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Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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.)

Studie se věnuje vývoji šlechtického sídla, které bylo součástí městečka Vysokého Veselí. Sídlo se nacházelo východně od náměstí na vyvýšeném místě. Nové poznatky přinesl výzkum, který protnul významnou část areálu původní tvrze. Vrchnostenské sídlo prodělalo během středověku několik vývojových fází. S jistotou víme, že zde byly postupně vybudovány dvě fáze opevnění. Sídlo obehnané příkopem a valem v tomto místě existovalo od přelomu 13. a 14. století. V době okolo poloviny 14. století prodělalo přestavbu a bylo nahrazeno palácovou zděnou budovou. S touto fází souvisí i realizace vnějšího opevnění tvrze tvořeného příkopem s vyzděnou vnitřní stěnou přecházející do hradby. Středověké stavební fáze zanikly během radikální přestavby v 80. letech 16. století.

Při rekonstrukci k analizace na ulici Leitnerově v úseku mezi Pekařskou a Pellicovou ulicí byly při záchranném archeologickém výzkumu v roce 2012 zachyceny části tří zahloubených sídlištních objektů, které byly následně rozborem nálezů datovány do vrcholného až pozdního středověku a do novověku. Článek se zaměřuje na analýzu materiálu z odpadní jímky z první poloviny 15. století. Jeho hlavní komponentou je soubor keramiky a stolního skla, který byl podroben chemické analýze. Výsledky jsou zapojeny do kontextu dosavadního poznání o středověkém a raně novověkém osídlení předměstské části v prostoru před Brněnskou branou.

V članku je predstavljeno manjše grobišče, odkrito v vasi Tišina zahodno od Murske Sobote. Najdenih je bilo 12 grobov, ki časovno sodijo v mlajše obdobje kulture žarnih grobišč. Obravnavane so grobne najdbe, tako keramično posodje kot tudi drugi predmeti, in sicer nakit, železna noža in drugo. Med njimi izstopa okrašena bronasta tulasta sekira. Najdbe iz grobov kažejo podobnost z grobovi ruške skupine kulture žarnih grobišč.

Na Savski cesti 10 v Kranju so arheološka izkopavanja leta 2010 razkrila tri gradbene faze prazgodovinske poselitve. Ob bogatih keramičnih najdbah so bili iz vsake faze ohranjeni tudi ostanki lesenih stavb. V štirih jamah za sohe, ki pripadajo dvema stavbama, so bili najdeni kosi lesenih brun, ki so omogočili dendrokronološke analize in radiokarbonsko datiranje. Osrednji del prispevka obsega tipološko študijo keramičnega posodja. Ta je na podlagi primerjav z najdbami z drugih najdišč pokazala, da ima območje ob Savski cesti, podobno kot druge lokacije v Kranju, največ vzporednic med gradivom iz časa stopenj Ljubljana II in IIIa oz. Ha B3 in Ha C0 (v srednjeevropskem smislu). Opredelitev je nadgrajena z absolutno datacijo ostankov brun. Ta kaže, da je stavba 1A iz prve faze nastala v prvi polovici 8. st. pr. n. št. in stavba 2 druge faze najverjetneje na začetku druge polovice 8. st. pr. n. št.

V članku sta predstavljena grobova, ki sta bila na najdišču Slivnica 3B odkrita ob gradnji avtoceste Slivnica–Draženci. Na najdišču sicer prevladujejo rimskodobni ostanki, tako naselbinski kot grobovi, nekaj je bilo tudi ostankov zgodnjesrednjeveških zemljank, žarna grobova 12 in 13 pa predstavljata najstarejši najdbi. Na podlagi primerjave najdb ju lahko uvrstimo v kulturo Somogyvár-Vinkovci iz sredine 3. tisočletja pr. n. št., v prehodno obdobje med bakreno in bronasto dobo.

