La céramique n’est désormais plus à établir comme élément fondamental de nos connaissances des mondes anciens, que ce soit d’un point de vue chronologique, économique ou culturel puisqu’au-delà de son rôle d’élément datant auquel s’arrêtent encore bien trop d’études, elle est une des principales sources d’informations en étant un produit direct de la culture qui l’a produite. Sa quasi-omniprésence dans le mobilier archéologique et les fortes quantités excavées ne sont alors pas sans liens avec la solidité du matériau. En effet, bien que les objets ainsi réalisés soient aisément brisables, la matière constitutive – l’argile cuite – est particulièrement résistante et ne se détruit que difficilement, que ce soit par le sol et sa nature, le temps, l’action de l’homme ou la combinaison de ces divers facteurs. Elle n’est notamment pas recyclable comme peuvent l’être le verre ou les métaux, et encore moins périssable comme les matières organiques.Le choix d’orienter cette recherche sur l’Italie centro-tyrrhénienne tardo-républicaine n’est évidemment pas anodin et résulte de la constatation d’une lacune flagrante dans nos connaissances de sa céramique, bien qu’il s’agisse d’un ancrage, aussi bien chronologique que géographique, charnière de l’Histoire romaine. Ainsi, la ligne directrice de ce travail vise à constituer une première tentative de caractérisation du faciès céramique, aussi bien dans son uniformité que dans ses spécificités régionales et de déterminer son évolution interne, que ce soit en matière de classes, catégories, formes et types.Pour ce faire, une méthodologie rigoureuse a été mise en place afin de disposer d’un corpus composé d’éléments suffisamment similaires pour établir un raisonnement fiable. Trois axes ont notamment été au cœur de cette réflexion : la nature des contextes, la possibilité de disposer de l’intégralité du matériel céramique et la quantification.L’étude s’est alors concentrée sur deux aires géographiques bien précises – le Latium septentrional et l’Étrurie méridionale – pour lesquelles il a fallu établir les faciès respectifs et leurs évolutions en s’interrogeant sur les rapports des classes, catégories, formes, types et provenances à travers trois ères chronologiques – la première moitié du IIe s., la seconde moitiédu IIe s., et le Ier s. av. n.è. Des études macroscopiques ont également été réalisées sur les pâtes du matériel provenant des études de cas. Les groupes techniques mis en évidence ont alors été confrontés aux données déjà existantes afin de faire ressortir les zones d’approvisionnement, les questions d’échanges commerciaux, d’importations et de productions locales ou régionales.Plus modestement, cette étude a également tenté d’ouvrir le discours aux tendances et pratiques alimentaires en confrontant les résultats, notamment morphologiques et fonctionnels, obtenus lors de l’établissement du faciès avec les sources littéraires et les études déjà menées sur le sujet. Notons enfin que ce travail, loin d’être définitif, devra être nourri par d’autres recherches afin de s’amplifier pour confirmer ou infirmer les hypothèses proposées. / Pottery artifacts are now considered without any doubts as essential elements of our knowledge in ancient worlds in chronological, economical or cultural points of view. Indeed, beyond its use as a dating guide in which so many studies are limited, it's one of the most important source of information beeing a direct product of the society who made it. Itsomnipresence in the archaeological rests and the hight quantity of sherds are linked to the solididy of the material. Indeed, even if the objects are easily breakable, the material – the fired clay – is particularly resistant and destroyable only with difficulty, whether it is by the ground and its nature, the time, the human action or the combination of these various factors. Moreover,it's not recyclable as can be it the glass or the metals, and even less perishable as the organic matters.The choice to focus this research on Late republican centro-Tyrrhenian Italy is not obviously harmless and results from the observation of a blatant gap in our knowledge of its ceramic, although it is about an anchoring, so chronological as geographical, hinge of the Roman History. So, the guideline of this work aims at constituting a first attempt of characterization of the ceramic faciès, as well in its uniformity as in its regional specificities and to determine its internal evolution, whether it is regarding classes, categories, forms and types.To do it, a rigorous methodology was organized to have a corpus compound of enoughsimilar elements to establish a reliable argument. Three axes were in particular at the heart ofthis reflection : the nature of contexts, the possibility of having all the rests and thequantification.The present study focus on two very precise geographical areas - the northern Lazio and the southern Etruria - for which it was necessary to establish the respective faciès and their evolutions by questionning the reports of classes, categories, forms, types and proveniance, through three chronological erae - the first half of IIth s, the second half of IIth s, and Ier s B.C. Macroscopic studies were also realized on clays of the material from two case studies. The technical groups were then confronted with the already existing data to highlight the zones of supply, the questions of trade, imports and local or regional productions.More modestly, this study also tried to open the research to the food practices by confronting the results, in particular morphological and functional, obtained during the establishment of the faciès with the literary sources and the studies already led on the subject. Finally this work, far from being definitive, must be fed by other researches to increase to confirm or counter the proposed hypotheses.

