Taste--an appreciation for some things, a disdain for others--is usually understood by sociologists as playing a key role in struggles for position within closed, hierarchical status systems. Yet taste that reaches across cultural and social boundaries is a common phenomenon in a world of mobility and falling barriers to travel and access. This study argues that this expression of taste also has a political dimension, through an examination of the sponsorship of traditional Pueblo Indian pottery by Anglo newcomers to northern New Mexico in the 1920s and 1930s. The organization that these newcomers founded, the Indian Arts Fund, played an important role in building a differentiated market for Pueblo pottery, supported by an increasingly complex body of knowledge and evaluation. This intervention into the market for pottery, and into the definition of Pueblo culture, served to insert the Indian Arts Fund's members into regional society, against the resistance of older, more established elites. A visible association with Pueblo pottery linked newcomers to the transformation of the regional economy by tourism, which had shifted the source of value in northern New Mexico from natural resources to the marketing of particularity and difference. An examination of the role of pottery production, and income from pottery, in Pueblo communities reveals that the relationship between pottery and Pueblo culture was more complex, and more tangential, than the image that was being constructed in the context of the market.

This ethnoarchaoeological research project examines how pottery is used in the construction, maintenance and reconstruction of the contemporary Vigan community in the province of Ilocos Sur, northern Philippines. During the past decade, the city of Vigan has been reconstructing its community identity as part of its transformation as one of UNESCO's World Heritage Site. Within this context, Vigan has been packaging a set of key symbols that help construct and convey a distinct sense of community identity. Significantly, local craft objects and crafting practices have been used to convey images and meanings of what it considers to be a part of community heritage. This study specifically investigates how the framing of burnay pottery production as a local craft tradition led to the privileging of burnay jars in representing the Vigan community. However, because the technology of burnay pottery production was introduced by Chinese immigrants in the late nineteenth century, its framing as a local tradition seems contradictory. By analyzing the technological attributes and production practices of the burnay pottery tradition, this study examines the contradictions and coherence in claims of heritage in crafting practices. Furthermore, in examining the transformation of an adopted technological practice into a local tradition, this study explores the construction of value surrounding the burnay pottery tradition and burnay jars within the Vigan community. It highlights the practice and performance of the burnay pottery tradition in attributing value to burnay jars as an important symbol for contemporary Vigan community identity.

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M.Tech. (Industrial Design) / The research project entitled: The Analysis of Clay Materials for use in a Ceramic Studio was undertaken in order to give a quantitative base to the understanding of clay materials and their role in clay bodies. The project consists of analysing the clay materials as they are supplied, using technically sophisticated equipment. A set of data for each of the nine chosen clays was assembled and then correlated for easier comparison. The clay materials were then mixed into clay bodies using a set proportion in order that a comparison of the nine clay bodies could be made and related to the data assembled for the clay materials. The data collected, as well as the ceramic calculations used in the research project were entered into the "Insight" Ceramic software programme for use in the studio. This data base will be the foundation for ongoing research into ceramic materials.

The present study examines the pictorial style of pottery made in Thera and Crete in the LCI/LMIA period. The work is in two volumes. Volume I is divided into three parts. Part I comprises the introductory chapter in which there is a summary of previous research on the subject and the aims of the thesis are set out. Chapter II the context of the pictorial style of pottery is examined. Chapter III contains analysis of the forms of vases with pictorial decoration. Part II includes three chapters dealing with the Analysis of Motifs. The plants are analysed in Chapter IV, the living creatures in Chapter V and the sacred symbols in Chapter VI. Part III comprises the Synthesis. In Chapter VII an attempt is made to identify pottery workshops specializing in different vase forms and decoration. Chapter VIII examines the origin and character of the pictorial style of pottery in the Cyclades and Crete. Finally in the last Chapter IX, conclusions regarding the character, context, forms and motifs, workshops and development of the pictorial style pottery are presented. A possible ritual function of the pottery is discussed. Interrelations and influences between the cultures Of Thera and Crete on various Levels are demonstrated. Volume II contains a Catalogue Of the available pottery, presented in two groups: the first from Thera and the second from Crete. The illustrations — figures and photographic plates — come at the end of Volume II.

Neste trabalho tratamos sobre a fase cerâmica Bacabal, que foi criada por Eurico Miller no começo dos anos 90 para classificar os vestígios cerâmicos encontrados nas áreas inundáveis do médio rio Guaporé, estado de Rondônia. A cronologia de sua ocorrência recua até o Holoceno médio, desde ca. 2000 a.C. até 800 d.C. Buscamos nesta tese descrever os vestígios cerâmicos desta fase e discutir as hipóteses previamente estabelecidas sobre as suas correlações com outras fases encontradas na Amazônia e afora / In this work we investigate the Bacabal phase, created by Eurico Miller in the early 90\'s to classify ceramics found in the flooded areas of the middle Guaporé river, state of Rondônia, Brazil. The chronology for this archaeological culture reach the middle Holocene, ranging from ca. 2000 a.C. until 800 AD. We aimed to describe the vestiges and discuss hypotheses previously established about their correlations with other stylistic horizons found in the Amazon and beyond. We also propose that there may be a relationship between this pottery and other archaeological cultures found in the Amazonian southwest and surrounding areas.

by Li Ping-wah. / Title in Chinese: / Includes bibliographical references / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

The current study has re-visited two distinctive patterns, namely pottery and millet, both of which conflict with conventional narratives concerning trans-Eurasian exchange. The significance of this lies beyond the simple matter of chronology, but rests on the relationship between the movement of agricultural resources and of other items of material culture. This in turn is related to the larger debate over whether the movements are stimulated by farmers without material culture (bottom up) or other populations of more prestigious status (top down). Specifically, in terms of the pottery pattern, my thesis has re-evaluated the pottery similarity between Cucuteni-Tripolye Culture, Anau-Namazga Culture and Yangshao Culture. Previous studies regarding this issue are limited by localised typological analyses and fragmented technological studies. Having had a comprehensive comparative study of all three cultures, my study confirms that there are both typological and technological similarities between Cucuteni-Tripolye pottery, Anau-Namazga pottery and Yangshao pottery, contradicting with previous arguments that the similarity lies in stylistic patterns alone. Also, there are both similarities and differences between the material culture context of the three pottery assemblages as well. As for the millet pattern, I have re-examined pre-2nd millennium BC charred millet grains and millet impressions by conducting two case studies. In particular, my review of pre-2nd millennium BC millet evidence from Europe contributes to a comprehensive record of early millet findings from Europe. Also, my simulation exercise of millet impressions, which has challenged previous identification criteria of millet impressions, provides invaluable reference for future work. My case study of Usatovo millet impressions re-examination confirms that there are indeed millet-dimensioned 'voids' on Usatovo materials (3500-2900 BC) though details are lacking for species identification. I have also put the two patterns of pottery and millet into a vertical (historical) context by deconstructing 'hyper-diffusionism', 'Eurocentrism' and Andersson's hypothesis, adding to the collective work in the field of archaeological history across the past hundred years.