A EUBOEAN WARRIOR TRADER

Summary A recently discovered burial in the Toumba Cemetery at Lefkandi, Euboea, differs from others previously found there in the shape of the tomb and the method of burial, which is a cremation contained in a bronze cauldron. The offerings, which include a sword, spearhead and iron arrowheads, make it certain that it is the burial of a warrior, but others, such as a series of stone weights, a N. Syrian cylinder seal and vases from Cyprus and Phoenicia indicate that he was a trader as well. In this preliminary acount, these and other aspects of the burial are considered.     

EARLY IRON AGE BALANCE WEIGHTS AT LEFKANDI, EUBOEA

Summary.   This report analyses the 16 stone balance weights and fragments recovered in 1994 from the ninth-century BC Tomb 79 in the Toumba cemetery at Lefkandi, Euboea, the tomb of the 'Warrior Trader'. In material, shapes, and mass standards, the weights are for the most part virtual duplicates of common LBA balance weights from Cyprus and the Levant and attest to (a) the long-term continuity of maritime trading across the Bronze/Iron Age divide in the Cypro-Levantine world, and (b) the active participation of Euboeans in this commercial sphere no later than the early ninth century. Discussed also is the relationship between some of these weights and the later Euboeic weight standard.     

AN EARLY EUBOEAN SHIP

Summary. A pyxis with the painting of a ship was found during the 1986 Greco-British excavations in the Toumba Cemetery at Lefkandi, Euboea. It was part of a deposit of broken pottery included in the refill of a shaft grave which had apparently destroyed an earlier tomb. The vase can with fair certainty be dated around 850–825 B.C. by the Attic Middle Geometric I pottery associated with it and from its local style.
The painting of a ship contained in one of its panels is, therefore, among the earliest pictorial representations known from Iron Age Greece. It is proposed that the subject may have been suggested to the Lefkandian potter by similar ship scenes on the engraved catchplates of contemporary fibulae.     

The Early Iron Age at Troy Reconsidered

Neutron Activation Analysis (NAA) of Protogeometric ceramics at Troy supports a revision of our understanding of the site in the Protogeometric period. Previous interpretations of this period at Troy emphasized the importance of either Greek migration or Greek trade networks. A category of amphoras previously thought to be imports appears to have been made locally. NAA also indicates local production of a new class of handmade cooking pots, as well as more traditional Gray ware vessels. Analysis reveals a high degree of cultural continuity at Iron Age Troy, with inhabitants adopting and adapting a wider vocabulary of Protogeometric vessel types in the Aegean while integrating them with established local pottery traditions and resource use. The combinations of local and non‐local components seen at Troy are more consistent with long‐term dynamic Aegean interaction spheres than with more tenuous models of Aeolian migration or Euboian expansion.     

EARLY GREEK VASES IN CYPRUS: EUBOEAN AND ATTIC

Summary. The aim of the present project is to put to the test by using chemical analysis the origin of early Greek vases imported to Cyprus. In the present case samples were taken from vases found in the cemetery at Amathus published by Prof. J. N. Coldstream. The scientific results coincide with his attributions and confirm the suggestion that there was a revival of communication between the Aegean and Cyprus from the end of the tenth century, and that Euboean vases were the earliest imports to have reached the island and outnumbered other imports.     

宋代花瓶

四川遂宁金鱼村窖藏时代约当南宋末年,其品类十分丰富,且藏品的时间跨度很大,是汇聚了很可以体现时代风尚的一批器物。花瓶正是其中重要的一项,诚可视作记述了宋代瓶花故实的一批珍贵标本。然而“花瓶”一词用来专指插花之瓶,其出现于文献的时间是在哪一时代,又两宋文献中的“铜瓶”、“胆瓶”、“玉壶春瓶”等,其与实物究竟有着怎样的对应关系,将此一系列问题辨析清楚,遂宁窖藏才更能显示出它的意义。     

ON THE DATING OF THE TYRRHENIAN GROUP1

Iconographic and epigraphic evidence suggest that the Attic black-figure vases of the Tyrrhenian Group should be dated to the period c.560–530 BC rather than to the second quarter of the sixth century BC. Imagery on some vases, particularly those of the later painters, points to a lowering of the date for the end of the group to c. 530 BC. Epigraphic evidence, particularly the absence of crossed theta , closed heta and qoppa from almost all of the vases of the earlier painters allows the start of the group to be lowered to c. 560, closer to Exekias than to Kleitias.     

