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A Manual of Egyptian PotteryVolume : Fayum ALower Egyptian Culture

Revised First Edition

AERA Field Manual Series

by Anna WodziskaAncient Egypt Research Associates, Inc.

Institute of Archaeology, University of Warsaw, Poland

Ancient Egypt Research Associates, Inc.


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Published by Ancient Egypt Research Associates, Inc. Lincoln Street, Suite , Boston,

Ancient Egypt Research Associates () is a (c) (), tax-exempt,non-profit organization dedicated to research on Ancient Egypt at theGiza Plateau.

by Ancient Egypt Research AssociatesRevised First Edition.First published in .

Printed in Hollis, New Hampshire, at Puritan Press.Layout and design by Alexandra Witsell.

All rights reserved. No part o this publication may be reproduced,stored in a retrieval system, or transmitted in any orm or by anymeans, electronic, mechanical, photocopying, recording, or otherwisewithout the prior consent o the publisher.

Original:

ISBN: 0-9779370-2-X (sofcover binding)ISBN: 0-9779370-4-6 (spiral binding)

Revised First Edition:

ISBN: ---- (sofcover binding)ISBN: ---- (spiral binding)

SERIES EDITORS

Wilma Wetterstrom

and

Alexandra Witsell


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Contents

List o Abbreviations Used in this Volume v

Preace and Acknowledgments vii

Map o Egyptian Find Sites or Pottery Illustrated in this Volume x

. Pottery Production and Processing in the Field

. Post-Excavation Studies

. CeramicGlossary

. Further Reading: a General Selection on Ceramics

. Clay and Fabric Descriptions Used in Volume

. Egyptian Pottery Fayum

Merimde

Omari

Badari

Naqada

Naqada

Lower Egyptian Culture (Buto-Maadi)

. Further Reading: a Selection for Volume

. Color Plates


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List of Abbreviations Used in this Volume

gyptologische Abhandlungen

Archaeology & History in Lebanon

American Research Center in Egypt

Annales du Service des Antiquits de lgypte

Archologische Verffentlichungen des Deutschen Archologischen Instituts, Abt. Kairo

British Archaeological Reports, International Series

Bulletin o the American Schools o Oriental Research

Bulletin de liaison du groupe international dtude de la cramique gyptienne

BdE Bibliotque dtude, Institut ranais darchologie orientale

Bulletin o the Egyptological Seminar

Bulletin de lInstitut ranais darchologie orientale British School o Archaeology in Egypt (and Egyptian Research Account)

Studien zur Altgyptischen Kultur, Beihefe

Cahiers de la cramique gyptienne

Centre national de la recherche scientifique

Egitto e Vicino Oriente

Fouilles de lInstitut ranais darchologie orientale

Gttinger Miszellen

Institut ranais darchologie orientale

Journal o the American Research Center in Egypt

Journal o Archaeological Science

Journal o Egyptian Archaeology

Journal o Near Eastern Studies, University o Chicago

Journal o the Society or the Study o Egyptian Antiquities

Lexikon der gyptologie, Vols. (Wiesbaden)

Mnchner gyptologische Studien

Mitteilungen des Deutschen Archologischen Instituts, Abt. Kairo

Orientalia Lovaniensia Analecta

Polish Archaeology in the Mediterranean

Studien zur Archologie und Geschichte Altgyptens

Studien zur Altgyptischen Kultur

Sonderschrifen des Deutschen Archologischen Instituts

Studies in Mediterranean Archaeology


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Society or the Study o Egyptian Antiquities

Warsaw Egyptological Studies

Zeitschrif r gyptische Sprache und Altertumskunde


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Preface

Ceramics are usually the most abundant artiacts present at Egyptian archaeological sites. ey areofen ound in large quantities and their analysis requires great patience and due attention. Such

analysis is generally time-consuming and sometimes simply boring. e final result o ceramic study,

however, can be very rewarding. Ceramics can offer a great deal o useul inormation. For example,they can date a site or its phases, and provide evidence or different activit ies and purposes o a site or itssmaller units. Ceramics sometimes indicate different routes o product exchange between various sitesor regions. For these reasons, all excavated pottery should be kept and stored or documentation andurther analysis beore the final publication o a site.

Given the importance o ceramics, the subject was chosen to be part o the basic curriculum o thefirst Ancient Egypt Research Associates () Field School in spring , organized in conjunctionwith the American Research Center in Egypt (). e main aim o the Field School, supervisedby Mohsen Kamel and Ana Tavares, was to train the official inspectors o the Supreme Council oAntiquities () in the excavation techniques o field archaeology, as well as in specialist studies o ma-

terial culture and environmental analysis, such as ceramics, objects, auna, flora, and human osteology.In response to the success o the first Field School, Mark Lehner, director o , along with the FieldSchool teachers and the team, decided to organize an Advanced Field School in specializingin particular areas, such as excavation, illustration, and ceramics. As ceramicist, I taught potteryanalysis to these returning students. While I was preparing the course, Dr. Lehner suggested that I writean Field School Pottery Manual. At first the manual was to be a concise catalogue o ceramicsrom different periods o Egyptian archaeology. Over time, however, the manual expanded to includeadditional inormation related to material, manuacturing techniques, surace treatment, and context.Eventually, I compiled a large corpus o Egyptian ceramics rom all periods o Egyptian history, romNeolithic to Modern times. I also added brie discussions o certain imported vessels to remind archae-ologists that pottery rom Egyptian sites ofen includes pieces brought in rom other regions, and is,thereore, not always homogenous.

e final product, thisManual o Egyptian Pottery, is divided into our volumes:

Volume Egyptian Neolithic Fayum , Merimde, Omari, Badari, Naqada , Naqada , and theLower Egyptian Culture

Volume Naqada , Archaic Period, Old Kingdom, First Intermediate Period, and MiddleKingdom

Volume Second Intermediate Period, New Kingdom, ird Intermediate Period, and LatePeriod

Volume Ptolemaic Period, Early and Late Roman Periods, Medieval, and Modern times

Each o the volumes consists o eight sections (the first five o which repeat in each volume):

Section General inormation on pottery production in Egypt and methods o potteryrecording in the field

Section Post-excavation procedures leading to the publication o the material

NOTE: Afer the publication o Volumes and , the introductory texts in Volumes and o the

Manual were modified ollowing the very kind suggestions o Hans-ke Nordstrm, Pamela Rose, and Alison

Gascoigne. is revised edition o Volume includes these same modifications.


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Section A list o terms and abbreviations related to ceramics

Section A selected bibliography concerning technological aspects o Egyptian pottery

Section Descriptions o the clays mentioned in the text

Section e pottery rom all Egyptian periods, organized chronologically:

Each subsection, treating each o the periods, consists o two parts: ) an introduction to thepottery, describing its general trends, and ) a catalogue o the main ceramic types, organizednot according to a detailed chronological order, but, rather, by shape (restricted ollowed byunrestricted vessels).

Each ceramic type is illustrated with a drawing, accompanied by a short description withthe general name o the find site (e.g., Giza, Abydos). More specific inormation about theprovenience is provided by the reerence cited or each drawing. e shape, material(according to the original publication and in relation to the Vienna System i possible),surace treatment, publication, and other inormation pertinent to dating are provided.Additional remarks and bibliography are sometimes included. e vessel description is basedonly on the text rom the original publications. I inormation was not presented in theoriginal text, it is labeled as not stated.

Section A selection o reerences related to the particular ceramics described in the volume.

Section Color plates, including a selection o photographs o ceramics rom differentperiods. For Volume , in addition to the color photos o the Medieval pottery, there are alsocolor drawings. e Medieval glazed ceramics are usually very colorul. As it is very difficult toillustrate their precise hues, the colors are approximate.

is manual was originally meant to be a quick field guide or the Egyptian inspectors asthey recovered pottery in the course o their own excavations, especially because many may not haveregular access to libraries. It is essentially an illustrated list o ceramic types rom different periods,meant to show only the most general trends in Egyptian ceramics. Drawings and photographs o pot-tery or the manual were selected to show those general types most characteristic o the different peri-ods. For this purpose a kind o typology o Egyptian ceramics was created based on the ceramic ormsthemselves, rather than the typologies presented in the publications on specific sites. However, the de-scriptions here come rom the original publications rom which I drew my types. Most o the language isthat o the reerence cited. As the task o describing a ceramic vessel is highly subjective, each researchermay describe pots in somewhat different ways. Hence the terminology, such as or vessel shape (plate,bowl, ewer, dish, bottle, etc.), is not entirely uniorm or consistent throughout this volume. Nor are all

vessels described in the same detail. In addition, the user may not find in the manual every single vesselrom each period. Further editions o the book may expand to include more comprehensive typologies.

It was not my intention to document shape changes o any given type over time, nor to indicate regionalvariations within periods, although such spatial differences are observed in the archaeological material.Indeed, the division o ceramic material into historical periods is rather artificial, since many typeswere in use longer than a single period. I am ully aware that my pottery manual does not address everyquestion related to Egyptian pottery but I hope it will be a useul resource or archaeologists working inEgypt. As a specialist in Old Kingdom pottery mysel, I am grateul or any comments and suggestionsconcerning ceramics rom other periods.


