THE BEGINNINGS OF ISLAMIC STONEPASTE TECHNOLOGY*

A multidisciplinary programme of research on Islamic pottery has been focused on questions of the dating, provenance and technology of Islamic pottery. One particular question has been the development of stonepaste, a material made primarily of crushed quartz with added frit-glass and clay. The combination of the different approaches of this study has revealed early foundations for the technology in ninth-century AD Iraq, apparently originating in the clay ceramic rather than the ‘Egyptian faience’ tradition. Subsequent and final practice developed in tenth- and eleventh-century AD Egypt. This technology becomes the primary body for all fine Islamic ceramics.     

A CHARACTERIZATION OF THE COMPOSITIONAL VARIATIONS OF ROMAN SAMIAN POTTERY MANUFACTURED AT THE LEZOUX PRODUCTION CENTRE

The study addresses the chemical variations for Roman Samian wares manufactured during various periods at different workshops within the Lezoux production centre. Instrumental neutron activation analysis and inductively coupled plasma spectrometry were used to determine the chemical constituents of the pottery. The two techniques were evaluated based on the capacity of each to identify the same compositional groups for Lezoux Samian with the use of multivariate statistics. The compositional analysis redefines and clarifies how potters used the clay sources at the site to produce fine wares. The results indicate that the majority of potters from different workshops at Lezoux shared the same clay source during the second century AD.     

CUERDA SECA CERAMICS FROM AL‐ANDALUS,ISLAMIC SPAIN AND PORTUGAL (10TH−12TH CENTURIES AD): INVESTIGATION WITH SEM–EDX AND CATHODOLUMINESCENCE*

Since little is known about the cuerda seca technique, our aim has been to complete an initial analysis of 11th‐century cuerda seca by studying fragments from the 10th century (Pechina, Almería) and the 12th century (Mértola and Almería), so as to establish the diachronic evolution of this technique. Characteristics specific to cuerda seca ceramic glazes were investigated using scanning electron microscopy (SEM) and quantitative chemical analysis with energy‐dispersive X‐ray spectrometry (EDX). The chemical compositions of the different‐coloured glazes (green, black, yellow and white) have given us valuable indications about the evolution of the technique. The opacification mode and the firing process were also investigated. With the help of cathodoluminescence (CL) and the study of modern ‘cuerda seca’ glazed ceramics, new hypotheses regarding the number of firing stages, taking into account glaze and paste transformations and their interactions, are put forward.     

INTERPRETING THE SOCIAL MEANING OF DIFFERENT SHAPES OF HOUSE STRUCTURES BY EXAMINING THE FLOW OF RESOURCES: A CASE STUDY OF SAQACENGALJ AT THE SOUTHERN TIP OF TAIWAN

Social differentiation is characterized by differences in social status and wealth, which are established and maintained by controlling and constraining the labour and flow of resources. This would affect the development of various aspects of a settlement in establishing hierarchical relationships. This study focuses on identifying the variations in the distribution of certain resources, such as imported goods, that help interpret the social meaning, particularly with regard to social status and wealth, of house structures having different shapes in an ethnic settlement in Taiwan. A petrographic study and residue analysis of the pottery along with spatial examination of the material remains were conducted to achieve the goal.     

CHARACTERIZATION OF CORAL RED SLIPS ON GREEK ATTIC POTTERY*

Samples of red and black gloss from Greek Attic pottery of the late sixth to fifth centuries bc were examined using scanning electron microscopy (SEM and FIB/STEM). The focus of the study was the chemical and microstructural characterization of the red gloss that was first produced during this period. Two groupings of red gloss were revealed. One red was found to be compositionally similar to the black glosses (labelled ‘LCM coral red’). The other red showed more significant chemical differences, such as higher calcium and magnesium, in comparison to the black (labelled ‘HCM coral red’). The existence of two chemically distinct reds—otherwise identical in colour and texture—suggests that there was more than one source of clay available to the Attic potters for producing red.     

