MYCENAEAN PICTORIAL POTTERY FROM CYPRUS IN OXFORD

Summary. Six fragments of Mycenaean pictorial vases picked up at different sites in Cyprus are described and discussed. Comparison with other such material and chemical analysis of most of the fragments lead to the conclusion that the original vases were made in the north-east Peloponnese. These and other findings suggest the possibility of a pottery export trade during the 14th–earlier 13th century BC (Late Helladic IIIA2–IIIB1), such as is documented for 6th century BC Athens.     

Provenance of Red‐Figure Pottery of the Classical Period Excavated at Olympia

Neutron activation analysis (NAA) has been applied to a set of red‐figure pottery fragments excavated in Olympia, in Elis: (a) to determine the provenance of these vases, since this is difficult by archaeological means, and the vessels might be local Elean or Attic, Corinthian or Italian products; and (b) to determine the characteristic elemental pattern of the clay paste prepared by the potters of this Elean region. Included for comparison are several Corinthian sherds excavated in Kyme, Italy, that are archaeologically classified as exports from Corinthia to Italy, and fragments of local Italian Corinthian imitations. The majority of the red‐figure vases were made locally in the north‐western Peloponnese and show the elemental pattern termed OlyA, which is represented in many vases and clay samples from this region that were known previously. It is not very different from the well‐known pattern of the north‐eastern Peloponnese (Argolid/Corinth) termed MYBE (Mycenae/Berbati), but can be separated by its lower Cs, Rb and K concentrations, as proven by many sherds from the Argolid and wasters from Berbati. Only a few red‐figure vessels are imports from Attica, but none come from Italy.     

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.     

一对青花云龙纹象耳瓶热释光年代测定报告

应用前剂量饱和指数法对两件青花云龙纹象耳瓶瓷器作了热释光年代测定,得到这两件瓷器的烧制年代均小于距今100年,否定了成份分析法得到的这两件瓷器系元代真品的错误结论。     

EARLY BRONZE AGE METAL TRADE IN THE EASTERN MEDITERRANEAN. NEW COMPOSITIONAL AND LEAD ISOTOPE EVIDENCE FROM CYPRUS

Summary.   This paper presents the results of chemical and lead isotope analyses of 17 Early and Middle Bronze Age artefacts from Cyprus. These suggest that a number of objects are of non-Cypriot copper and lead to the identification of several as imports, a new explanation for some artefact types as ingots and a discussion of the nature of deposits at the key Cypriot site of Vasilia. This in turn allows a reconsideration of the role of Cyprus in an Aegean/eastern Mediterranean metals trade in the early years of the second half of the third millennium BC and of the development of metalworking on the island.     

PROVENANCE DETERMINATION OF MYCENAEAN IIIC VESSELS FROM THE 1934–1939 EXCAVATIONS AT TARSUS‐GÖZLÜKULE BY NEUTRON ACTIVATION ANALYSIS

Neutron Activation Analysis (NAA) has been carried out in order to determine the provenance of a selected set of 30 sherds of Mycenaean style excavated at Tarsus‐Gözlükule. The provenance could be established or made feasible in 80% of the samples. The results confirm the current status of research, namely that in the LH IIIC phase trade patterns changed and Mycenaean wares, which used to be exported to the Near East, were now produced locally. At Tarsus, the LH IIIC imports came from Cyprus and the eastern Aegean.     

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.     

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.     

Using neutron activation analysis to identify scales of interaction at Kinet Höyük,Turkey

We use NAA to characterize a relatively large archaeological ceramic sample from the Late Bronze Age to Hellenistic phases of Kinet Höyük, a coastal Turkish site in the Gulf of Iskenderun at the northeast corner of the Mediterranean Sea. The geographic extent of local Kinet wares (how local is local?) is established through comparison with sediment samples across the Kinet hinterland. Four major compositional groups are identified: local and locally imported wares, imports from Cypriot, and presumed Western Anatolian and Aegean centers, and imports that appear relatively homogenous elementally but comprise typologically diverse ceramics with attributions that range from Cyprus to the coastal mainland. Comparison with other published NAA studies for this site reinforces the elemental evidence for local production, and underlines the need for caution when assuming local production always equates with local clays particularly for coastal sites. We propose that the chronological distribution of the local and non-local groups provides a useful political economic proxy. The study indicates systemic and widespread political disruption and marginalization at the transition to the Late Iron Age in this region.     

PROTOGEOMETRIC SKYROS AND EUBOEA

Summary. Archaeological evidence indicates that during the Protogeometric period Skyros and Euboea shared several features. The striking similarity, both in style and fabric, between some of the vases found on Skyros and those from Lefkandi in Euboea, made us suspect that some of the Skyrian vases might actually have been imported from Lefkandi. Thanks to Mrs. R. Andreadis, whose private Collection includes Protogeometric vases found on Skyros and who allowed us to take samples from thirteen of them, this assumption was tested. The Research Laboratory of Archaeology and the History of Art in Oxford agreed to analyse them together with samples from the clay-beds on Skyros for comparison with the existing Lefkandi data. Assessment of the results supports a Euboean source for most of the vases analysed and strengthesn the link between the two areas, in which Euboea seems to be the supplier of most of the pottery found on Skyros in the Protogeometric period.     

江西省博物馆藏瓷梅瓶

三、明代梅瓶 江西省博物馆收藏的明代梅瓶较多,比较有代表性的有：明代宣德青花缠枝莲纹梅瓶（图14）,高31．7、口径5．5、底12．2厘米。圆唇口,短束颈,肩部较丰满,腹部以下渐内收,胫部微外撇。全器饰青花纹饰三层,肩部为折枝果纹,胫部为折枝花,腹部主题纹是缠枝莲,各组纹饰以双弦纹间隔。胎体厚重,胎质洁白致密,腹部接痕不明显。釉面泛青白,色泽滋润,青花呈色鲜艳。     

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。     

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     

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.     

洛阳汉代彩绘陶壶装饰艺术

洛阳地区出土的汉代彩绘陶壶数量多,图案精美,题材丰富,具有较高的艺术价值.本文从造型、图案和色彩三个方面分析了彩绘陶壶的装饰艺术风格.     

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。     

Black-on-red ware in the levant: A neutron activation analysis study

Black-on-red ware was widely used throughout the Eastern Mediterranean between about the 11th and 8th centuries BC. Its origins have been much discussed: its ubiquitous appearance throughout the region could be a result of either several manufacturing regions or a single place of manufacture associated with considerable trading in the ware.In the present study, neutron activation analysis has been carried out for 15 chemical elements in 58 specimens of black-on-red ware from Cyprus (11), Syria (26) and Palestine (21). The analytical results clearly separate the ware into three major groups, corresponding to origins in Palestine, Syria and Cyprus. The hypothesis of a single source of the ware is therefore not tenable. All 14 of the Syrian finds of the single-handled neck ridge juglet are closely grouped with the Cyprus samples, indicating extensive trade in this vessel from Cyprus to Syria. The Palestine samples clearly separate into two sub-groups. Arguments are presented suggesting that this indicates the ware from the two sub-groups was made at different times. The Cyprus group provides tentative evidence of several sites of manufacture on the island.