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Acknowledgments

Our excavations at Giza are part o the work o Ancient Egypt Research Associates (), directedby Dr. Mark Lehner. I would like to thank a number o oundations and individuals or their

financial support o the excavations and analysis. Some o these are the Ann and Robert H. Lurie

Foundation, the David H. Koch Foundation, the Charles Simonyi Fund or Arts and Sciences, Ted WaittFamily Foundation, Peter Norton Family Foundation, Glen Dash Foundation, Marjorie Fisher, Ed andKathy Fries, J. Michael and Marybeth Johnston, Jason G. Jones and Emily E. Trenkner-Jones, Bruce andCarolyn Ludwig, David Marguiles, and Ann ompson. I would also like to thank Dr. Zahi Hawass andEgypts Supreme Council o Antiquities, along with all o my Egyptian colleagues. is work would nothave been possible without the tireless efforts o Dr. Lehner to create and finance an exemplary researchand education program at Giza, Egypt.

e present manual is a result o cooperation between numerous individuals and institutions. FirstI would like to again thank Dr. Lehner or his idea o creating the manual and publishing it as an publication.

My deepest appreciation goes to Wilma Wetterstrom and Cindy Sebrell who are responsible or thepresent shape o the book. I would like to express my special gratitude to Alexandra Witsell who pre-pared the book layout. It required a lot o skill, perseverance, and patience, especially in the case o mymultiple changes and rewritings during the course o the work. ank you, Ali.

Mary Anne Murray, Richard Redding, Janine Bourriau, and Teodozja I. Rzeuska were also alwaysready to give me very useul advice.

I would like to express my particular indebtedness to Dina Faltings or her kind and insightul re-view o Volumes and o the manual.

Drawings used in the manual were prepared by Edyta Klimaszewska-Drabot, Mariola Orzechowska,and mysel. e collection o color photos was compiled rom photographs provided by the ollowingindividuals and projects:

Krzyszto Ciaowicz, Mariusz Jucha: photographs o the pottery rom Tell el Farkha;

Harco Willems, Marleen De Meyer, and Steanie Vereecken in particular: photographs rom theDayr al-Barsha Project;

Tonny de Wit, Willeke Wendrich: photographs rom the Fayum;

Wodzimierz Godlewski: Late Roman and Medieval pottery photographs rom Naqlun monasteryin Fayum;

Yukinori Kawae: photographs o the ceramics rom Giza and el Nazla village;

Mariola Orzechowska: New Kingdom pottery photos rom Giza;

Teodozja I. Rzeuska, Dietrich Raue: photographs rom Elephantine.

I also would like to thank Sawomir Rzepka or the permission to use the ceramic photos taken bymysel at Tell el Retaba. e majority o photographs came rom the Petrie Museum thanks to StephenQuirke and Richard Langley. I am deeply grateul or their help.

And last but not least I would like to express my gratitude to employees o the Institute o Egyptologyin Prague, especially Jaromr Krej, or the opportunity to use their Egyptological l ibrary. My researchin Prague was financed by the Department o Egyptian and Nubian Archaeology o the Institute oArchaeology (the University o Warsaw, Poland), thanks to its head, Pro. Wodzimierz Godlewski. Iam very grateul or his trust in my work.


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Map illustrating location of Egyptian sites mentioned in Volume .


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Pottery Production and Processing in the Field

Please see Ceramic Glossary, pages , or definitions o terms.

Pottery retrieved rom archaeological excavations can be processed in many ways (e.g., Orton, Tyers,and Vince , Rice ). Over several years, I have developed a system that works well or thespecific case o the ceramics rom the excavations at the Heit el-Ghurab site at Giza (also knownas the Lost City o the Pyramids). e same system, slightly modified, can be used at other sites.

e bags o pottery collected rom the excavation are sent to the lab or processing. All pottery rag-ments rom the site are first sorted into two groups: ) diagnostic: those rom which the original orm othe whole vessel can be deduced (i.e., complete pots, complete profiles, parts o rims, parts o bases), aswell as sherds with decoration and ragments with potmarks; and ) non-diagnostic ragments.

Diagnostic ragments are classified according to the Typology and then recorded on Pottery Forms. For an example o an Pottery Form, which consists o several descriptive cat-egories, see Table (page ). e non-diagnostics are sorted according to two types: pieces that belongto bread-molds, and other non-diagnostic types that are not parts o bread-molds. ese are weighed

separately, their weights are recorded on the Pottery Form, and the sherds are discarded.Pots slated or drawing (rendered at a scale o :) are segregated and stored separately (or pottery

drawing techniques, see Becker , Joyce and Dillon ). In addition to drawings, pots are docu-mented with two sets o photos. One captures complete vessels, significant shapes, pots with decoration,and potmarks. e second shows the clay in the breaks o the pottery wall. e tools used or potteryprocessing, drawing, and photography are listed in Table (page ).

All inormation about pottery rom the site is stored in a digital database. is greatly acilitates thedata analyses, especially in the case o a very large assemblage. e more data we collect, the more rela-tions between data we create in the database, and the more relations we have, the better the material isdescribed. All the ceramics data rom excavations are stored in the Pottery Database in theormat presented in Table (page ).

Clay and Fabric (Aston : , Bourriau and Nordstrm )All ceramics are made o clay. Natural Egyptian clays that ormed under different conditions arecharacterized by different compositions. Clays originating rom limestone characterized by calciumcarbonate are called marls. Nile clays, also called Nile alluvium or Nile silt, are composed o particlescarried by Nile waters and usually consist o large amounts o silica. Kaolin clays are ormed o kaolinite,a mineral associated with granite rocks located in the Aswan area. Pliocene clays ormed during thePliocene period and can be ound in the oases, especially in Kharga Oasis. Naturally occurring clays canbe mixed by the potter seeking a particular combination o clay properties.

e most common Egyptian clays are Nile alluvium and marl. Nile alluvium contains greater amounts

o silica and can be fired at lower temperatures, around to . e surace afer firing is usuallydark red or brown. e break o a pottery wall shows different color layers: red/brown with a black core.Nile clay used in pottery production ofen contains organic inclusions (small ragments o grass, chaff,dung, ash, etc.), or material introduced to the raw clay by the potter as temper. Marls are fired at highertemperatures, between and . e clay shown in the break is very homogenous and dense. ecolor o suraces is generally beige, pink, or very light yellow. Marl clay is very hard afer firing. Marl potsusually do not contain any organic material.

Nile and marl clay can be urther divided into subgroups according to inclusions, hardness, anddensity. e Vienna System (Bourriau and Nordstrm : ) classifies the abrics o Ancient


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Egyptian pottery. e term abric reers to the physical composition and properties o the clay and itsinclusions, both naturally occurring and/or added by a potter.

Clay or manuacturing pots has to be properly prepared. e raw material contains inclusions thatcan damage the pot wall during shaping or later firing, and thus must be removed prior to working. eclay is prepared by levigating it. e raw clay is mixed with water and allowed to rest in special pools,where the coarser particles sink to the bottom. e clay is then kneaded until the mass is smooth. is

process can take days or sometimes months beore the clay is ready or shaping into a vessel.

Clay Fabric Designation and Classification (Aston : , Bourriau and Nordstrm ,Rice )Pots are made o materials that can be characterized by various properties: the origin o the clay, thepresence or absence o inclusions, porosity, hardness, color, and firing temperature.

Inclusions are particles present in the clay. ey may be present in the natural material when takenrom the source or may be added by the potter. In the latter case, these inclusions are called temper.Inclusions can also vary in shape, size, and requency, and are classified as organic or non-organic.Examples o organic particles are straw, chaff, dung, and ash. ese ofen burn away during the firing

process, but leave voids in the clay that show characteristic impressions. Examples o non-organic inclu-sions are ragments o rock, such as sand, limestone, basalt, and granite.

Color is another important component o the clay and abric description. It can help to identiy theclay and to determine the conditions under which the clay was fired. Color is ofen described using theterminology o established color charts. One o most popular is the Munsell soil color chart.

Clay can also be described in terms o its porosity. Porosity is determined by measuring the densityo pores. ese are the empty spaces in the abric that are ormed during the firing process.

e hardness o clays is very ofen measured using the Mohs scale. e scale, with values rangingrom (the sofest) to (the hardest), is based on the relative hardness o standard minerals: talc, gypsum, calcite, fluorite apatite, orthoclase, quartz, topaz, sapphire, and diamond. Hardness is determined with successive scratch tests. I a mineral leaves a mark on aceramic, the ceramic is sofer. I both can scratch each other, they are o equal hardness. e Mohs scalecan also be supplemented with other materials o known hardness: . i the ceramic can be scratchedby a fingernail, copper wire, . window glass, . the blade o a pocket knie.

Taking into consideration different criteria or clay description, we prepare a clay abric classifica-tion. One o the best known abric classification systems is the Vienna System (see above). It does not en-compass all abrics used in producing Egyptian pottery, but it can be a good reerence and standard orceramics rom any one particular site. For example, although the settlement (the Heit el-Ghurabsite) has its own clay classification system, it includes clay equivalencies in the wider Vienna System inorder to make it more amiliar to the larger ceramic audience (Wodziska : , Table .).