Copyright of Archaeologia Historica is the property of Masaryk University, Faculty of Arts 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 Archaeologia Historica is the property of Masaryk University, Faculty of Arts 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 Archaeologia Historica is the property of Masaryk University, Faculty of Arts 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 article discusses an artistic exploration using digital decals and 3D clay printing, while also examining the current capabilities of these technologies at the Vilnius Academy of Arts. The history, functionality, and transformative impact of these technologies on ceramic studios are addressed, particularly in terms of digitizing work processes and accelerating creativity, thereby altering traditional manual and collaborative approaches. The article overviews the historical context of ceramic reproduction techniques and their evolution alongside factory production methods. It showcases experiments conducted by both international and local ceramicists, highlighting various ceramic reproduction techniques. The division of labour in ceramics, prevalent even in pre-industrial times, has persisted. Each technological advancement, including the digitization of work and the availability of ready-to-use clay, diminishes manual labour or enhances its efficiency. Advanced technology enables ceramic artists to work more autonomously and swiftly. However, it is essential to recognize that working with the material remains integral; clay still requires preparation, shaping, and firing, whether in a factory setting or an artist's studio. Between 1998 and 2008, significant changes occurred in Europe, leading to the closure of many ceramic factories. With the decline of industrial production in the ceramic industry, a certain antagonism between studio ceramicists and factory workers has dissipated. The traditional dichotomy between manual craftsmanship and factory production, as well as between personal artistic expression and standardized, impeccably crafted ceramics, has diminished in many European countries. Ceramic works are often subject to reproduction, both in terms of three-dimensional form and decorative elements. Repetitive ceramic pieces created by artists inevitably interact with mass-produced items. Experimental research was conducted using the Potter Bot Pro 10 clay printer. This device prints clay onto a moving base, which can cause the printed object to lose its shape or even detach from the printer due to shaking. When experimenting with faster printing speeds, particularly for tall and slender shapes, the printer's movement could destabilize the piece. As a result, the work would begin to rotate, causing the vertical axis to disappear, and the printed layers would shift unpredictably. Despite these shifts, the work did not collapse but instead assumed a different form than originally intended. Pottery designs are crafted using Autodesk Fusion 360, while g-code is generated using Ultimaker Cura with the manufacturer's recommended settings for the Potter Bot Pro 10 printer. The designs are printed on white clay mass TBF2, manufactured by Colorobbia, Italy, at 100% speed without altering other print settings. Two different shapes, each comprising 10 vases, were printed using this method. The printed objects were fired at a temperature of 1000°C. Subsequently, they were decorated with colourless CLA 51 glaze and fired again at a temperature of 1040°C. Decals were created using Microsoft Word, allowing for font selection, size adjustment, and image upload. The resulting image was edited using Photoshop and printed with a Ricoh SP C440DN printer. Decals were then fired at 800°C to fuse them onto the ceramic surface. The aim was to keep the decals schematic, emphasizing their factory origin. The entire design and printing process took approximately two days, while the three ceramic firings spanned six working days. Through this research, several conclusions were drawn: digital technologies significantly accelerate work processes in ceramics. The reproduction of ceramic works holds significance for clay artists, highlighting the relationship between new techniques and factory ceramics. The utilization of digital technologies meets the needs of contemporary ceramicists, allowing them to swiftly and effectively create, control, and decorate works from start to finish. [ABSTRACT FROM AUTHOR]

Příspěvek shrnuje výsledky nedestruktivního archeologického výzkumu pozůstatků sídlištního areálu v horském lesním prostředí ve středočeském pohoří Brdy datovaného prostřednictvím nálezů keramiky do 13./14. až 15./16. století. Lokalitu považujeme za důležitou pro pochopení středověkého nezemědělského osídlení horských a zalesněných poloh českých zemí. Rozborem přírodních podmínek a vývoje osídlení oblasti dospíváme ve shodě se starším bádáním k názoru, že je nutné vyloučit souvislost tohoto areálu s běžnými zemědělskými aktivitami. Diskutujeme o možné interpretaci areálu jako salaše, poustevny, hájovny nebo obydlí hornických prospektorů, hutníků či lesních řemeslníků. Nízký stav poznání charakteru takových areálů ze středověkého období nám neumožňuje jednoznačné závěry. To nás však utvrzuje v přesvědčení, že je nutné obdobné areály vyhledávat a zkoumat, jelikož bez jejich důkladnějšího poznání budou naše představy o podobě středověké krajiny a formách jejího užívání nutně neúplné.