Tell formation processes as indicated from geoarchaeological and geochemical investigations at Xeropolis,Euboea, Greece

Xeropolis is a tell site on the island of Euboea, Greece just to the east of the village of Lefkandi, and was occupied from the Early Bronze Age to the Early Iron Age. Excavations in recent years have provided an opportunity to investigate site formation processes using geoarchaeological and geochemical techniques. Sediments derived from the tell on the southern side have been lost by coastal erosion whilst those on the north mantle the flanking slope. Of particular interest is a homogeneous and unstratified deposit of over 2 m which overlies the archaeology near the southern perimeter of the summit area. The soil structure as evident in thin sections indicates a high degree of bioturbation, probably stimulated by recent manuring and cultivation. The implication is that tillage erosion has had a major impact on the morphology as well as on the surface soils of the tell. Despite such reworking and redeposition of near surface materials, it is still possible from multi-element analysis to identify the geochemical distinctiveness of six archaeological contexts (pit, house, plaster floor, alley, road and yard); pits and floors have high loadings of all elements except Pb; in contrast pits and floors have the lowest elemental concentrations.     

汉代墓葬出土鸱枭俑(壶)浅析

最近笔者在对河南汉代中小型墓葬进行梳理的过程中发现在新乡地区的西汉早中期墓葬中出土一种特殊的随葬品——鸱枭俑,该类随葬     

Comedy in Paestan vase painting

Summary.   The 'phlyax' vases of magna graecia are now known to represent actors and staging of Middle Comedy. More than half of the comic vases dating from the third quarter of the fourth century BC were painted in Paestum by Asteas and his circle, who were influenced by the Sicilian Painter of Louvre K 240. This paper asks whether these painters worked from direct observation of the theatre; and if so, whether the vases are evidence for details of performance methods in Paestum or in Sicily, and at what period. The stage and skene , masks, costumes and comic acting style are considered, together with the link between Asteas and the Painter of Louvre K 240 and the significance of the disagreement of their evidence with that of the Manfria Group of Sicilian painters.     

PETROGRAPHIC AND STABLE ISOTOPE ANALYSES OF LATE CLASSIC ULÚA MARBLE VASES AND POTENTIAL SOURCES*

Ulúa marble vases from the Ulúa Valley of northwestern Honduras are a hallmark luxury good from Late Classic (ad 600–900) Mesoamerica. Archaeological and stylistic data point to centralized production at one site, Travesía. This paper analyses stable isotope and petrographic data from the vases and three potential procurement areas. The results indicate that the vases were produced from one primary source with one, potentially two, secondary sources. Procurement patterns most probably corresponded to contemporary communication routes. The results clearly indicate that a multi‐method approach is necessary for sourcing marble from Honduras.     

The Provenance of Red Figure Vases From Locri Epizephiri (Southern Italy): New Evidence by Chemical Analysis

Thirty‐nine samples of red figure pottery found at Locri Epizephiri were analysed for 18 chemical elements by inductively coupled plasma emission spectroscopy. The finds, dated from the end of the sixth to the fourth century bc , were assigned to Attic, Sicilian and Locrian workshops due to their style of execution. Prior to facing the archaeological questions, possible biases on sample classification due to variable firing conditions, or to alteration during burial, were investigated: the results supported the opportunity of a refiring pre‐treatment. Multivariate statistical treatment of the analytical data confirms the separation between Attic and non‐Attic samples; comparison with the composition of black gloss pottery suggests that all the non‐Attic red figure vases could be the output of Locrian workshops.     