RELATIONSHIP BETWEEN THE COLORATION AND THE FIRING TECHNOLOGY USED TO PRODUCE SUSA GLAZED CERAMICS OF THE END OF THE NEOLITHIC PERIOD*

Ancient decorated potteries from Susa (Mesopotamia) dating from 4200 to 3700 bc , were studied in order to determine the origin and the nature of the raw materials used, and to identify the technological processes applied to make the ceramic bodies and their decorations. Bulk compositions were determined by particle induced X‐ray emission (PIXE), while the microstructure and the mineralogical phases were studied using scanning electron microscopy (SEM), energy dispersive X‐ray analyses (EDX) and X‐ray powder diffraction (XRD). The results showed that the raw materials used to elaborate these potteries were similar for all the ceramic bodies (carbonates and iron and magnesium‐rich clays containing sand), and for all the decorations (iron oxides, silica, potassic and alumina sources). The variations of coloration of the ceramics and of their decorations were due to different firing temperatures. The ranges of firing temperatures used by potters were evaluated on the basis of mineral stability domains.     

ANTIMONATE OPAQUE GLAZE COLOURS FROM THE FAIENCE MANUFACTURE OF LE BOIS D’ÉPENSE (19TH CENTURY,NORTHEASTERN FRANCE)*

Three types of antimony‐based, opaque ceramic colours were used in the faience workshop of Le Bois d’Épense during the first decades of the 19th century; that is, yellow, tawny and green. Yellow is generated by lead antimonate crystals (Naples Yellow), which are incorporated into an uncoloured glass matrix. According to SEM–EDS measurements, these pigments contain iron. The tawny colour is the optical result of the combined presence of similar yellow, iron‐bearing lead antimonate particles in a Fe‐rich, brownish glass matrix. The green opaque colour is produced by the combination of a blue cobalt glass and yellow Pb–Sn–Fe‐antimonate crystals. Cores of zoned pigments lighten the recipes, according to which the pigments were produced. First, they were synthesized by calcination, ground and then mixed with a colourless, brown or blue glass powder. The resulting powder mixture was added to a liquid agent and used as high‐temperature ceramic colour.     

ASSESSING NATURAL CLAY COMPOSITION IN THE VALLEY OF OAXACA AS A BASIS FOR CERAMIC PROVENANCE STUDIES

The Oaxaca Clay Survey was initiated to provide baseline data on clay composition within the Valley of Oaxaca, Mexico, to assist in provenance determination of prehistoric ceramics. Natural clays were sampled from 135 locations throughout the valley, and analysed using INAA in combination with ceramic petrography. Observed geographical trends in trace‐element and mineralogical composition confirm that while parent material (surficial geology) strongly affects clay composition, a continuum of variation exists within the valley. The study develops and tests a continuous spatial model of clay composition that provides greater resolution in ceramic sourcing than bedrock alone. By establishing a regional framework for Oaxaca Valley clays, the survey will support significant advances in our understanding of pottery production and exchange within the valley, and provide a more robust means for monitoring exchange between the valley and neighbouring regions.     

NEW PETROGRAPHIC EVIDENCE PERTAINING TO CERAMIC PRODUCTION AND IMPORTATION AT THE OLMEC SITE OF SAN LORENZO*

This paper reports the results of petrographic analyses of 41 new pottery thin sections from San Lorenzo. The resulting compositional data provide an important new context for evaluating the disputed status of carved vessels previously identified as imports to the site. By comparing local and Oaxaca highlands pottery, the disputed vessels are shown to be (a) compositionally distinct from San Lorenzo pottery and (b) similar to highland pottery. San Lorenzo was not just an exporter but also an importer of pottery vessels, a finding relevant to consideration of San Lorenzo's role in the production and exchange of ceramics in Early Formative Mesoamerica.     

STUDIES OF CERAMIC TILES ATTRIBUTED TO GABRIEL DEL BARCO

This study reports the mineralogical and chemical characterization of the ceramic body of tiles created by Gabriel del Barco, an important tile painter in Lisbon from the 17th century. Six tile panels were studied: four are signed and two are attributed to the painter. The results obtained from the signed panels revealed that the samples have almost the same characteristics, with a magnesium‐rich phase, meaning that the artist, or the pottery where the tiles were made, kept to the same manufacturing procedure over some time. In contrast to this, the results of samples from the masterpiece Vista de Lisboa showed some heterogeneity, as two patterns were observed. However, one of these patterns matches with the one observed in the signed tile panels. Although a more detailed study still needs to be done, these findings, together with historical sources linked to painting characteristics, suggest that Gabriel del Barco was also the author of the non‐signed tiles.