Shaping Methods (Arnold and Bourriau , Hope )ere are a number o methods or shaping pots: hand-shaping, hand-shaping and finishing with aturning device, or shaping on a wheel. Hand-shaping methods include: ) orming a single piece o clayby the use o reehand shaping, ) shaping with a paddle and anvil, or a paddle and the ground, ) shap-ing on a core or over a hump, ) shaping with a mold, and ) building with a slab/coil.

e simplest shaping method is to orm a vessel reehand rom a single piece o clay without usingany tools. Pots made this way are usually open with walls o irregular thickness. e paddle and anvilmethod employs a paddle, usually a flat piece o wood, to shape clay against an anvil, usually a hemi-spherical hole in the ground. Vessels made with the paddle-and-anvil have spherical or hemispherical


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bodies. Another simple method is to shape the vessel on a core or over a hump. A core can be a ceramicpot, the shape o which can be duplicated. A hump can be made o wood or stone. In both cases, theinternal surace o the new pot will resemble the external surace o the core or hump. Similarly, a potcan be made in a mold. Its external surace will resemble the internal surace o the mold, which canbe another pot, usually an open orm. Another simple hand-shaping technique is slab/coil shaping. epotter orms a coil o clay and lays it down in a spiral ashion in order to build a vessel. e use o a

turning device can help make pots with more regular shapes. However, the most advanced method iswith a wheel. A potters wheel with a stable central axis makes it possible to create regular orms withrelatively thin walls.

Surface Treatmente suraces o ancient Egyptian pots were treated in various ways. e most common method consistedo simple smoothing prior to firing. e potter smoothed pots using hands or special tools, such as amodified pottery sherd, a ragment o wood, or a pebble. e smoothed surace could also be coated andsubsequently burnished or polished. Burnishing is a process o refining the surace with the use o a hardtool, commonly a pebble. A burnished surace is characterized by the presence o shiny stripes. Polishing

requires sof materials such as abric or ur. e resulting surace shines without visible borders.When a coat is applied to the surace beore firing it is called a slip, while a wash designates a coat

applied afer firing (Rice : ). In addition, vessels may be glazed, especially in the case o Medievalpottery.

DecorationWe can distinguish several kinds o decoration: painted (beore or afer firing), incised (beore or aferfiring), impressed (beore firing), stamped (beore firing), applied (beore firing), molded (beore firing),and cut-out (beore firing).

e Ancient Egyptian potter, or in many cases an artist, decorated pots with several colors o paint.e most common colors were generally white, red, black, and, in some cases, yellow and blue. Colorscan help in dating a pot. For example, blue was characteristic o certain ceramic vessels rom the NewKingdom.

e surace o a pot could be incised or impressed. e thickness o incised lines or dots depends onthe tool used. ick irregular marks could be made with fingers. More detailed motis could be executedwith tools made o wood, bone, or reed.

Impressed decorations are made with a variety o different materials. e surace o a pot may beartraces o abric or string. Stamped decoration is made using stamps in the shape o a palmette, rosette,cross, etc.

Small decorative pieces o clay, the same consistency as that used or the walls, can be applied to thesurace beore firing. is is simplest orm o application or applique. However, clay can also be thinned

with water to achieve the consistencies necessary or different types o decorative techniques. A potteryvessel can be covered with a type o watered-down clay applied by cutting a small hole in a bag andsqueezing a small, delicate rope o watery clay in decorative patterns. Again, this is done beore firing.is type o decoration is called barbotine.

e walls o pots made in molds bear relie decoration executed in the mold. e most characteristicpots with molded decoration belong to the Roman terra sigillatatradition.

Some Egyptian pots, especially large stands, have holes in the walls made beore firing while the claycontains enough water to be carved. is is reerred to as the cut-out method.


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Shape Designation(Rice : )All pots can be divided into two groups: Restricted and Unrestricted vessels. e rim diameter o arestricted vessel is smaller than the maximum diameter o its body, whereas that o an unrestricted

vessel is greater than, or equal to, the maximum diameter o its body. ese groups can be urtherdivided into ormal groups: Restricted vessels:

Jars (restricted vessel with neck, the height is greater that its maximum diameter) Unrestricted vessels:

Bowls (unrestricted vessel with base) Stands (unrestricted vessel without base and with two rims)

A restricted pot shape can also be described as hole-mouthed, meaning that the jar has a rim thatcurves inward.

A vessel consists o three components: rim, body, and base (figure ).

Figure . Basic vessel parts (partly based on Shepard : , Figure ).


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e shape o the body can be described using terms or geometric shapes: sphere, ellipsoid, ovaloid,cylinder, hyperboloid, and cone (figure ).

Figure . Vessel shape descriptions derived from geometric figure names (based on Rice : , Figure .).


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e bases o most Egyptian pots are round, but they can also be flat, slightly flat, or pointed. ereare also ring bases (figure ). e rims can be pointed, round, flat, or recurved (figure ).

Figure . Different base shapes.

Rounded base Slightly flat base Pointed base Flat base Ring base

Figure . Terminology for describing rim forms.

RIM

ORIENTATION

RIM SHAPE

pointed

rims

flat

rims

rounded

rims

recurved

rims

straight

rims

flaring

rims

narrowing

rims

can also

be called

modeled rims

can also

be called

unmodeled rims

can also be

called direct

rims

can also be called

indirect rims

Rims can be described in a variety o ways by different ceramicists based on rim orientation andshape, much like the shape o bases (figure ). Terms that are used to describe orientation are basedon the directionality o the walls and rim (such as straight,flaring, ornarrowing), with directusuallyindicating a vertical stance to the rim and walls, and indirectusually reerring to a flaring or narrow-ing stance. However, these are not standard terms accepted by all ceramicists; everyone describes pots

slightly differently. When describing the actual shape o the rim itsel, the terminology reers to thegeometric shape o the rim or the intention o the potter. For example, geometric shapes can bepointed,flat,round, or recurved.Further, i the potter intended or the rim to be simple, with only a slight pointor flat on top, it might be called unmodeled. I the potter put extra work into finishing the rim by round-ing or recurving, it might be called a modeledrim.


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Figure . Example of a typology of jars. (Since many of the vessels could not be completely reconstructed for

lack of bases, complete profiles, etc., the typology employs only rims and necks).

TypologyAfer examining a collection o pots, we sort them into types based on a number o shared traits. etraits include a combination o production method, shape, clay, and surace treatment. In this way wecreate a typology, or a classification, o all pottery rom the site into types. Figure shows a sample o a

jar typology.


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Date: iii Bag number:

Context: -S/ Processor: AW

Non diag. weight: . F non diag. weight: .

Pot

number

ype Fabric

(clay,surface

treatment)

Part of vessel,

diameter - cm

Percent Count Weight - kg Remarks (presence of

potmarks, traces ofvessel usage, etc.)

AB GN, WWh R, . Potmarkexternal

surace, afer firing

CD GN, WWh R, . -

F GN R, . Burned rim

Data base entry: AW Page:

Table . Example of an AERA Pottery Form.


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POERY PROCESSING DRAWINGS PHOOS

Handbookor any additionalremarks on the described material

Contour gauge, caliper Camera

Hand lens, min. x magnificationused during clay (abric)description and identification

Long ruler, triangles Photo backgroundorexample, a piece o abric orpaper

Scalesor weighing Pencil Photo scale

Glueused during reconstruction obroken pots

Tracing paper, Grid paper

Pen with black water-proo inkormarking the sherds

Pencil eraser

Munsell color charts Circles or measuring diameter

Table . Basic pottery processing tools.


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Table . General categories of the AERA Pottery Database.

CAEGORY DESCRIPION

Number of pot Follows the number assigned to every diagnostic ragment

Drawing Drawing prepared, name o drafsperson

Photo Photo taken, photo numberContext Area, grid, square, eature number, eature type, building, etc.

Year Year o excavation

ype According to the site typology

Variants Variants o types

Vessel part R rim, B base, W wall (body sherd), Cpr complete profile, Cpot complete pot, H handle, O object made o ceramic

Count Quantity o sherds/pots

Percent Percentage o pot, rim, base preserved

Height PH preserved height, CH complete height, L length, in centimeters(cm)

Rim diameter Measured in centimeters (cm)

Base diameter Measured in centimeters (cm)

Max diameter Maximum diameter o body o a vessel, in centimeters (cm)

clay (fabric) According to the site clay description

Hardness sof, middle (scratched with fingernail), hard (scratched withcopper wire), very hard (scratched with window glass)

Method of production HM handmade, WT wheel-turned, M molded, WM wheel-madeor HM-WT handmade and later turned on a slow wheel

Base shaping M molded, SC string cut, K knie cutBase surface treatment See surace treatment

Break sections Colors o break sections

Break porosity Open, medium, dense

Surface treatment(outside and inside)

Sm smoothed, P polished , U untreated, C slipped (beore firing),Wh washed (afer firing)

Slip colors R red, O orange, Pi pink, Br brown, Bl black, W white

Surface color Using the Munsell color charts

Decoration

(outside and inside)

Painted, incised, applied, molded, etc.

Wall thickness Measured in centimeters (cm)

Weight Measured in kilograms (kg)

Remarks Usually description o the state o surace preservation, traces o ancientusage

Potmarks Marks made on the surace: types, made beore or afer firing, on externalor internal surace

Storage Location where stored


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Post-Excavation Studies

The work afer excavation is the most time consuming part o pottery analysis. e field work is verydemanding and usually pottery specialists do not have enough time or a detailed analysis o thematerial. During field work, however, the pottery is well documented in order to provide a basis or

urther study. Time during the off-season is used or database entry, analysis o the data, and a studyo the results. Additionally, pencil drawings that were done during the field season are prepared orpublication; they are inked or redrawn in a computer graphics program. e final and most importantstage o the pottery study is its publication. e article or book should be a comprehensive account othe material, including all the inormation that is available.