Cette recherche propose de dresser le portrait de la production et de la diffusion des céramiques de style à bandes (waveline) produites en Égée du Nord aux périodes archaïque et classique par le biais de l'étude de matériel inédit recueilli sur sept sites de colonies grecques établies entre le Strymon et le golfe de Maronée et six sites de l'arrière-pays thrace. Elle vise à rassembler, au moyen de données archéologiques et archéornétriques, des informations sur les milieux de production, les réseaux d'échanges et les habitudes de consommation de la clientèle à l'égard de ces céramiques. Le volet archéologique vise d'abord à définir le répertoire des formes, des décors et des pâtes, puis à déterminer l'étendue et le cadre chronologique de la production. Le volet archéométrique porte sur des analyses physico-chimiques en laboratoire (spectrométrie de fluorescence par rayons X) visant à caractériser et à déterminer l'origine de 200 des 540 céramiques recensées. Le corpus est constitué d'échantillons mis au jour sur les sites d’Argilos, de Thasos, de Bergè et de Phagrès, quatre sites de Macédoine orientale. L'inédit de la recherche réside dans l'opportunité qu'elle offre aux archéologues de dater et d'identifier l'origine des céramiques à bandes nord-égéennes, entraînant du coup des répercussions directes sur les discussions portant sur les milieux de production, les réseaux de circulation et les relations interrégionales entre les différents sites étudiés. Considérée dans une perspective de circulation et d'échanges, l'étude des céramiques à bandes contribue à faire progresser l'état des connaissances sur l'histoire économique, culturelle et artisanale du nord de l'Égée entre les VIIe et IVe siècles av. J. -C. / This research aims to shed light on the production and diffusion of the Waveline style pottery made in the Northern Aegean during the Archaic and Classical periods based on the study of unpublished material recovered from seven Greek colonies established between the Strymon River and Maronea, and six sites of the Thracian hinterland. More specifically it seeks to gather information regarding workshops, trading networks, and consumption habits through typo-stylistical, distribution, and archaeometric analyses. The primary goal of this study is the detailed analysis of the finds according to their stratigraphic context in order to define the range of shapes, stylistic patterns, and clay fabrics of the ceramic series, and to establish diffusion patterns and chronology. A second objective, based on laboratory analysis. is to characterize the geochemical composition of 200 of the 540 identified vessels in order to determine their provenance (using X-ray fluorescence spectrometry). The corpus contains samples from Argilos, Thasos, Berge, and Phagres, four of the main site covered by this study. The novelty of this research lies in the opportunity it provides for archaeologists to date and identify more precisely the origin of the North-Aegean waveline pottery, leading to direct impact on discussions related to workshops, trading networks, and inter-relationships between the studied sites. Considered from the perspective of circulation and ex change, the study of the waveline pottery contributes to advancing knowledge on the economic, cultural, and social history of the Northern Aegean between the 7th and 4th centuries B.C.