The article seeks to analyze the work of the inaugural generation of professional Lithuanian ceramicists trained at the Kaunas School of Art (KMM) Ceramics Studio, aiming to unveil the distinctive features of art deco and the national style that manifested within it. The evolution of European applied art in the first half of the 20th century advanced significantly in the realm of design, shaped by scientific and technical breakthroughs, as well as mass-machine production. Against this backdrop, Lithuania trailed behind not only Western Europe but also its neighbouring countries such as Poland, Latvia, and Estonia. In the 1940s, the nation lacked nearly any professionals in applied art, prompting the recognition of the necessity for training decorative art specialists, which was acknowledged by artists and various cultural figures, sparking considerable discussion on the matter at the Kaunas School of Art. It was only in 1931 that the first studio of applied art, specifically the Ceramics Studio, was established at the Kaunas School of Art. Its inception posed numerous organizational and technical challenges, compounded by the difficulty in assembling a cohesive team of teachers. The primary instructor, ceramic technologist Pranas Brazdžius, a graduate of the School of Applied Arts in Myrhorod (Ukraine) and with an internship at the Bechyne School of Ceramics (Czechoslovakia), played a pivotal role in shaping the Ceramics Studio. Despite an initial intake of nineteen students, the numbers dwindled significantly over the course of the school year for various reasons. Firstly, mastering ceramics proved to be a challenging endeavour, requiring substantial physical effort and a grasp of both chemistry and technical intricacies. Secondly, while Brazdžius had commendable technological skills, his artistic competence fell short, hindering the development of a clear curriculum for ceramics. In the subsequent years of its existence, the Ceramics Studio underwent a rejuvenation with the enrolment of new students from the Kaunas School of Art. Individuals like Vaclovas Miknevičius, Voldemaras Manomaitis, Emilija Vaškevičiūtė, Povilas Krivaitis, Ona Šuminaitė-Jurkienė, Eleonora Lukštaitė-Marčiulionienė, Teodora Slyvauskaitė-Miknevičienė, among others, chose to specialize in ceramics. Already demonstrating a serious interest in ceramics and a natural curiosity, most of these students, upon graduating from the Kaunas School of Art, became the founding members of the first generation that laid the groundwork for Lithuanian professional ceramics. They went on to collaborate in various educational and production institutions. In 1934, Liudvikas Strolis became the head of the Ceramics Studio at the Kaunas School of Art. This artist, who initially studied painting at Kaunas School of Art, later pursued ceramics at the Paris National Conservatory of Arts and Crafts from 1929 to 1933. Strolis's works seamlessly blended the professionalism acquired abroad with a keen understanding of modernity, influenced by art deco, and a creative interpretation of folk-art traditions. His early creations reflected the so-called national style, where, alongside modernist features, the incorporation of Lithuanian folk décor elements and forms held significant importance. Strolis emerged as a practitioner of frugal minimalism, showcasing a penchant for moderate forms and a distinctive styler of national patterns. This artistic vision laid the foundation for the pedagogical approach to teaching ceramics at the Kaunas School of Art under Strolis's guidance. Upon assuming his role, he swiftly devised a comprehensive curriculum encompassing artistic design, decoration, and the technical realization of works using diverse ceramic materials. The introduction of specific and clearly formulated learning objectives, coupled with discussions on the nature of ceramic works and exploration of decoration and materiality issues, catalyzed positive transformations in the students' work. As the quality of ceramics studies advanced, the works of young artists began to garner recognition and favourable evaluations at exhibitions featuring students' and graduates' creations. Attention was captivated by the harmonious interplay between form and decor, the discerningly chosen glazes employed in the works, and the decoration inspired by motifs from Lithuanian ornaments. Some products exhibited artistic characteristics emblematic of the art deco style, with diagonal or undulating elements evident in handles and covers, as well as a more structured approach to decoration. Furthermore, these art deco stylistic elements persisted in the post-war cutlery of certain artists. Angular, bevelled handles, and constructive design or shape elements continued to appear in their works. [ABSTRACT FROM AUTHOR]

Copyright of Documenta Praehistorica is the property of Documenta Praehistorica 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 Journal of the Archaeological Museum in Zagreb / Vjesnik Arheološkog Muzeja u Zagrebu is the property of Archaeological Museum in Zagreb 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 Arheološki Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts 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 Arheološki Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts 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 Arheološki Vestnik is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts 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 Archaeologia Historica is the property of Masaryk University, Faculty of Arts 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 Archaeologia Historica is the property of Masaryk University, Faculty of Arts 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.)

