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This article draws on insights from the author's doctoral training and fieldwork in pottery making to extend conversations about the 'craft' of qualitative research. Specifically, the imagery of potter and clay is introduced to explore the unfolding of craft – or the development of well-thought-out research – in the process of becoming a qualitative researcher. A longitudinal account of making research and making pottery zooms in on the deeply personal relationship between the craftsperson and their materials to explore the affective relations that emerge in craftwork. By tilting the emphasis towards the processes that bring things into being, rather than the objects that are produced, craft-in-research is conceptualised as a reciprocal shaping of bodies that unfolds in and through the simultaneous becoming of researcher and research. [ABSTRACT FROM AUTHOR]

Copyright of Ukrainian Historical Journal / Ukraïnsʹkij Ìstoričnij Žurnal is the property of Institute of History of Ukraine, National Academy of Sciences of Ukraine and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the phenomenon of pottery produced in Bolesławiec, a town that underwent a shift in state affiliation: after World War II the formally German town became Polish. Nowadays, Polish Bolesławiec ceramics is widely recognised as a trademark, part of the Polish heritage and a national symbol. The article was initiated by a simple question: how is it possible, considering that only a couple dozen years before, Bolesławiec pottery was in fact Bunzlau pottery, made by German craftsmen for hundreds of years? The authors analyse the process of creating heritage by re-constructing the biography of the ceramics and emphasising two coexistent forces that influenced the course of cultural production: political ideology and neoliberal mechanisms. Finally, they propose two terms: 'multi-heirs heritage' and 'economics of (non)memory' that enable them to grasp the complexity of the actors (people and institutions), attitudes and strategies that affected the researched case. [ABSTRACT FROM AUTHOR]

• Yangshao painted pottery excavated from Ningxia was studied for the first time. • Jacobsite was identified as the main colourant of the black decoration. • The recipe of the black decoration was homologous with that used in Yangshao core area. Yangshao, well-known for its exquisite painted pottery, has long been considered as the most important Neolithic culture in China. Yangshao pottery excavated in Ningxia, a remote region, has never been scientifically investigated. In this study, the selected painted pottery samples from Ningxia were examined to characterise the decorative coatings using a multi-analytical approach. The white slip was likely made of kaolinitic clay. The black decoration on the surface was mostly jacobsite. Inclusion of manganese and iron oxides within the black decoration informed the process of jacobsite formation. Complemented by ab initio calculations, varying tones of black can be explained by the band gaps of different materials. An in-depth discussion on the formation of the detected materials will help gain insight into technical details involved in the craft of Yangshao pottery and therefore better understand the cultural diffusion of Yangshao from the core area to Ningxia. [ABSTRACT FROM AUTHOR]

This essay examines a recent craft revival in Northern Fujian Province. Employing the methodological approach of a historical anthropology of techniques and its stress on the operational chain (chaine opératoire), the traditional techniques of Jianzhan tea ware making are considered here as a clear example of a ceramic (and tea) heritage that reached its zenith during the Northern Song Dynasty but faded away after the Yuan Dynasty. Coincidentally, this dark pottery was transmitted to Japan, where it gained renown following the karamono vogue of Chinese art and then the chanoyu tea aesthetics during the 15th century. It is on the Japanese living heritage that Chinese potters have drawn since the late 1970s to bring back the art to its native place of production. Continuity and derivation, finally, are witnessed in the ways this ware is produced, used and commercialized in social contexts, especially regarding its role for social distinction and as a means of forming good relationships (guanxi) in Chinese society. [ABSTRACT FROM AUTHOR]

Porous mullite ceramics having needle-shaped interlocking microstructure have been developed from China clay with hydrated aluminium fluoride (AlF 3.3H 2 O) or anhydrous AlF 3. The mullite phase evolution, microstructure and the reaction mechanism in both the systems have been compared. In the presence of anhydrous AlF 3 , needle-shaped mullite crystals grow mainly by the decomposition of topaz crystals, which are formed during the intermediate stages of sintering. Whereas in the case of hydrated AlF 3 samples, the presence of water vapour and HF generated in the reaction zone help in direct nucleation of mullite crystals without the formation of topaz. However, in the powder mixture containing clay and 40 wt.% AlF 3.3H 2 O, the mullite nucleation happens from the topaz decomposition also, resulting in high mullitisation overall. Mullite crystals formed from the 40 wt.% AlF 3.3H 2 O and clay have good needle-shaped interlocking microstructure, and can be used as a better alternative for anhydrous AlF 3 to reduce the cost. [ABSTRACT FROM AUTHOR]