Este trabalho visa a partir da análise do material cerâmico de um sítio arqueológico localizado no alto Vale do Paranapanema identificar e dar voz aos antigos moradores desta região. A despeito da existência de sítios identificados e associados à Tradição Tupiguarani e Itararé, as questões de espaço e ocupação territorial têm se demonstrado bem dinâmicas, uma vez que era uma região com bastante fluxo de povos. Para o entendimento da dinâmica dessas ocupações nos debruçamos sobre dados arqueológicos, históricos e linguísticos aliados aos dados obtidos a partir do estudo da coleção cerâmica do sítio Bianco localizado no município de Itapeva. / This work aims at the analysis of the ceramic material of an archaeological site located at high Paranapanema Valley in an attempt to identify and give voice to the ancient inhabitants of this region. Despite the existence of sites identified and associated with Tradition Tupiguarani and Itararé the space, and land-use issues have been shown a complex dynamic since it was a region with very people flow. To understand the dynamics of these occupations we look back on archaeological, historical and linguistic data combined with the data obtained from the study of ceramics collection from Bianco site localized at Itapeva.

The artist discusses the background, ideas, and work entitled Archetypes in Clay, for the completion of her Bachelor of Arts Degree and undergraduate research for the Fine and Performing Arts Scholar program at East Tennessee State University. The artist used this development of work to explore personality types, and how they can be portrayed through clay vessels. In particular, the artist shows her work, how she created the vessels, the testing involved, and the struggles she faced. Archetypes is the focus behind the concept of this project. Her work includes four ceramic vessels, created with clay and finished with glaze. The artist cites Carl Jung, Isabel Briggs-Myers, and NERIS Analytics Limited as important research in this project.

This study maps a way of looking at design history in New Zealand through the investigation of a taxon of industrially manufactured ceramics. Understanding design as an enfolded process of production, distribution, mediation and consumption, three threshold moments are identified as occurring within the European settlement period: the internationalisation of commodity production and consumption; the emergence of import substitution; and the deregulation of the market. While production has formed an element in the design of ceramics in New Zealand, it is contended that greater significance lies in both the trade and the mediation of these commodities and in particular in the way these have influenced local consumer choice. Emerging from this study, a series of key binaries become apparent: between the metropolitan centre and the frontier; between state and business; and between the traditional and the progressive. Likewise, the positioning of design within the institutionalised sites of power-or its absence from them-has been a prime force both in the development of manufacturing industry and in determining the nature of the consumer market.

<p>This thesis examines a sample of Pitted Ware pottery from the Gotlandic site of Ajvide in regard to the spatial and temporal relationship of the shards. Ajvide Stone Age site have been extensively excavated over the past 25 years and the most recent analysis of pottery was carried out by Inger Österholm in 1987 and new analyses of the material are therefore greatly needed. Pottery from three sample areas was analysed in regard to their distribution, decoration, fragmentation, part of pot and quality of the goods. To analyse the material in a contextual way a multivariate statistical analysis called correspondence analysis was used. Two areas denominated “dark areas”, which Österholm defined previously, as possible ritual sites, and one reference area with mixed material were chosen for the analysis. By including two of these “dark areas” the study also examine if similarities or differences could be seen among the shard distribution how these areas have been defined and possibly re-defined.</p>

Thisis an experimental study of lipid residues within the field of laboratoryarcheology. Pottery was made in a time like manner and used to cook grain and Icelandmoss and exposed to an organized biodegradation experiment inside an incubatorfor later analyzes with the GC-MS-method. Tests were also taken from pottery,grain and Iceland moss that had not been exposed for a biodegrading attempt.The grain is a domesticated cereal and the Icelandic moss fungi-alga mix. Thetest results showed mostly saturated fatty acids, sterols and monoacylglycerolsof saturated fatty acids. Within the laboratory archeology, ergosterol has beensuggested as a possible biomarker for yeast and alcohol fermentation. TheIceland moss contains ergosterol and is therefore relevant for the study whenit can be compared to archeological pottery that contains ergosterol. Theresults didn’t show any traces of ergostrol with the biodegraded pottery, butlow traces of cholesterol witch probably is contaminations from the handlingwith the pottery.