Pottery can be published in a variety o different ways. e publication o a corpus o ceramics roma site begins with a qualitative description o the assemblage including the attributes discussed above.e publication should include quantitative data as well, such as counts and percentages o each type.Finally it must also move beyond description to consider the ceramics in their archaeological context inorder to shed light on the pottery itsel as well as to inorm us about the ancient site.

Considering the ceramics within the context o the site stratigraphy allows us to organize potteryaccording to the phases o site occupation. For a site with a long occupation and well defined phases it ispossible to trace the ceramics over time. Do the relative proportions o types change? Or do some typesdisappear or evolve into another type? Is the modification connected to the shapes or the technologyused to produce the pots? Is it related to the uses o the vessels?

While the site phasing can be used to place the ceramics in a chronological sequence, pottery withalready well established dates based on other sites may help to date a site or area within a site.

e ceramic analysis should also contribute to an understanding o the archaeological site. Potterycan reflect activities and the unctions o an area such as cooking, bread baking, beer brewing, etc.Tomb and temple paintings showing pots similar to those rom the site in useor example, being usedto make winecan be helpul in developing hypotheses about activities at the site. Pottery may alsoreflect social status. e areas where the finest serving vessels occur at a site may be the homes o thehighest ranking people.

e publication o a single corpus o pottery should also contribute to broader studies o ceramicsin ancient Egypt. Every study that is published can help identiy the kinds o pottery associated withsettlements, cemeteries, or temples. ey can contribute to working out how pottery was distributedthrough Egypt and possibly in identiying the ancient production centers. What pottery types weremade in Upper/Lower Egypt? Why and how did they circulate throughout all o Egypt?

e imported pottery rom a site contributes to a wider understanding o the Egyptian economy andoreign relations. What kind o pottery vessels were imported to Egypt? What was their origin? Whatkind o commodity did they contain? We also should keep in mind that some imported vessels were im-

itated in Egypt, which raises the question as to why Egyptian potters made imitations o oreign pots.Ceramics may also be useul in examining socio-economic status in ancient Egypt. What kind o

pottery was used by king and nobles? What kind o vessels were used by workmen employed in the royalbuilding activities? What kind o pots were used by simple armers? What attributes characterize theseceramics? Which ones can be considered, or instance, royal?

e ceramics o the Heit el-Ghurab site at Giza illustrate some o the ways in which pottery cancontribute to an understanding o an ancient community. e settlement is well dated to the late thDynasty and laid out with a number o different districts that are characterized by distinct sets o ma-terial culture. is includes pottery, which reflects some o the unctions o these different areas. Forexample, bread pots dominate the assemblages rom galleries and adjacent workshops, indicating bread


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production on a massive scale. Differences in the type o serving vessels ound across the site reflect di-erences in social status. In the workmens barracks (the galleries) simple carinated bowls covered withwhite wash were used as serving vessels, while the large houses were equipped with many types o finered-slipped pots. e Heit el-Ghurab pottery came rom a variety o sources. Most o the local ceram-ics probably came rom a centralized pottery workshop nearby, while another set o pots was importedrom Upper Egypt. Yet another group o ceramics came rom Syro-Palestine.

e most important point o the post-excavation work is to publish the ceramics. ey are o limiteduse to the scholarly community until the collection is available in print.


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Ceramic Glossary

(see also Bourriau and Nordstrm ; Rice : especially ; Yon )

Clay and Fabric

Clay (fabric) Classification:the classification o clay types used or ceramics rom excavations

Break:a resh break o the vessel wall made in order to be able to describe the clay Break porosity:the density o pores in the break, described as open, medium, or dense Clay:the material the pottery is made o, mostly consisting o silica Compacted: a term used by some ceramicists to describe a clay abric in which the inclusions and

matrix are tightly packed, implying that the clay is homogenous in nature due to either itsnatural quality or higher levels o processing and levigation by the potter

Fabric:the physical composition o a clay with inclusions, either naturally occurring and/or addedby the potter

Grog:small pieces o fired and crushed ceramic; ofen added to clay Groundmass(or matrix, paste): the fine particles o clay and silt that make up the composition

o the clay Hardness:the resistance o a material to mechanical deormation, measured in units o the Mohs

scale Inclusions:organic and non-organic particles present in the clay Levigated clay:clay that has been allowed to sit in water to remove impurities Marl clay:a calcareous clay, also known as a desert clay (or tafla in Arabic) Mohs scale:a hardness scale consisting o a series o increasingly hard minerals rom (talc)

to (diamond); used to speciy the relative hardness o a ceramic Nile clay:an alluvial clay associated with the Nile valley Organic inclusions:organic particles present in the clay, such as straw, chaff, dung, and ash Provenance:the geographical or geological origin o the clay source Qena/Ballas:a marl clay rom the Qena/Ballas region Raw material:a material as it comes rom the original source, beore preparation Tafla: marl clay emper:inclusions added to the clay by the potter to help enhance the unction o the pot. For

example, sand can be added to clay used or cooking pots in order to prevent cracking duringtemperature change, and organic materials such as chaff might be added to make the pot wallsmore porous, allowing water vessels to cool more quickly. Additionally, a temper o grog canadd strength and stability to the walls o the pot.

Uncompacted:a term used by some ceramicists to describe a clay abric in which the inclusionsand matrix are not tightly packed; implies that the clay is not homogenous in nature

Vienna System:a schema or classiying Egyptian abrics and clays

Manufacture Coil/slab-building:hand-building by the successive addition o slabs or coils o clay Composite contour:most ofen results when a potter applies pressure to the side o the pot wall

during ormation on the wheel, thus altering the profile to create a composite o two basicgeometric shapes

Core/hump:hand-building on a core or over a hump


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Handmade:building without the use o a potters wheel Knife-cut:finishing the base using a knie/hard tool Method of production:techniques o vessel shaping

Mold-shaping:hand-building with the use o a moldPaddle- and-anvil shaping technique:shaping with the use o two tools:

the anvil, a round instrument used to press against the vessel wall rom the inside, and the

paddle, a flat tool used to beat and support the wall rom the outsidePaddle-and-ground technique:a shaping technique similar to paddle-and-anvil, but using the

surace o the earth/ground or shaping Potters wheel:a revolving platorm which moves on and around an axial pivot Simple contour: a term that implies that the potter allowed the natural centriugal orces o clay

ormation on a wheel to shape the profile; or example, a simple outward flaring shapeor a simple cylindrical shape

String-cut:finishing the base using a string or wire urning device:a device without a pivot incapable o sustained rotations Wheel-turned:building with the use o a potters wheel

Surface Treatment Burnishing:producing a luster on the surace by rubbing it with a hard object (a pebble or

instance) in the leather-hard stage; characterized by the presence o individual parallel acets Coat: a term used by some ceramicists to describe a layer o color on the surace that is not clearly

identifiable as a slip or a wash, due to degradation o the pot and/or chemical processes withinthe soil

Color:surace color description, ofen using the defined colors in the Munsell soil color chartsGlaze:powdered glass applied to the fired surace o a ceramic that is then fired a second time in

order to use the powder and orm a thin, glassy coat Munsell soil color charts:charts o defined colors or the standardized identification and

description o soil colors Polish:a glossy luster on the surace, produced by rubbing with a yielding tool in the leather-hard

stage; lacks the individual parallel acets characteristic o burnishingScraping: the act o dragging a tool across the surace o the clay in order to shape or remove

extra clay Slip:a coat added to the surace beore firing Smoothing:the process o evening the surace, usually without using tools, by hand Surface treatment (outside and inside): surace finishing methods

rimming: a orm o scraping, implies a more precise removal o extra material Wash:a coat added to the surace afer firing

Decoration Application:adding, beore firing, decorative elements to the exterior o the vessel Barbotine: a decorative technique in which liquid clay is applied, leaving a pattern that is slightly

raised over the main surace, it usually reers to light colored applications applied over darkerceramic suraces beore firing, while the clay is still moist; ofen used or Early Roman pottery

Cut-out decoration (also called enestration): a design created by cutting away sections o thewall, beore firing, in the leather-hard stage

Decoration:additional surace treatment techniques


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Impressed decoration:patterns made with a tool that is impressed in clay, beore firingIncised decoration:designs executed, beore or afer firing, with the aid o a sharp tool; sometimes

filled with a pigment Modeling:manipulation and shaping o the vessel wall beore firing, while the clay is still moist

(can also be done in a mold) Painted decoration:painting applied to the vessel beore or afer firing

Potmarks:marks incised on the vessel (internal or external), beore or afer firing Sgraffito:a type o Medieval decorative technique in which an incision is cut through the slip

revealing the original color o the clay beneath

Type/Ware Classification ype:a category o ceramics defined by a common set o attributes (combination o technology,

kind o clay, surace treatment, and shape o vessel) that distinguishes it rom another class opots

ypology:a system o classification that organizes ceramics into types Ware: a category o ceramics defined by a combination o technology, clay, and surace

treatment

Drying and Firing Atmosphere:composition o gases in the air surrounding pottery during firing Drying:the process o evaporating water rom the ormed vessel Firing:transorming the clay into ceramic material under the influence o high temperatures Leather-hard:the stage o the drying process during which clay contains enough water to be

carved or joined Oxidation:a firing atmosphere characterized by an abundance o ree oxygen Pottery kilns:an oven or other installation in which pots are fired Reduction:a firing atmosphere without the presence o oxygen, ofen with the presence o

colloidal carbon Vitrification:the action or process o becoming glass

Pottery Processing Diagnostic pieces:those rom which the original orm o the whole vessel can be deduced:

complete pots, complete profiles, parts o rims, and parts o bases. Sherds with decoration andragments with potmarks are also included.

