques and traces of them in the archeological material, as well as the usage of natural sciences within archaeology, has developed considerably. The aim of this thesis was to revisit the topic of gilding and shed new light on Viking age metalworking in Scandinavia with focus on gilding techniques. The second aim was to determine the possibilities and limitations of the study of gilding with a non-destructive methodology. The surfaces of 13 metal objects, four of which are indigenous and the rest are imported goods, were analyzed with SEM-EDS. The chemical compositions of the gilded layers as well as the underlying silver- or copper alloys were analyzed. Furthermore, observations of micro morphological structures were carried out on the gilt surfaces. Interpretations of both chemical compositions and micro morphology were carried out in order to identify what technique or techniques have been used for gilding. The results show that two of artefacts have not been gilded at all, five of them have been fire gilded and the results of the remaining six objects are inconclusive mainly due to lacking reference data. It can be concluded that further research regarding the aging of gilt surfaces on gilded artefacts, more specifically the loss of mercury in fire gilded surfaces over time, needs to be carried out.

After carbon, phosphorus is the most commonly detected element in archaeological iron. The typical phosphoric iron range is 0.1wt% to 1wt%P. The predominant source of phosphorus in iron is the ore smelted. Around 60% of economic UK rock iron ore formations contain over 0.2%P. Under fully reducing conditions, both in liquid-state (cast iron) and solid-state bloomery smelting (direct reduction) processes, such rock ores would be predicted to produce phosphoric iron, and bog iron ores even more so. Ore-metal-slag phosphorus ratios for bloomery iron are derived here, by means of: laboratory experiments; full-scale experimental bloomery smelting; and analysis of remains from three Medieval and two Late Roman-Iron Age iron production sites in England and the Netherlands. Archaeological ore, slag, metal residues (gromps), and iron artefacts were analysed by metallography, SEM-EDS, EPMA, and XRD. The effects of forging and carburising on phosphoric iron were studied by experiment and artefact analysis. The ore to slag %P ratio for solid-state reduction was determined to range from 1:1.2 to 1: 1.8. The ore to metal %P ratio varied from 1:0.2 to 1:0.7-1.4, depending on furnace operating conditions. Archaeological phosphoric iron and steel microstructures resulting from non-equilibrium reduction, heat treatment, and mechanical processing are presented to define the technology of early phosphoric iron. Microstructures were identified by a combination of metallography and chemical analysis. The phosphoric iron artefacts examined appear to be fully functional objects, some cold-worked and carburised. Modern concepts of 'quality' and workability are shown to be inapplicable to the archaeological material.

The beginnings of metallurgical activity have intrigued scholars for decades. In this dissertation, I explore early metallurgical activity on the Iranian Plateau represented by the evidence at Tal-i Iblis in southern Iran, and Seh Gabi and Godin Tepe in central northern Iran. Together, these sites offer a diachronic view of metal production on the Plateau as well as a view of metallurgical activities practiced at different scales of production. The metallurgical materials from Tal-i Iblis are firmly dated to the late 6th to early 5th millennia BCE, and this corpus includes hundreds of crucible fragments excavated from multiple trash dumps. Seh Gabi and Godin Tepe offer a smaller range of production materials from the 4th through 2nd millennia BCE, but they also include a large collection of finished metal objects. These later materials differ in style and process from the Iblis debris.Thorough examination of these artifacts, combined with comparison to a series of carefully controlled casting experiments, has returned numerous significant results. The metallurgy of the Iranian Plateau does not fit the standard model of early metallurgical development. The Iblis crucibles do not reflect an early "experimental" stage in copper production. Rather, these artifacts represent a carefully controlled, production process with a narrow range of variability in both temperature and reducing atmosphere. Further, there is clear evidence for the preference of arsenical-copper alloys at Tal-i Iblis. These ancient craftspeople sought high-quality ores from a source (the Talmessi copper deposit) over 500 km from their production facility.Metallurgical production on the Iranian Plateau is also characterized by the long-term use of crucibles as the primary reaction vessel well into the 2nd millennium BCE. There are some production centers on the Iranian Plateau that see the use of furnaces during the 3rd millennium, but crucible use persists at many sites. At Godin Tepe--a site with significant evidence for contact with the Mesopotamian lowlands--variability in crucible form increases in later periods to include an Egyptian-style crucible during the 2nd millennium BCE. The presence of this crucible suggests that there was contact with foreign metallurgical processes, but the preference for small, portable reaction vessels persisted.

Although the copper axes with central shaft-hole from south-eastern Europe have a long history of research, they have not been studied on a transnational basis since the 1960s. What has also been missing is an integrated or holistic approach, trying to use as many methods as possible and better understand the production, use and context of these enigmatic objects. This present research therefore approaches the axes from different angles. A database was compiled in order to find answers on questions such as the patterns of distribution, context, fragmentation and deformation of axes. For the distribution of axes in general as well as different attributes like fragmentation and typology, the content of the database was imported into GIS software and analysed. Aspects of production were considered through experimental archaeology, metallographic analysis and a re-discovered axe blank with missing shafthole. Especially the missing moulds make it difficult to fully understand the production sequence. The typology was re-evaluated and modified to ensure comparability across modern national boundaries. The context and background was developed through a thorough review of the literature and combined with theoretical considerations. The integration of all these approaches yielded some interesting results. The great variability in shape combined with the results of metallographic analyses clearly shows that a variety of production techniques were used, but it is as yet difficult to relate these to specific geographic areas or even cultural groups. In fact the typology as well as the practice of marking the axes indicate that traditional archaeological ‘cultures’ rarely correspond to the distribution of a type or to the practice of marking the axes. They show instead that there were different spheres of influence, some even more localised and others much larger (like the Carpathian Basin) than specific ceramic traditions. These different levels of belonging, as well as the increasing visibility of the individual in the archaeological record, show that it was a period of complex cultural patterns and interactions. The axes were a part of these networks of the daily life on many different levels from the strict utilitarian to the ritualised placement in burial contexts.