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Journal articles on the topic 'Indian pottery'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Sharma, Shikha, and Pavel R. Kholoshin. "New Data on Traditional Pottery in India (Pune, Maharashtra)." Archaeology and Ethnography 20, no. 5 (2021): 154–65. http://dx.doi.org/10.25205/1818-7919-2021-20-5-154-165.

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Purpose. A brief survey of the pottery community in the Mundhwa area was conducted in March 2019 and February 2020 as part of the Russian-Indian anthropological expedition organized by the Paleoethnology Research Center, State Museum of Biology (Moscow, Russia) and Savitribai Phule Pune University (Pune, India). The purpose of the study was to provide an initial insight into how traditional pottery functions in these urbanized environments. Results. Various forms of pottery production have been identified. The most widespread was men’s pottery using a potter’s wheel. Only men are engaged in the manufacture of pottery here – Hinduism forbids women from working on a potter’s wheel. All craftsmen work almost all year round, reducing production during the rainy season. With the rapid urbanization and concentration of the population, the demand for pottery has increased. Potters buy practically all raw materials. The clay is brought by peasants from villages within a radius of 80 km by trucks several times a year. The preparation of raw materials, as well as kneading the clay paste, is carried out by most potters by hand. All potters use an electric potter’s wheel to create the vessels. The surface treatment of products by potters is carried out by smoothing using fingers or scrapers while the wheel is rotating. Firing is carried out in square ovens made of bricks. The firing of products begins in the evening, active combustion lasts two to three hours, after which the oven is left to cool until the morning, when the finished vessels are removed. One firing requires about 150 kg of wood. Potters who migrated here from Uttar Pradesh use open firing for their vessels. Conclusion. The authors found that: the traditional nature of the craft is preserved in the community: knowledge and skills are passed down through the family line, the potters use traditional raw materials, building techniques and firing devices; resettled potters demonstrate mixed skills in different levels of pottery production, for example using a mixture of different natural clays; under the pressure of economic conditions, the electric pottery wheel is spreading, the way firing is organized has slightly changed.

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2

Rosselló, Jaume García. "The Potter’s Wheel in the Chilean Central Valley: A Long-Term and Contextual Perspective on Technological Change." Interdisciplinaria Archaeologica Natural Sciences in Archaeology XII, no. 2 (December 30, 2021): 267–79. http://dx.doi.org/10.24916/iansa.2021.2.12.

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In this article the social and technological dynamics detected in the transition from hand-made pottery to wheel-thrown ware in a modern context is considered. The many different sources supplemented by fieldwork provide a long-term perspective and a depiction of its present consequences. It is specifically explained, how an indigenous, hand-made, domestic and female pottery-production system has turned into an essentially male, wheel-thrown and workshop activity. After a series of significant events, the Indian village of Pomaire gained a reputation as a potter’s village. The several changes underwent by its population as regards to pottery production makes it an interesting example to analyse the origin and development of a process of technological change which ended up with the displacement of women from pottery-making and the introduction of the means for mechanised production during the 1980s. Thus, the social and technical transformations which have taken place since colonial times (beginning of the 16th century), for the potters of Pomaire are explained, enlarged on their history in order to contribute to a general reflection.

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Winslow, Deborah. "Status and Context: Sri Lankan Potter Women Reconsidered After Field Work in India." Comparative Studies in Society and History 36, no. 1 (January 1994): 3–35. http://dx.doi.org/10.1017/s0010417500018879.

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In February 1989, in Pune, a city of a million people in the western Indian state of Maharashtra, I visited a simple outdoor pottery workshop. It consisted of a shallow pit kiln surrounded by eleven spaces shaded by gunny sacks on a flat area at the top of stairs leading down to a large river that ran through the city center. The families who used this space werekumbhars, members of a Hindu caste group found throughout the subcontinent. In India to teach, I thought that time spent with these potters might provide a perspective on Sinhalese potters I had known in a Sri Lankan village in the 1970s.The Indian potters were willing, so this first visit was followed by many more over the next four months.

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WALKER, MICHAEL J., and S. SANTOSO. "Romano-Indian Rouletted Pottery in Indonesia." Mankind 11, no. 1 (May 10, 2010): 39–45. http://dx.doi.org/10.1111/j.1835-9310.1977.tb01160.x.

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5

Paliwal, Anju, and Dr Giriraj Sharma. "WOMEN ARTISTS IN CONTEMPORARY INDIAN CERAMICS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 3, 2022): 377–88. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.120.

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Indian has a rich heritage of terracotta art. The history of terracotta/clay goes back to the Harappan Civilization. It is one of the oldest mediums of communication between people, whether for the barter system or as a medium of expression for the artists. ‘Pot’ in the Indian language is called a KUMBH and a person who makes it is called a KUMBHKAR. A different name of potter came to be known as 'Prajapati' creator of toys that came from Brahma who made man of clay. In traditional potter’s families, women were not allowed to work on the wheel. Women help in preparing the clay, making figures, and pain and decorating the ready pots. (Kempler, 2015)India is a patriarchal society, it is education that broke the age-old barriers and notions related to clay and brought self-sufficiency and self-consciousness for graceful living and honorable status in the society. Development of Art College in India after Independence encouraged many female students to learn different subjects like pottery, painting, sculpture, etc. All these subjects enhanced the technical knowledge of the students and paved their way into different art fields. Nirmala Patwardhan, Jyotsna Bhatt, Era Mukherjee, Shampa Shah, Dipalee Daroz, Manisha Bhattacharya, Kristine Michael, Madhavi Subramaniam are some of the artists who encouraged the future women ceramic artists in India.In the present study, we will discuss the contribution of women ceramic artists in contemporary Indian ceramics.