The production of traditional earthenware is a prehistorical/archaeological and historical practice among women in Mpraeso, in the Eastern Region of Ghana. Although pottery has been a vibrant industry in Mpraeso since prehistorical and historical times, there is little known research or published literature regarding the raw materials used, the lifecycle of the production process, the tools of potting, and the socio-cultural and economic importance of the art. This study investigated the raw materials used, production techniques, and the socio-cultural and economic significance of pottery in Mpraeso to elucidate knowledge on pottery production by women and the symbolism and taboos around making pottery in Mpraeso. The cross-sectional study utilised qualitative techniques to collect data from women potters. The results are presented based on themes related to production processes. Production tools are local rudimentary objects, mostly of wood and metal, and production materials are of two kinds: clay materials and grog extracted from the locality. Pots are formed by the coiling method and open-fired. The pots are used for many domestic chores and for funerals, among other uses. Potting is a primary economic activity for women in Mpraeso. The industry needs to be developed in view of the role it plays in Mpraeso, as it promotes the transmission of culture and the art of pottery production and stimulates the local economy of Ghana. [ABSTRACT FROM AUTHOR]

Through this study we do not intend to make a general presentation of the early Neolithic ceramic material discovered in Transylvania. We want to choose some samples considered representative in order to be included in the three categories proposed in the title: functionality, decorative art elements, and symbols. In most cases, we chose materials discovered through research conducted in the last ten to fifteen years, taking into account the research teams we were part of and material that we managed to either analyze and interpret statistically, or to develop and/or photograph. Although the materials have already been presented either in the research reports, in the monographs dedicated to the sites in question, or in scientific articles, we consider our approach useful since it details aspects strictly related to Starčevo-Criș ceramics. [ABSTRACT FROM AUTHOR]

The paper deals with fragmentary finds of older medieval ceramics from excavations of Vlasta Fialová at the fort of Kralice nad Oslavou. Nearer find circumstances of these fragments are unknown, therefore it is necessary to analyse them only according to their morphology, edge shape, decoration and possibly kind of ceramic material. The fragments originate evidently mainly from pot-like vessels, from their edges, bulges and bottoms. According to the egde shapes this shard collection can be divided into double conic, pulled up, and squared roof-shaped fragments. The basic decorative elements are groove, reeding, wavy line and multiple wave, rows of scores and continuous lines made by a fine tracing wheel. The material often contains graphite, some pieces are enhanced with sand grog, but several fragments contain a mica admixture. This classification in the given order corresponds to the chronological succession. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Post-firing treatments, produced by the interaction of an organic material with the hot surface of a ceramic, are frequently described in ethnographic literature, but have rarely been identified in archaeological ceramic assemblages. In order to address this question, this paper describes a methodology that combines macro- and microscopic observation and molecular analysis. The study of experimental ceramic vessels provided diagnostic tools to identify the type of substances, their liquid or solid state, and their mode of application and attested that the post-firing treatments do not completely waterproof the ceramics. The difficulty to observe macro- and microscopic evidence of post-firing treatments when pots are fired in reducing atmosphere suggests that these processes are probably underestimated in archaeological assemblages. Furthermore, the identification of molecular thermal transformation markers, such as ketones, calls into question their classical interpretation as markers for the cooking of fatty content. This pioneering work highlights the complexity of studying post-firing treatments, which leave small traces that are easily missed or misinterpreted. In order to address this issue, we propose a multi-analytical approach, which can serve as a basis for future studies to explore the full diversity of post-firing treatments mentioned in ethnoarchaeological literature. [ABSTRACT FROM AUTHOR]