Non-Diagnostic pieces:those rom which the original orm o the whole vessel cannot bededuced: non-descript body parts and sherds without decoration or potmarks

Pottery Drawing Form:a orm or a drawing o the individual vessels

Pottery Form:a orm or recording inormation about a given ceramic Pottery processing:the process o sorting pottery according to types and abrics

Shape of Vessel Base:the underside o a vessel Body(wall): the part o the vessel between the rim and the base Bottle:a jar with a globular or ovoid body and an elongated narrow neck Bowl:an unrestricted vessel with base Carination:the concave portion o the vessel between the rim and the maximum diameter o

the body


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Complete pot:a vessel preserved in its entirety Complete profile:a profile o a vessel preserved in its entirety Jar:a restricted vessel with a neck and a height greater than its maximum diameter Max diameter:the maximum diameter o the body o a vessel

Neck:the part o the vessel between the shoulder and the rim Plate: an unrestricted vessel with low, short walls and a flat base

Profile:a vertical cross section through the body o a vessel Restricted vessel:a vessel with a rim diameter smaller than the maximum diameter o its body Rim:the opening o the vessel Sherd:a broken ragment o pottery Shoulder:the upper part o the body Stand:an unrestricted vessel without a base ray:an unrestricted vessel similar to a plate in shape, but ofen larger Unrestricted vessel:a vessel with a rim diameter greater than or equal to the maximum

diameter o its body

Special Analyses Elemental analysis:the identification o the chemical elements in a ceramic; may reflect

technological changes, or define clay sources or kiln products Organic residue analysis:the identification o residue in pots; may reflect the diet o the people

using the pottery Petrography:the microscopic study and description o rocks or other mineral material on the

basis o optical properties Seriation:the chronological ordering o a group o artiacts in which the most similar are placed

adjacent to each other in the series; used as a relative dating technique Termal analysis:determining the temperature at which the pot was fired

Pottery Drawing Contour gauge:a drawing tool that helps trace the vessel shape Diameter measuring circle:a drawing tool used to determine the rim/base diameter o a broken

pot Profile drawing:a drawing o the vertical cross section o a pot, showing wall thickness and details

o the rim, as well as the configuration o the base


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Bibliography for the IntroductionArnold, D., and J. D. Bourriau. .An Introduction to Ancient Egyptian Pottery, . Mainz am

Rhein: Philipp von Zabern.

Becker, J. . Special Problems in Ceramic Illustration. In e Students Guide to ArchaeologicalIllustrating, edited by B. D. Dillon, . Los Angeles: Institute o Archaeology, University oCaliornia.

Bourriau, J. D., and H. . Nordstrm. . Ceramic Technology: Clays and Fabrics. InAn Introductionto Ancient Egyptian Pottery, edited by D. Arnold and J. D. Bourriau, , . Mainz amRhein: Philipp von Zabern.

Hope, C. .Egyptian Pottery. Shire Egyptology . Aylesbury: Shire.

Joyce, O., and B. D. Dillon. . Ceramics. In e Students Guide to Archaeological Illustrating, editedby B. D. Dillon, . Los Angeles: Institute o Archaeology, University o Caliornia.

Orton, C., P. Tyers, and A. G. Vince. . Pottery in Archaeology.Cambridge: Cambridge UniversityPress.

Rice, P. M. . Pottery Analysis: A Sourcebook. Chicago: University o Chicago Press.Shepard, A. O. . Ceramics or Archaeologists. Washington, : Carnegie Institute o Washington.

Wodziska, A. . Preliminary Ceramic Report. In Project History, Survey, Ceramics, and the MainStreet and Gallery . Operations,Giza Reports , edited by M. Lehner and W. Wetterstrom,. Boston: Ancient Egypt Research Associates.

Yon, M. . Dictionnaire illustr multilingue de la cramique du Proche Orient Ancien, Collection de laMaison de lOrient Mditerranen, Srie Archologique .Paris: Institut Franais dArchologiedu Proche Orient.


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Further Reading: a General Selection on Ceramics

Adams, W. Y. . Ceramic Industries o Medieval Nubia. Lexington: University Press o Kentucky.

. . Times, Types, and Sites: e Interrelationship o Ceramic Chronology and Typology.: .

Allen, S. J. . Spinning Bowls: Representation and Reality. InAncient Egypt, the Aegean and the NearEast: Studies in Honour o Martha Rhoads Bell, edited by J. Phillips, . San Antonio: VanSiclen.

Amiran, R. .Ancient Pottery o the Holy Land: rom its Beginnings in the Neolithic Period to the Endo the Iron Age. New Brunswick: Rutgers University Press.

Arkell, A. J. . e Origin o Black-Topped Red Pottery.: .

Arnold, D. E. . Ceramic eory and Cultural Process. Cambridge: Cambridge University Press.

. . Social Change and the Evolution o Ceramic Production and Distribution in a Maya

Community. Denver: University Press o Colorado.Arnold, D. E., C. Renrew, and C. Gamble. . Ecology and Ceramic Production in an Andean

Community.Cambridge: Cambridge University Press.

Arnold, D. . Wandbild und Scherbenbeund. Zur Tpertechnik der Alten gypter von Beginn derpharaonischen Zeit bis zu den Hyksos.: .

. . Gesse, Gessormen, Gessdekor. In , .

. . Keramik. In , .

. a. gyptischen Mergelton (Wstentone) und die Herkunf einer Mergeltonware desMittleren Reiches aus der Gegend von Memphis. In Studien zur altgyptischen Keramik, edited

by D. Arnold, , . Mainz am Rhein: Philipp von Zabern.

, ed. b. Studien zur altgyptischen Keramik,. Mainz am Rhein: Philipp von Zabern.

. . Tperei, Tperwerkstatt, Tperen, Tperscheibe. In , .

Arnold, D., and J. Bourriau. .An Introduction to Ancient Egyptian Pottery,. Mainz amRhein: Philipp von Zabern.

Arnold, D., C. Hope, P. T. Nicholson, and P. Rose. . Techniques and Traditions o Manuacture inthe Pottery o Ancient Egypt. InAn Introduction to Ancient Egyptian Pottery, edited by D. Arnoldand J. D. Bourriau, , . Mainz am Rhein: Philipp von Zabern.

Arnold, P. J., III. . Domestic Ceramic Production and Spatial Organization: A Mexican Case Study inEthnoarchaeology.Cambridge: Cambridge University Press.

Aston, B. G. .Ancient Egyptian Stone Vessels. Materials and Forms.. Heidelberg:Heidelberger Orientverlag.

Baba, M., and M. Saito. . Experimental Studies on the Firing Methods o Black-topped Pottery inPredynastic Egypt. InEgypt at its Origins. Studies in Memory o Barbara Adams. Proceedings othe International Conerence Origin o the State. Predynastic and Early Dynastic Egypt, Krakow,th Augustst September , edited by S. Hendrickx, R. F. Friedman, K. M. Ciaowicz, and M.Chodnicki, , . Leuven: Peeters.


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Bader, B. . Tell el-Daba : Typologie und Chronologie der Mergel -Ton Keramik, Vienna: Verlagder sterreichischen Akademie der Wissenschafen.

. . A Concise Guide to Marl Pottery.gypten und Levante : .

Barclay, K. . Scientific Analysis o Archaeological Ceramics: A Handbook o Resources. Oxord:Oxbow Books.

Barnett, W. K., and J. W. Hoopes. . e Emergence o Pottery: Technology and Innovation in AncientSocieties.Washington, : Smithsonian Institution.

Bulletin de liaison du groupe international dtude de la cramique gyptienne. Cairo.

Becker, J. . Special Problems in Ceramic Illustration. In e Students Guide to ArchaeologicalIllustrating, edited by B. D. Dillon, . Los Angeles: Institute o Archaeology, University oCaliornia.

Bey, G. J., and C. A. Pool. . Ceramic Production and Distribution: An Integrated Approach. Boulder:Westview Press.

Bikai, P. M. . e Phoenician Pottery o Cyprus.Nicosia: Leventis Foundation.

Bishay, A. . Recent Advances in Science and Technology o Materials. Vol. . New York: Plenum Press.

Bourriau, J. D. . Umm el-Gaab. Pottery rom the Nile Valley beore the Arab Conquest.Cambridge:Cambridge University Press.

. . e Role o Chemical Analysis in the Study o Egyptian Pottery. In Proceedings o theSeventh International Congress o Egyptologists, edited by C. Eyre, , . Leuven:Peeters.

Bourriau, J. D., A. Bellido, N. Bryan, and V. Robinson. . Egyptian Pottery Fabrics: a Comparisonbetween Grouping and the Vienna system. In Timelines: Studies in Honour o ManredBietak,edited by E. Czerny, . . Leuven: Peeters.

Bourriau, J. D., and P. T. Nicholson. . Marl Clay Pottery Fabrics o the New Kingdom romMemphis, Saqqara and Amarna.: .