Odkrytí části lazebnického provozu při opravě ohradní zdi dvora čp. 137 bylo prvním archeologickým nálezem nezískaným ze zásypu odpadní jímky, který lze dát do souvislosti s provozem lázně v královském městě Plzni v období pozdního středověku a raného novověku. Proto je součástí studie prezentující tento nález i stručný exkurs přibližující vývoj lazebnictví ve sledovaném období. Cílem tedy zcela jistě není sepsat vyčerpávající přehled majitelů lázeňských budov a v nich působících lazebníků, ale pokusit se o rekonstrukci topografie a stavebního vývoje těchto objektů.

This work illustrates the prediction of frost action mechanisms on ceramic compacts and their biocorrosion resistance to fungus action. The ceramic compacts were produced from two raw materials: coal fly ash (40 wt.%) and clay material (60 wt.%). The ceramics models were made in laboratory conditions by pressing (P = 45 MPa), drying (105 °C, 3h), and sintering (1100 °C, 1 h; heating rates 3 °C/min and 10 °C/min.). The mechanisms responsible for the deterioration of the designed ceramic compacts were defined based on the values of the total porosity, pore size distribution, pore critical radius, and the Maage factor, as well as on the values of water permeability. The biocorrosion process was investigated using Aspergillus niger fungus as a model microorganism. The different degrees of fungus colonization on the designed compacts were comparatively analyzed based on the Scanning Electron Microscopy investigation results. The gained results are encouraging as they show that the utilization of fly ash (40 wt.%) in ceramic composites is possible without significant deterioration of their durability (frost action and microbiological corrosion resistance) compared with the ones whose production was based only on clay material. [ABSTRACT FROM AUTHOR]

S sondiranjem, opravljenim leta 1998, smo odkrili, da je bilo Gradišče obljudeno v petih arheoloških obdobjih. Najstarejši obiski vzpetine segajo morda že v neolitik, vsekakor pa v starejši del bakrene dobe, ko vzpetina še ni bila utrjena. V pozni bronasti dobi je naselje dobilo lesen opaž, napolnjen z zemljo, ki je svoj konec doživel v požaru. V starejši in mlajši železni dobi je bilo naselje obdano s kamnitim suhim zidom. V halštatski dobi je bil zid širok okoli 2 m, v latenski je bil ožji, v širino je meril okoli 1,2 metra. Posamezne najdbe govorijo za prisotnost človeka tudi v času pozne antike. Ker pa iz tistega časa ni sledov utrditve, je vzpetina verjetno služila kot občasno pribežališče.

Copyright of LKS is the property of Czech Dental Chamber 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.)

Organic residue analysis (ORA) of pott ery is a frequently used and important part of archaeological research today. It can provide information about the diet or the use of pott ery and many other aspects of daily lives of archaeological populations, which would otherwise be lost. The chemical compounds that are most often preserved in ceramics and are therefore very suitable for this type of analysis are lipids (e.g. fatt y acids, triglycerides, alcohols, alkanes, wax esters, ketones). There are several methods of extracting lipids from ceramics, depending on what we want to fi nd out; those most commonly used are direct acid extraction and solvent extraction. After the extraction, analyses are performed by gas chromatography (GC), gas chromatographymass spectrometry (GC-MS) and, when possible, 13C isotope analysis from palmitic and stearic acid (GC-C-IRMS). This paper briefl y describes the mentioned methods, the chemical background, and the possibilities and examples of the already conducted research including ORA. Organic residue analysis begins with sampling, where it is very important to avoid contamination; therefore, a proposal is made for the procedure of sampling pott ery sherds for ORA, with the emphasis on adequate sample packaging (aluminium foil). It is also important to note that the researcher should be provided with as much contextual information as possible. Also, a proposal for a sampling form for ORA is provided. [ABSTRACT FROM AUTHOR]

The paper presents the results of the fi rst archaeological excavations conducted in the south-eastern suburb of ancient Pharos, the present-day town of Stari Grad on the island of Hvar, within the framework of the CSF AdriaCos project (in 2021), that brought to light new data on topography, stratigraphy, and artefacts that helps understand the organization of the extramural space bordering with the Stari Grad Plain. The structures from two phases, uncovered in one of the trenches (10A-W) and associated with the Greek and late antiquity periods, and the discovery of a Greek grave, provide insight into the changes in the use of this extra-urban space, while artefacts are indicative of the culinary habits and trade contacts within each of the represented periods. [ABSTRACT FROM AUTHOR]