The article deals with study of medieval amphora? that are spread over sites of the 8th -- 10th centuries AD in the Northern part of the Black Sea region. Such vessels were manufactured in pottery centers of Byzantine Taurica. The general aims of this study are the analysis of northern-pontic amphorae shapes and the reconstruction of chronological changes of morphology of these vessels. The sources of study here consist of 197 whole and restored amphorae from 49 sites of the 8th -- 10th centuries from the territory of Eastern Europe (Crimea, Taman, Caucasus, the Don, the Volga, the Dnieper basins). Appropriate analytical techniques were used: Chi square tests were applied in biplots of geometric parameters on their shapes; analysis of the functional parts conditions and comparison of these data with the general proportions of amphorae, statistical analysis (canonical analysis for geometrical morphometry) of the data using MorphoJ making possible to use a variety of methods of multivariate statistics. The results of the study show that potters of Crimean workshops of the 8th -- 10th centuries who made northern-pontic amphorae followed two different Early Byzantine tradition of ceramic container production. These two traditions initially had fundamental differences in the shape of vessels and the decor of the external surface. Chronological changes of northern-pontic amphorae shapes can be described as a process of gradual erosion and mixing of these two pottery traditions. The results helped to discover the main trends and patterns in the chronological evolution of northern-pontic amphorae morphology. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This report describes excavations at Basing Grange, Basing House, Hampshire, between 1999 and 2006. It embraces the 'Time Team' investigations in Grange Field, adjacent to the Great Barn, which were superseded and amplified by the work of the Basingstoke Archaeological & Historical Society, supervised by David Allen. This revealed the foundations of a 'hunting lodge' or mansion built in the 1670s and demolished, and effectively 'lost', in the mid-18th century. Beneath this residence were the remains of agricultural buildings, earlier than and contemporary with the nearby Great Barn, which were destroyed during the English Civil War. The report contains a detailed appraisal of the pottery, glass and clay tobacco pipes from the site and draws attention to the remarkable window leads that provide a clue to the mansion's date of construction. It also explores a probable link with what was taking place on the Basing House site in the late 17th and early 18th century. [ABSTRACT FROM AUTHOR]

The article presents new information regarding the percentual distribution of Starčevo-Criș decorated pottery, using the information on the Early Neolithic discoveries from the sites of Miercurea Sibiului-Petriș (Sibiu County), Turdaș-Luncă (Hunedoara County), Săliștea (Alba County), Cristian I (Sibiu County) and Cristian III (Sibiu County). Excepting Miercurea Sibiului-Petriș and Cristian I sites for which, besides the information about the category, color, temper, surface treatment, firing and morphology of this pottery were published in different volumes or articles, also some data regarding the different percentages on types of ornaments were published. This time, the author discusses globally the total amount of decorated pottery, taking into consideration also the relative chronological framings for each of the sites. [ABSTRACT FROM AUTHOR]

After analyzing quantitively, in aspect of morphology, the Star čevo-Criş pottery from eight archeological sites: Cerişor-Peştera Cauce (Hunedoara County), Miercurea Sibiului-Petriş (Sibiu County), Turdaş-Luncă (Hunedoara County), Săliştea (Alba County), Cristian I (Sibiu County) and Cristian III (Sibiu County), the author emphasizes on the fragmentation of ceramics in the Early Neolithic sites, taking into consideration the small number of pot shapes identified. From these eight sites, in only four of them there were discovered fragments that could either reconstruct the entire pot, or at least the entire morphological structure. The data has to be corelated with two other coordinates: the large number of fragments analyzed (more than 33.000) and the specific archaeological context of each site investigated. [ABSTRACT FROM AUTHOR]

The conservation and cleaning of the clay Tablets have the same importance of historical content . Clay tablets vary in their volumes and shapes ; some of them are small and some are big others are very big ; whereas their shape is either rectangle or square .Since the clay tablets were made of clay which contains different kinds of salt which were formed as a result of temperature change and high or low humidity ;therefore ,there are two kinds of clay tablets found in the archaeological sites ,they enter the lab for conservation and cleaning .The first kind is unbaked which were dried under the sun. The second kind is the basically baked or fund in a burned archaeological site . This article shows the stages of the conservation of the clay tablets from the moment of finding it until finishing the conservation , in order to be presented in the museum or to the researchers in a clear and clean way to be studied easily. [ABSTRACT FROM AUTHOR]