Bourriau, J. D., L. M. V. Smith, and P. T. Nicholson. . New Kingdom Pottery Fabrics: Nile Clay andMixed Nile/Marl: Clay Fabrics rom Memphis and Amarna.London: Egypt Exploration Society.

Bourriau, J. D., P. T. Nicholson, and P. J. Rose. . Pottery. In Ancient Egyptian Materials andTechnology, edited by I. Shaw and P. T. Nicholson, . Cambridge: Cambridge University

Press.

Bronitsky, G. . Pottery Technology: Ideas and Approaches.Boulder: Westview Press.

Brovarski, E. . Lexicographical Studies in Egyptian Pottery. : .

Butzer, K. . Modern Egyptian Pottery Clays and Predynastic Buff Ware. : .

Cahiers de la cramique gyptienne. Cairo.

Cyganowski, C. J. K. . An Intersite Comparison o Middle Kingdom Lower Egyptian Marl Fabric.PhD thesis. University o Cambridge.

David, A. R. .Science in Egyptology.Manchester: Manchester University Press.


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Davies, P. O. A. L. . Red and Black Egyptian Pottery.: .

Dorman, P. . Faces in Clay. Technique, Imagery, and Allusion in a Corpus o Ceramic Sculpture romAncient Egypt. . Mainz am Rhein: Philipp von Zabern.

Drenkhahn, R. . Die Handwerke und ihre Ttigkeiten im Alten gypten.. Wiesbaden:Harrassowitz.

Druc, I. C. .Archaeology and Clays. International Series . Oxord.

Eggebrecht, A. . Keramik. In Das alte gypten,edited by C. Vandersleyen, . PropylenKunstgeschichte . Berlin: Propylen Verlag.

Esse, D. L. . Subsistence, Trade, and Social Change in Early Bronze Age Palestine. Studies in AncientOriental Civilizations . Chicago: Oriental Institute o the University o Chicago.

Fauvet-Berthelot, M., S. Monzon, and H. Balet. . Lexique et typologie des poteries: pour lanormalisation de la description des poteries. Paris: Editions.

Freestone, I., and D. R. M. Gaimster. . Pottery in the Making: Ceramic Traditions.Washington, :Smithsonian Institution Press.

Freestone, I., C. Johns, and T. W. Potter. . Current Research in Ceramics: in-Section Studies: theBritish Museum Seminar .London: British Museum.

Goddard, S., D. Knight, J. Goddard, S. Hamilton, and S. Rouillard. .Aspects o Illustration:Prehistoric Pottery, Association o Archaeological Illustrators and Surveyors.Exeter: ExeterUniversity.

Greenberg, R., and N. Porat. . A ird Millennium Levantine Pottery Production Center. Typology,Petrography, and Provenance o the Metallic Ware o Northern Israel and Adjacent Regions.: .

Griffiths, D., and M. Ownby. . Assessing the Occurrence o Egyptian Marl Ceramics in Middle

Bronze Age Sidon.: .

Hamroush, H. A. . Pottery Analysis and Problems in the Identification o the Geological Origins oAncient Ceramics. : .

Hendrickx, S., R. F. Friedman, and F. Loyens. . Experimental Archaeology Concerning Black-Topped Pottery rom Ancient Egypt and the Sudan. : .

Hope, C. . Concerning Egyptian Potters Wheels.: .

. a. Egyptian Pottery.Shire Egyptology . Aylesbury: Shire.

. b. Experiments in the Manuacture o Ancient Egyptian Pottery. In Ceramics rom the

Dakhleh Oasis. Preliminary Studies,edited by W. I. Edwards, C. Hope, and E. R. Segnit, .Burwood, Australia: Victoria College Press.

Jacquet-Gordon, H. . A Tentative Typology o Egyptian Bread Moulds. In Studien zur altgyptischenKeramik,edited by D. Arnold, , . Mainz am Rhein: Philipp von Zabern.

Joyce, O., and B. D. Dillon. . Ceramics. In e Students Guide to Archaeological Illustrating,editedby B. D. Dillon, . Los Angeles: Institute o Archaeology, University o Caliornia.

Kelley, A. L. . e Pottery o Ancient Egypt: Dynasty to Roman Times. Toronto: Royal OntarioMuseum.


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Kingery, W. D. . Ceramics and Civilization, Vol. , Technology and Style. Columbus, : AmericanCeramic Society.

Khler, E. C. . Archologie und Ethnographie. Eine Fallstudie der prdynastischen und rhzeit-lichen Tpereiproduktion von Tell el-Farain-Buto. : .

. . Socio-economic Aspects o Early Pottery Production in the Nile Delta. : .

Leeuw, S. E. van der. . Studies in Technology o Ancient Pottery.Amsterdam: Universiteit vanAmsterdam.

Leeuw, S. E. van der, and A. C. Pritchard. . e Many Dimensions o Pottery: Ceramics inArchaeology and Anthropology, Cingula . Amsterdam: Universiteit van Amsterdam.

Lucas, A., and J. R. Harris. .Ancient Egyptian Materials and Industries.th edition. London: EdwardArnold.

Matson, F. R. . Ceramics and Man. New York: Wenner-Gren Foundation or AnthropologicalResearch.

Mazzoni, S. . e Diffusion o the Palestinian Combed Ware. In Studies in the History and

Archaeology o Palestine. Proceedings o the First International Symposium on the PalestineAntiquities,edited by S. Sha`ath, . Aleppo: Aleppo University Press.

Merrillees, R. S. . e Cypriote Bronze Age Pottery Found in Egypt,. Lund: Carl Bloms.

Millett, M. . Pottery and the Archaeologist. London: Institute o Archaeology.

Munsell. .Munsell Soil Color Charts.New Windsor, .

Naschinski, A. .Mglichkeiten und Grenzen unktionaler Interpretation an Keramik: Experimente,Beobachtungen, Analysen. International Series . Oxord.

Nelson, K. . Holocene Settlement o the Egyptian Sahara. Vol. . e Pottery o Nabta Playa.New

York: Kluwer Academic, Plenum Publishers.Nicholson, P. T. . e Firing o Pottery. In An Introduction to Ancient Egyptian Pottery,edited by D.

Arnold and J. D. Bourriau, ,. Mainz am Rhein: Philipp von Zabern.

Noll, W. . Mineralogy and Technology o the Painted Ceramics o Ancient Egypt. In ScientificStudies in Ancient Ceramics, edited by M. J. Hughes, . British Museum Occasional Paper. London: British Museum.

. . Bemalte Keramik Altgyptens: Material, Rohstoffe und Herstellungstechnik. In Studienzur altgyptischen Keramik, edited by D. Arnold, , . Mainz am Rhein: Philipp vonZabern.

. .Alte Keramiken und ihre Pigmente: Studien zu Material und Technologie.Stuttgart: E.Schweizerbart.

Nordstrm, H. . . Cultural Ecology and Ceramic Technology. Early Nubian Cultures rom the Fifhand the Fourth Millennia ..Acta Universitatis Stockholmiensis. Stockholm: Almqvist andWiksell.

. . Neolithic and -Group Sites. e Scandinavian Joint Expedition to Sudanese Nubia .Stockholm: Scandinavian University Press.

. . Classification o the Wheel-Made Wares. In New Kingdom Pharaonic Sites: e Pottery.Scandinavian Joint Expedition to Sudanese Nubia Publications, Vol. :, , edited by R.Holthoer. Lund: Holmes and Meier.


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Olin, J. S., and A. D. Franklin. .Archaeological Ceramics.Washington, : Smithsonian InstitutionPress.

Orton, C., P. Tyers, and A. G. Vince. . Pottery in Archaeology.Cambridge: Cambridge UniversityPress.

Paice, P. . e Pottery o Daily Lie in Ancient Egypt.: .

. . e Pottery o Daily Lie in Ancient Egypt, Studies . Mississauga, , Canada:Benben.

Redmount, C. A., and M. E. Morgenstein. . Major and Trace Element Analysis o Modern EgyptianPottery. : .

Regner, C. .Keramik.Wiesbaden: Harrassowitz.

Rice, P. M. . Pots and Potters: Current Approaches in Ceramic Archaeology. Los Angeles: Institute oArchaeology, University o Caliornia Los Angeles.

. . Pottery Analysis: A Sourcebook.Chicago: University o Chicago Press.Rice, P. M., and M. E. Saffer. .Analysis: Technical and Ethnographic Approaches to Pottery Production

and Use, Annotated Bibliography o Ceramic Studies, Pt. . Gainesville, : Florida State Museumo the University o Florida.

Riederer, J. . e Microscopic Analysis o Pottery rom the Old Kingdom. InAkten des ViertenInternationalen gyptologen Kongresses, Mnchen ,edited by S. Schoske, , .Hamburg: Helmut Buske.

. . e Microscopic Analysis o Calcite Tempered Pottery rom Minshat Abu Omar. :.

Rye, O. S. . Pottery Technology: Principles and Reconstruction. Manuals on Archaeology.Washington, : Taraxacum.

Schulte, R., and D. Arnold. .Meisterwerke altgyptischer Keramik: Jahre Kunst undKunsthandwerk aus Ton und Fayence: . September bis November , Hhr-Grenzhausen,Rastal-Haus. Hhr-Grenzhausen: Keramikmuseum Westerwald.

Shepard, A. O. . Ceramics or Archaeologists.Washington, : Carnegie Institute o Washington.