Exploring Diversity in Household Pottery Traditions in Crusader Greece: a Case Study from the City of Thebes,Boeotia

This paper provides new data on an under‐documented topic in Aegean archaeology, that of the impact of Latin–Greek cohabitation on craftsmanship, socio‐economic organization and household pottery traditions. The chosen approach is a petrographic study of the provenance and technology of 37 cooking pots, jugs, basins and storage jars from the city of Thebes, Boeotia. The ceramics span from the late 12th to the mid‐14th century and thereby cover the periods of Byzantine, Frankish and Catalan control over the city. The analysis indicates that most pottery products were not locally made during these periods. Pottery consumption at Thebes involved, in the 12th/13th century, regional products from northern Boeotia, while pottery supplies from Euboea that had developed under Byzantine rule continued into the 14th century, well after Boeotia and Euboea came into the hands of, respectively, Frankish and Venetian lords in the aftermath of the Fourth Crusade (1204). The petrographic analysis also allows for the characterization of Byzantine and Latin tempering practices of the pottery fabrics. These results highlight phenomena of regional economic reliance in central Greece and provide rare evidence for the cross‐cultural diffusion of technological knowledge in the late medieval Mediterranean.     

论汉代建筑模型对吴晋魂瓶的影响

长江下游地区汉晋时期流行单层建筑和五联罐。汉末三国初期,北方移民南迁长江下游地区,带来了中原等地东汉时期流行的高层楼阁、双阙(天门)和闭合式院落建筑模型,与当地流行的五联罐和堆塑瓶融合后,最终形成了魂瓶。这个史实说明,早在永嘉南渡之前,已出现北人南迁和长江流域存在物质文化交流,以及江南经济发展的一个侧面。     

REFLECTIONS ON 'AN ARCHAEOLOGY OF GREECE': SURVEYS AND EXCAVATIONS

Summary. In his Sather Lectures, Professor Snodgrass maintains that circumstances in Greece will compel archaeologists to pursue field surveys instead of excavations. He, moreover, questions the value of excavations mainly on the grounds of imcompleteness, uncertainties regarding dating and the ambiguities of interpretation. The excavations at Lefkandi are cited on several occasions as an example and, where not referred to, are open to the same questioning.
In reply, reasons are given for continuing excavation in spite of difficulties, and the validity of the criticisms brought against excavation are considered with special reference to those carried out at Lefkandi.     

Technological features of Apulian red figured pottery

Apulian red figured pottery samples, dating back to the 5th and 4th centuries BC, from the archaeological site of Monte Sannace (Gioia del Colle, Bari, Italy) have been characterized from the physical–chemical, mineralogical and morphological points of view. Scanning electron microscopy, X-ray diffraction and atomic spectroscopy investigations have been carried out on the ceramic body, red decorated area and black gloss of the fragments, with the aim of outlining the technological features and of defining the nature of coatings and decorations. All 5th century fragments show the same features: fine texture of the ceramic body, red figures saved from the ceramic paste and black gloss painted directly on the ceramic body. The statistical treatment of compositional data of ceramic bodies excludes the local production of these objects. As regards the 4th century fragments, some show similar features to the 5th century ones; however others are characterized by the coarse texture of their ceramic body and an intermediate red layer of finer clay between the black gloss and the ceramic body. The analytical results make it possible to distinguish two different production technologies of red figured Apulian vases in Monte Sannace during the 4th century BC. Certain vases were produced using the “classic” Attic technology and others with a different technique, not previously known, which involved the application of a red engobe layer on the clay paste, before the black gloss painting.     

元青花无人物

这个命题看起来就很刺激,也注定会很伤众。但笔者认定：至少元朝景德镇比较精细的器物中不会出现汉族人物故事图案。这个命题最早是西北大学周晓陆教授提出的。大约本世纪初笔者赴西安,应邀与周晓陆教授一同去耀州窑（黄堡窑）,看了陕西省考古工作站发掘采集的耀州窑五代标本,回来后发了篇报道,并掀起了关于研究柴窑的一组文章。