Rescue excavations in the location of the future Faculty of Law in the former Barracks area of the Lower Town in Osijek revealed numerous features from antiquity with portable fi nds, even though the archaeological layers were partially devastated in places due to recent interventions. The excavated features include pits, post holes, canals, wells, and furnaces. The fi ll layer of the canal SU 80/81 contained various Roman fi nds made of pott ery, brick, bone, glass, and bronze, with numerous animal bones. On the basis of the fi nds, the canal has been preliminarily dated to the period between the end of the 1st and the beginning of the 2nd century AD. A fi nd that stands out is a fragment of a small amphora with an incised inscription. The upper part of the vessel has been preserved: the neck with the handles and the upper part of the body where there are incised lett ers. Incised (graff ito) inscriptions have been documented on other amphora fi nds from southern Pannonia. The content of the inscriptions refers to the numerical indications of the weight or capacity of the vessel, to the content of the vessel, or to personal names. This last category can be associated with the Osijek example found in the fi ll layers of the canal. [ABSTRACT FROM AUTHOR]

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Copyright of Archaeology & Science / Arheologija i Prirodne Nauke is the property of Institute of Archaeology 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.)

Archeologický výzkum ve Filištínské ulici v Chrudimi zkoumal především dvorky za jednotlivými domy. Do plochy domů vstoupil pouze vpřípadě č. p. 39/Is gotickými počátky. Zástavba byla rekonstruována jako vývoj od dřevěné stavby s lochem, s kamennou výstavbou v pokročilém 14. století a s nejméně dvěma následnými mladšími úpravami. Obsah odpadních jímek ukazuje na bohatě vybavenou domácnost již během 14. století s vrcholem v první polovině 17. století. Podle nálezů můžeme určit, že ve 14. století nemovitost obýval švec.

Prispevek prinaša nova spoznanja o poselitvi Komenskega Krasa v starejši železni dobi. Podrobneje so obravnavana tri v arheološki literaturi že znana najdišča, to so Tomaj, Štanjel in Zagrajec, kjer so bile v zadnjih desetletjih izvedene arheološke raziskave v povezavi z gradbenimi in kmetijskimi posegi na najdišču. Članek podaja preliminarne ugotovitve teh raziskav in izbor železnodobnega gradiva iz sočasnih gradišč na Komenskem Krasu: z Gradine pri Brestovici in z Debele griže pri Volčjem Gradu.

V prispevku je obravnavano keramično gradivo s treh gradišč starejše železne dobe, kjer so potekale raziskave zadnjih trideset let in ki pomenijo izhodišče za vzpostavitev kronološke slike naselbinske keramike na Krasu. Poleg stratigrafskih podatkov predstavljamo ugotovitve makroskopske analize tehnologije keramike in primerjalne študije najdb z drugimi sočasnimi najdišči na prostoru Caput Adriae. Vzpostavljena kronološka slika naselbinske keramike je prvi tovrsten poskus pregleda keramike za obravnavani prostor.

Copyright of Archeologické Rozhledy is the property of Academy of Sciences of the Czech Republic, Institute of Archaeology 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 Archaeologia Historica is the property of Masaryk University, Faculty of Arts 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 publication of sources contains three interviews with ceramic artists who were active in the twentieth century: Aldona Ličkutė, Egidijus Ignas Talmantas, and Kristina Karkaitė-Mazūrienė. Aldona Ličkutė’s interview covers the period of her studies, the 1950s, her relation with the teachers and her own teaching practice in the State Art Institute, and the lack of materials and technical facilities in ceramics in the Soviet period. Egidijus Ignas Talmantas speaks about his technological experiments, the manufacturing of terra sigilatta, and his attempts to promote this invention internationally. He also describes his cooperation with archaeologists in exploring historical ceramics, and his work in the Vilnius M. K. Čiurlionis Art Boarding School. Kristina Karkaitė-Mazūrienė’s interview addresses the artist’s relation to already well-established creators, the exhibition possibilities of those times, and the efforts to seek creative freedom. All the three interviewees speak about the artists’ possibilities to create in the Soviet period, and it is obvious that ceramic artists chose different tactics ranging from adapting to the system, refusal to create and immersing in technological experiments, to the attempts to bypass the local power field and to find higher-placed reviewers. The interviewees, remarkable personalities, discuss the aspects important for creating ceramic works, their study years, their relations with colleagues, and their own work. The interviews touch upon the themes that could not be put out for public discussion in the Soviet era. Hopefully, these conversations will be interesting for further researchers of the Soviet period. [ABSTRACT FROM AUTHOR]