A series of pottery samples provided from the survey investigations and excavations from Degirmentepe Mound (Malatya), belonging to Chalcolithic (Ubaid), Early Bronze and Iron Ages, were investigated by petrographic and X-ray diffraction (XRD) analyses to determine their textures, mineralogical compositions and microstructures. The sample microstructures and chemical (semiquantitative) compositions were also studied by scanning electron microscope with energy dispersive X-ray spectrometry (SEM - EDX). The chemical analyses of some samples were further investigated by inductively coupled plasma &ndash / optical emission spectrometry (ICP-OES). Almost all samples were observed to consist of rock fragments, originating from metamorphic and igneous rocks, although larger grain sizes and higher grain to matrix ratios are recorded for Chalcolithic Age samples compared to those samples belonging to Iron Age. XRD investigations on representative samples of the three periods, revealed high abundances of quartz, feldspar, and pyroxene group minerals in all samples, while the presence of hematite and mica minerals were observed both in Chalcolithic and Iron Age samples, but underlying the use of micaceous raw materials mostly in Iron Age. In the XRD traces of the investigated sherds of Chalcolithic and Iron Ages, the absence of clay fractions both in the bulk and oriented samples, supports a minimum firing temperature of around 800- 850 &deg / C, while the presence of mullite phase both in XRD and SEM &ndash / EDX results showed the possible use of high firing temperatures, in the range of 950&ndash / 1050&deg / C, starting from Chalcolithic Age. Chemical compositions of major oxides obtained ICP &ndash / OES analyses exhibit similar compositions both for Chalcolithic and Iron Age samples. Few exceptions observed may indicate possible use of different raw material and/or different manufacturing technique.

University of South Florida field investigations in northwest Florida’s Apalachicola Valley have resulted in the relocation of some lost mounds from the Middle Woodland period (ca. A.D. 1 to 650) by trekking through the forest and consulting with avocationals and collectors. This thesis project was triggered by a collector’s donation of some Swift Creek pots and the attempt to relocate the mound from which they came. In the 1970s, Gardner and Nidy recorded this site, named Poplar Springs Mound, categorized as Middle Woodland due to its Swift Creek and Weeden Island pottery. The donated collection contained pottery of the Swift Creek Complicated-Stamped series, Weeden Island series, and a couple of anomalous Mississippian sherds. To see how this mound fit in with other Middle Woodland mounds of the valley, it was necessary to compile data for all of them and relocate as many mounds as possible through additional survey. Artifact types from these mounds, such as pottery, shell, bone, and exotic materials, and burial practices were tabulated and spatial distributions were plotted. The mounds are distributed along the banks of the main navigable waterways of the Apalachicola and Chipola Rivers, on smaller streams and along the Gulf Coast. Nearly all have both Swift Creek and early Weeden Island ceramics, except for three with only Swift Creek types and a single site with only Weeden Island types. The artifact distributions show stone, bone, and shell tools clustering close to the coast and the main waterways. This is also the case for exotic (nonlocal) raw materials and artifacts made from these materials. Copper is distributed mainly along the coast, while other exotics (i.e. mica, galena, hematite) are located along the coast and close to the main rivers. The tabulation of these data, along with the documentation of the Poplar Springs Mound collection, will help archaeologists to see the manifestation of Middle Woodland ceremonial activity in the Apalachicola Valley.

The Jaguar Baby vessels belong to a large corpus of Late Classic Maya pictorial ceramics dubbed Codex-style pottery and originating from archaeological sites, such as El Mirador and Nakbe, in the north-central area of Peten, Guatemala, where they were made for a brief period shortly before and/or after the turn of the eighth century AD. Through strategic juxtapositions of images and words, the vessels convey the story of a rain god and a death spirit who, in the darkness between the sun’s setting and dawn, sacrifice an infant, a jaguar, or an infant with jaguar traits on a mountain in the midst of water, as an offering during the conjuring of an elderly deity. New evidence from a fragmentary Codex-style vessel recovered from the site of Calakmul in the southern half of Campeche, Mexico, suggests that the sacrifice is part of a pre-accession ritual serving to endow royal heirs with the ability to conjure, which, in turn, was integral to assuming the throne. / text