Skibo, J. M. . Pottery Function: A Use-alteration Perspective, Interdisciplinary Contributions toArchaeology. New York: Plenum Press.

Skibo, J. M., and G. M. Feinman. . Pottery and People: A Dynamic Interaction.Salt Lake City:

University o Utah Press.Steinmann, F. . Tongesse von der vordynastischen Zeit bis zum Ende des Mittleren Reiches, Katalog

gyptischer Sammlung in Leipzig .Mainz am Rhein: Philipp von Zabern.

Vandiver, P., and P. Lacovara. . An Outline o Technological Changes in Egyptian PotteryManuacture. : .

Wenke, R. J. . Anthropology, Egyptology and the Concept o Cultural Change. InAnthropology andEgyptology: A Developing Dialogue,edited by J. Lusting, . Sheffield: Sheffield AcademicPress.


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Whipp, R. . Patterns o Labour: Work and Social Change in the Pottery Industry.London: Routledge.

Yon, M. .Manuel de cramique chypriote. Lyon: Institut Courby.

. . Dictionnaire illustr multilingue de la cramique du Proche Orient Ancien. Collection de laMaison de lOrient Mditerranen, Srie Archologique .Paris: Institut Franais dArchologiedu Proche Orient.


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Clay and Fabric Descriptions Used in Volume

The Vienna SystemNILE FABRICS

Material:

Groundmass:homogenous fineInclusions:abundant fine, ofen medium-sized and occasionally coarse, sand; mica is commonReference:Bourriau and Nordstrm : , Plate ac

Material:

Groundmass:homogenous medium-fineInclusions:numerous fine with some medium-sized and coarse sand; mica is common; scattered

fine (< mm) straw particlesReference:Bourriau and Nordstrm : , Plate dh

Material: Groundmass:homogenous mediumInclusions:abundant fine sand and common medium-sized sand; scattered limestone particles;

noticeable fine to medium straw, with scattered coarse strawReference:Bourriau and Nordstrm : , Plate ad

Material:Groundmass:coarseInclusions:numerous fine to coarse sand; some medium-sized limestone particles; predominance o

fine to coarse straw; sometimes grogReference:Bourriau and Nordstrm : , Plate ei

Material:

Groundmass:fine to mediumInclusions:abundant limestone particles as in abrics such as , , or -Reference:Bourriau and Nordstrm : , Plate ac

Material:

Groundmass:medium fineInclusions:abundance o fine to coarse sandReference:Bourriau and Nordstrm : , Plate dh

MARL FABRICS

Material:

Groundmass:homogenous fineInclusions:relatively abundant fine-medium crushed limestone, some fine sandReference:Bourriau and Nordstrm : , Plate ac


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Material:

Groundmass:fineInclusions:fine sand and limestone particlesReference:Bourriau and Nordstrm : , Plate di

Material:

Groundmass:homogenous fineInclusions:ew mineral inclusions; characteristic pores in the clay; a ew accidental organic

inclusionsRemarks:very similar to modern Qena wareReference:Bourriau and Nordstrm : , Plate ac, gh

Material:

Groundmass:medium to coarseInclusions:large quantity o fine to coarse sand; mica particles also present; and some straw

particles

Reference:Bourriau and Nordstrm : , Plate d, ij

Material:

Groundmass:homogenous and very denseInclusions:without voids; abundant quantities (around o the paste) o sand added as a temperReference:Bourriau and Nordstrm : , Plate ac, gh

Material:

Groundmass:fine and denseInclusions:abundant more or less decomposed limestone particles; fine and medium sand added

as a temperReference:Bourriau and Nordstrm :

Material:Groundmass:fine and homogenousInclusions:predominantly fine to coarse limestone particles added as a temper ( o the paste);

fine to coarse sand; mica; dark rock materialReference:Bourriau and Nordstrm : , Plate ac, e

Material:

Groundmass:medium to coarse

Inclusions:very similar to except or straw particles, here very abundant medium to coarse;numerous medium to coarse sand; some mica

Reference:Bourriau and Nordstrm : , Plate d

Material:Groundmass:mediumInclusions:abundant fine to medium sand, some mica and ew red particlesReference:Aston :


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e ollowing charts are examples o two site-specific classification systems used in this volume.

Lower Egyptian Culture: Maadi(Rizkana and Seeher : )

a Black ware, Nile alluvium, moderate temper (grains mm and arger) o sand, and some crushedstones (usually limestone); also organic inclusions up to mm in size

b Reddish brown ware, Nile alluvium, moderate temper (grains mm and larger) o sand (rounded

quartz grains), and some crushed stones (usually limestone); also organic inclusions up to mm in size

c Local painted ware, Nile alluvium, moderate temper (grains mm and larger) o sand, and somecrushed stones (usually limestone); also organic inclusions up to mm in size

d Local black-topped ware, Nile alluvium, moderate temper (grains mm and larger) o sand, andsome crushed stones (usually limestone); also organic inclusions up to mm in size

Red burnished ware, Nile alluvium with grit temper (grains smaller than mm) consisting osand and sometimes crushed limestone; organic inclusions are very rare

Yellowish washed ware, Nile alluvium with thin brownish, reddish yellow, yellowish green,greyish green slip (desert clay slip); no organic inclusions, large amounts o sand and crushedlimestone particles smaller than mm

Imported (rom Upper Egypt) black-topped ware, Nile alluvium with small amounts o verysmall grains o sand and ground stone

Palestinian ware

Naqada IIIII: Adaima (Buchez : )

fine Nile clay, with sand equal to or greater than microns

medium Nile clay, with sand o medium size ( to microns)

coarse Nile clay with coarse sand (to microns)

fine Nile clay with sand and large particles o eldspar

fine Nile clay with numerous straw particles

fine Nile clay with organic inclusions (ruminant excrement)

Nile clay with carbonized particles, probably ash used as temper

Nile clay with long and very fine organic particles, but not o plant origin (perhaps animal ur)

Nile clay with fine and short organic inclusions and lime particles

medium fine Nile sandy clay with fine and short plant particles

coarse Nile sandy clay with fine and medium fine plant remains

Nile clay with coarse mineral particles (quartz equal to or greater than . mm) and fineplant remains

Nile sandy clay with rare coarse plant remains

red-orange clay with abundant lime particles

dense clay with very small rare quartz and white diffused particles

red-orange clay with rare lime particles

marl clay with organic inclusions

marl clay with quartz

clay, probably rom an oasis


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Bibliography for Clay Descriptions, Volume Aston, D. A. . Die Grabungen des Pelizaeus-Museums Hildesheim in Qantir, Pi-Ramesse. Die Kera-

mik des Grabungsplatzes . Teil . Corpus o Fabrics, Wares and Shapes . Mainz am Rhein: Philippvon Zabern.

Buchez, N. . Le mobilier cramique. InAdama. . conomie et habitat,edited by B. Midant-Reynes,. Cairo: .


Rizkana, I., and J. Seeher. .Maadi . e Pottery o the Predynastic Settlement, . Mainz amRhein: Philipp von Zabern.


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Fayum A, Neolithic

B.C.

SiteNeolithic culture Fayum was identified among material rom the sites o Kom and Kom on thenorth side o Lake Moeris, at the northern rim o the Fayum. Subterranean silos or storing grain wereound at Upper associated with Kom .

MaterialAll the Fayum ceramics are made o coarse Nile clay and are ull o chaff.

Manufactureis early Egyptian pottery was handmade, using the simplest method o construction, known as

pinching and hollowing.

Surfacee suraces o Fayum pots can be described as ollows: red/black-slipped, unpolished slipped, rough-aced brown or red-polished with horizontal smears below the rim, and, rarely, black-polished andunpolished slipped. ere is no evidence o decoration o any kind.

Typesese early ceramics are characterized by their simple shapes. Caton-ompson (Caton-ompson andGardner : ) grouped the Fayum pots into five categories: small bowls and cups, cooking bowls andpots, pedestalled cups, cups with knobbed eet, and rectangular dishes with peaked rims.

Shapes o the large vessels are simple ovoids or bag-like. Bowls have straight or slightly flaring walls.All the pots have very simple rims, in most cases incurved. Bases o the vessels are predominantly flat,but rounded and knob-shaped are also present.

For photos o ceramics representative o this period, see Color Plates and .

BibliographyCaton-ompson, G., and E. W. Gardner. .e Desert Fayum.London: e Royal Anthropological

Institute o Great Britain and Ireland.


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Fayum A

Site: FayumShape: small bowl with slightly flaring walls

and flattened base

Material: rough redManufacture:handmadeSurface: plainReference:Caton-ompson and Gardner

: Plate , Dating: Fayum

Fayum A

Site: FayumShape:deep bowl with slightly flaring walls

and flattened base

Material:rough pinky-grayManufacture: handmadeSurface:plainReference:Caton-ompson and Gardner

: Plate , Dating: Fayum Representative Example: similar to

Color Plate .

Fayum A

Site:FayumShape:deep bowl with flaring walls and

flat baseMaterial: rough red-brownManufacture:handmadeSurface:plainReference: Caton-ompson and Gardner

: Plate , Dating:Fayum Representative Example: similar to

Color Plate .