The aim of this artistic research is to explore ceramic panels created in Lithuania in the Soviet period by artistic means. The research is based on the material related to ceramic panels created in the late Soviet period, approximately from 1974 to 1987, which was collected by the students of the State Art Institute of the Lithuanian SSR between 1986 and 1989. The material sheds light on works that were created in Kaunas, Vilnius and Alytus, and currently are for a large part demolished. While restoring and newly creating an independent artwork, the authors are looking for the means to reveal the reality of that time and to discover the inner motivation – why and how ceramic artists created monumental works at that time, what circumstances they took into consideration, and what they found most important: the topic, the media, light, colour, and texture. While creating works based on description, the authors hope to receive an answer if non-verbal knowledge is possible in ceramics. In order to test this hypothesis that arose during the research, the authors decided to do a practical experiment. The two artists, Rokas Dovydenas and Remigijus Sederevicius, set themselves a task to restore a clay panel based on a description of creating a Soviet panel. With the aim to place emphasis on the tactile experience of the work, they decided to work blindly. The experiment in the studio revealed that the role of the body is highly important. Direct work with clay has a huge importance for acquiring experience, and there are certain actions that only the body can perform. Facing a new experience, earlier skills are undoubtedly important. While working with the hands, each movement becomes newly acquired knowledge. A result of the artist’s work – in this case, a ceramic plaque – is both an artwork, data obtained during the research, and part of the articulation. The presented result – the research – becomes the visible part, and the experiential part of research remains in the body memory of the researcher. One can make a conclusion that it is difficult to analyze creative work exclusively by description, as the practical research was conducted blindly. The control over the body and material achieved during the process obviously shows that sharing practical knowledge is possible even if it is poorly communicated, and the achieved result can be visually similar. This research experience can be applied for educational aims, by repeating actions that can build working skills. While realizing the entire course of the work and foreseeing the actions, a ceramic artist can achieve impressive results, which are predictable rather than random. [ABSTRACT FROM AUTHOR]

The article introduces the usage of ceramics in Estonian monumental art in the post-war modernist era by presenting two examples involving artworks created in 1967 and 1978. Both murals have recently undergone conservation by specialists from the Department of Heritage Protection and Conservation of the Estonian Academy of Arts. In both cases, the conservation teams were able to interview and consult the artists who created the compositions. [ABSTRACT FROM AUTHOR]

The archaeological rescue excavations at the Lozan – Lendava site near Špišić Bukovica, carried out in the fall of 2019, uncovered parts of infrastructure of a Late La Tène settlement. The site used to be known as a late medieval lowland hillfort, but the excavations have not confirmed this. The infrastructure of the Late La Tène settlement was represented by the remains of buried structures containing fragments of wheel-thrown pottery, but there were also particular recognizable handmade shapes. The results of the excavations at the Lozan settlement agree with the known facts about the contemporary settlements around Virovitica and Koprivnica, indicating that the Drava Valley was intensively inhabited during the Late La Tène period, i.e. at the end of the 2nd and in the 1st century BC. [ABSTRACT FROM AUTHOR]

Pottery from the collection of Grgur Bučić, a prolific researcher on the island of Hvar, is analyzed in this paper. This pottery originated in Markova Cave (on the island of Hvar), and a variety of ceramic forms (bowls, pots, cups, beakers) are present that may be dated from the Neolithic to the Middle Ages based on their decorations, handles and shapes. [ABSTRACT FROM AUTHOR]

Copyright of Lietuvos Archeologija is the property of Lithuanian Institute of History 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 Archaeologia Lituana is the property of Vilnius University 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 Archaeologia Lituana is the property of Vilnius University 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 Histria Archaeologica is the property of Arheoloski Muzej Istre u Puli 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.)