Fayum A

Site: FayumShape: simple bowl with incurved walls

and flat baseMaterial: rough mottledManufacture:handmadeSurface: plainReference:Caton-ompson and Gardner



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Fayum A

Site: FayumShape:simple bowl with incurved walls

and flat base

Material:rough mottledManufacture: handmadeSurface: plainReference:Caton-ompson and Gardner

: Plate , Dating:Fayum

Fayum A

Site: FayumShape: deep bowl with slightly incurved

walls and flat base

Material: rough pinky-grayManufacture: handmadeSurface:plainReference:Caton-ompson and Gardner


Color Plate .

Fayum A

Site:FayumShape:deep vessel with rounded shoulder,

slightly recurved rim, and flat baseMaterial: rough redManufacture: handmadeSurface:plainReference:Caton-ompson and Gardner


Fayum A

Site: FayumShape: carinated vessel with rounded

shoulder, long neck, slightly recurvedrim, and flat base

Material:rough pinky-buffManufacture:handmadeSurface:plainReference:Caton-ompson and Gardner



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Fayum A

Site: FayumShape: ovoid-shaped pot with incurved rim and rounded base

Material: dark grayManufacture: handmadeSurface:polishedReference: Caton-ompson and Gardner


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Fayum A

Site: FayumShape: bag-shaped pot with slightly

recurved rim and rounded base

Material: rough red-grayManufacture:handmadeSurface:plainReference:Caton-ompson and Gardner : Plate , Dating: Fayum

Fayum A

Site: FayumShape:ovoid-shaped pot with incurved rim and rounded baseMaterial: rough red-brownManufacture:handmadeSurface: plainReference:Caton-ompson and Gardner :

Plate , Dating: Fayum Representative Example: similar to

Color Plate .


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Fayum A

Site:FayumShape:hemispherical pot with slightly incurved rim and rounded baseMaterial: rough red-brownManufacture:handmadeSurface: plainReference:Caton-ompson and Gardner :

Plate , Dating:Fayum

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Site: FayumShape: ovoid-shaped pot with incurved rim and flat baseMaterial:rough red-brown

Manufacture: handmadeSurface: plainReference:Caton-ompson and Gardner :

Plate , Dating: Fayum Representative Example: similar to

Color Plate .

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Fayum A

Site: FayumShape: large vessel with straight, slightly incurved walls, and flattened baseMaterial: rough red-brown

Manufacture:handmadeSurface: plainReference: Caton-ompson and Gardner : Plate , Dating: Fayum


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Fayum A

Site: FayumShape: large bag-shaped vessel with incurved walls and rounded baseMaterial:rough red

Manufacture:handmadeSurface:plainReference:Caton-ompson and Gardner : Plate , Dating:Fayum


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Fayum A

Site: FayumShape:bag-shaped vessel with short neck, simple straight rim, and flat baseMaterial:rough mottled red

Manufacture:handmadeSurface: plainReference: Caton-ompson and Gardner : Plate , Dating: Fayum

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Fayum A

Site: FayumShape: large vessel with rounded shoulder, simple rim, and flat baseMaterial:rough red-brown

Manufacture:handmadeSurface:plainReference:Caton-ompson and Gardner :

Plate , Dating:Fayum

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Fayum A

Site:FayumShape:hemispherical bowl with flat baseMaterial:rough red-brownManufacture:handmadeSurface: plainReference:Caton-ompson and Gardner : Plate , Dating:Fayum


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Fayum A

Site: FayumShape: bowl with flaring walls and flat baseMaterial: rough red-gray

Manufacture: handmadeSurface: plainReference: Caton-ompson and Gardner


Color Plate . and .

Fayum A

Site: FayumShape: bowl with flaring walls and flat baseMaterial: rough pinky-buff

Manufacture: handmadeSurface: plainReference: Caton-ompson and Gardner


Color Plate . and .

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0 5 10 cm

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Fayum A

Site: FayumShape: rectangular bowl with peaked rim

and flat base

Material: rough redManufacture: handmadeSurface: traces o polished suraceReference: Caton-ompson and Gardner


Color Plate .

Fayum A

Site:FayumShape: rectangular bowl with peaked rim and flat baseMaterial:rough brown-redManufacture:handmadeSurface: plainReference:Caton-ompson and Gardner : Plate , Dating: Fayum


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Merimde Beni Salame, Neolithic

B.C.

Site

Merimde Beni Salame is located on the western edge o the Delta, close to modern Cairo.

MaterialAll the Merimde pots are made o Nile clay, primarily without inclusions. Later in the period, vessels aretempered with organic chaff material.

ManufactureLike the ceramics rom Fayum , the Merimde pottery was handmade by pinching and hollowing. epotters also probably started experimenting with slab construction.

SurfaceVessels rom Merimde are poorly fired, with a burnished surace that has visible traces o a hardtool. Some pots were also smoothed. Decoration is very rare. Incised decoration with a herringbonepattern applied beore firing was typical or the early stage o the Merimde culture. In the later stages,applications and incised decorations were added to vessels, especially cooking pots.

Typese shapes in most cases are very simple: bowls with incurved rims and straight, relatively thick walls.Large oval trays appear in the later phase o the culture. Restricted vessels were also common, especiallyred burnished jars. Later more restricted vessels can be ound, with round or cylindrical bodies. erewere also large plates. Bases were not only rounded or flat, but also ring-shaped. In addition, there are aew cases known o a base in the shape o a human oot. Clay spoons are also known.

For photos o ceramics representative o this period, see Color Plate .

BibliographyArnold, D., C. Hope, P. T. Nicholson, and P. Rose. . Techniques and Traditions o Manuacture in

the Pottery o Ancient Egypt. InAn Introduction to Ancient Egyptian Pottery, edited by D. Arnoldand J. D. Bourriau, , . Mainz am Rhein: Philipp von Zabern.

Eiwanger, J. .Merimde-Benisalme . Die Funde der Urschicht, .Mainz am Rhein: Philipp vonZabern.

. .Merimde-Benisalme . Die Funde der mittleren Merimdekultur, . Mainz am Rhein:Philipp von Zabern.

. .Merimde-Benisalme . Die Funde der jngeren Merimdekultur, . Mainz am Rhein:Philipp von Zabern.


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Merimde

Site:MerimdeShape: medium large bowl with straight rimMaterial:Nile clay

Manufacture:handmadeSurface: horizontally burnishedReference:Eiwanger : , Plate ..Dating: Merimde

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Merimde

Site:MerimdeShape:small bowl with straight rim and

rounded baseMaterial: Nile clayManufacture: handmadeSurface:plainReference:Eiwanger : , Plate ..Dating:Merimde

Merimde

Site: MerimdeShape: medium bowl with steep wallsMaterial: Nile clayManufacture:handmadeSurface: horizontally burnishedReference:Eiwanger : , Plate ..Dating: Merimde


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Merimde

Site: MerimdeShape:hemispherical bowlMaterial:Nile clay

Manufacture: handmadeSurface: horizontally burnishedReference:Eiwanger : , Plate ..Dating:Merimde

Merimde

Site: MerimdeShape:vessel with slightly incurved rim and rounded baseMaterial:Nile clayManufacture:handmade

Surface:horizontally burnishedReference:Eiwanger : , Plate ..Dating: Merimde

Merimde

Site: MerimdeShape:bowl with steep walls and rounded baseMaterial:Nile clayManufacture: handmadeSurface: horizontally burnishedReference:Eiwanger : , Plate ..Dating:Merimde


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Merimde

Site: MerimdeShape:very small vessel with straight rim

and rounded base

Material: Nile clayManufacture: handmadeSurface:plainReference:Eiwanger : , Plate ..Dating:Merimde

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Merimde

Site: MerimdeShape:very small vessel with incurved rimMaterial:Nile clay

Manufacture: handmadeSurface:plainReference: Eiwanger : , Plate ..Dating:Merimde

Merimde

Site: MerimdeShape:bowl with slightly incurved rimMaterial:Nile clayManufacture:handmadeSurface: diagonally burnishedReference:Eiwanger : , Plate ..Dating:Merimde

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Merimde

Site: MerimdeShape: bowl with slightly incurved rimMaterial:Nile clayManufacture:handmadeSurface: plainReference: Eiwanger : , Plate ..Dating:Merimde


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Merimde

Site: MerimdeShape: bowl with flat baseMaterial:Nile clay

Manufacture:handmadeSurface:diagonally burnishedReference:Eiwanger : , Plate . .Dating:Merimde

Merimde

Site: MerimdeShape: small bowl with flaring rimMaterial:Nile clay

Manufacture:handmadeSurface:plainReference:Eiwanger : , Plate ..Dating:Merimde

Merimde

Site: MerimdeShape: bowl with slightly incurved rim and

flat baseMaterial:Nile clayManufacture:handmadeSurface:horizontally burnished inside,

diagonally burnished outsideReference:Eiwanger : , Plate ..Dating:Merimde

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Merimde

Site:MerimdeShape:bowl with incurved sides and flat baseMaterial:Nile clayManufacture:handmadeSurface:diagonally burnished outsideReference:Eiwanger : , Plate ..Dating:Merimde


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Merimde

Site: MerimdeShape:vessel with incurved rimMaterial: Nile clay

Manufacture:handmadeSurface:horizontally burnished outside, diagonally burnished insideReference:Eiwanger : , Plate ..Dating: Merimde

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Merimde

Site: MerimdeShape: large vessel with slightly incurved sidesMaterial:Nile clayManufacture:handmadeSurface:horizontally burnished outsideReference:Eiwanger : , Plate ..Dating:Merimde


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Cerámica Egipcia

Documents

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