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6

Benco, Nancy L. "The Legacy of Generations: Pottery by American Indian Women:The Legacy of Generations: Pottery by American Indian Women." Museum Anthropology 22, no. 2 (September 1998): 66–69. http://dx.doi.org/10.1525/mua.1998.22.2.66.

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7

DUNCAN, RONALD. "Catawba Indian Pottery: The Survival of a Folk Tradition:Catawba Indian Pottery: The Survival of a Folk Tradition." Museum Anthropology 29, no. 1 (April 2006): 90–91. http://dx.doi.org/10.1525/mua.2006.29.1.90.

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8

Lansing, J. S., A. J. Redd, T. M. Karafet, J. Watkins, I. W. Ardika, S. P. K. Surata, J. S. Schoenfelder, M. Campbell, A. M. Merriwether, and M. F. Hammer. "An Indian trader in ancient Bali?" Antiquity 78, no. 300 (June 2004): 287–93. http://dx.doi.org/10.1017/s0003598x00112955.

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9

Kruckemeyer, Kate, Susan Peterson, D. Y. Begay, Kalley Keams, and Wesley Thomas. "The Legacy of Generations: Pottery by American Indian Women." Journal of American Folklore 113, no. 447 (2000): 94. http://dx.doi.org/10.2307/541271.

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10

Chaudhary, Avadhesh Kumar. "Study of Ancient Indian Pottery in a Geographical Context." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 6 (June 15, 2022): 90–93. http://dx.doi.org/10.31305/rrijm.2022.v07.i06.015.

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Love for beauty is an innate tendency of human beings. It is the consciousness of beauty that gives artistry to human interest. The preoccupation to express one's feelings has been there in humans since the primitive age. The stone paintings made of ocher or dhau stone (hamelite) on the walls of ancient caves are proof of the distraction of human expression of that era. Along with the development of civilization, the expression-ability of man also spread from various sources. When the power of imagination was coordinated with human's emotional and creative talent, its expression started touching the higher dimensions of artistry. This skill of expression is the mother of art. Man expressed his artistic feelings sometimes through literature, sometimes through music, sometimes through paintings, sometimes through sculptures and sometimes through architecture. Indus civilization is counted among the oldest civilizations of the world. The evidence of this civilization is about 5000 years old. Remains of the Indus civilization are earthenware jars, bronzes, seals made of alabaster, figures of soft stone, figures of humans and animals and birds made of clay, and idols of many mother goddesses made of clay. Whatever the craftsmen made on clay in illiterate ways of humans and animals and birds, whatever style they adopted, but even today it is surprising to the human being. Abstract in Hindi Language: सौन्दर्य प्रियता मानव की सहज प्रवृत्ति है। सौन्दर्य की चेतना ही मानव की अभिरुचि को कलात्मकता प्रदान करती है। अपनी अनुभूतियों को व्यक्त करने की व्याकुलता मानव में आदिम–युग से रही है। प्राचीन कन्दराओं की भित्तियों पर गेरू या धाउ पत्थर (हैमेलाइट) से बने प्रस्तर चित्र उस युग के मानव की भावाभिव्यक्ति की व्याकुलता के प्रमाण हैं। सभ्यता के विकास के साथ-साथ मनुष्य की अभिव्यक्ति-क्षमता भी विविध स्रोतों से प्रसारित हुई। मानव की भावयित्री और कारयित्री प्रतिभा के साथ जब कल्पनाशक्ति का समन्वय हुआ तो उसकी अभिव्यक्ति कलात्मकता के उच्च आयामों का स्पर्श करने लगी। अभिव्यक्ति की यही कुशलता कला की जननी है। मानव ने अपनी कलात्मक अनुभूतियों को कभी साहित्य‚ कभी संगीत‚ कभी चित्र‚ कभी मूर्ति तथा कभी स्थापत्य के माध्यम से व्यक्त किया। सिन्धु सभ्यता की गणना विश्व की प्राचीनतम सभ्यताओं में की जाती है। इस सभ्यता के प्रमाण लगभग 5000 साल पुराने है। सैन्धव सभ्यता के अवशेष मिट्टी से बने मृत्तिका जार, कांसे, सेलखड़ी की मुहरें, नर्म पत्थर की आकृतियां, मिट्टी की मानव व पशु-पक्षियों की आकृति और मृण्मयी अनेकों मातृदेवी की प्रतिमायें प्राप्त होते है । शिल्पकारों ने मृत्तिका पर जो भी मानव व पशु-पक्षियों की अनपढ़ तरीकों से बनाई, इन्होनें चाहे जो भी शैली को अपनाया पर आज भी यह मानव को चौंका देने वाली है। Keywords: भौगोलिक अध्ययन, गंगा के क्षेत्र का महत्व, सभ्यता, मानवीय भावना

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11

Tomber, Roberta. "Rome and Mesopotamia – importers into India in the first millennium AD." Antiquity 81, no. 314 (December 2007): 972–88. http://dx.doi.org/10.1017/s0003598x00096058.

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Ever since Wheeler's triumphant discovery of Roman pottery at Arikamedu in the 1940s, it has been appreciated that the east coast of India was in reach of the Roman Empire. Tracking down the finds of Roman pottery on the Indian sub-continent reported since then, the author discovered that many of the supposed Roman amphorae were actually ‘torpedo jars’ from Mesopotamia. Here the areas of influence of these two great imports, probably of wine, are mapped for the first time.

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12

Hally, David J. "The Identification of Vessel Function: A Case Study from Northwest Georgia." American Antiquity 51, no. 2 (April 1986): 267–95. http://dx.doi.org/10.2307/279940.

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Archaeologists now possess the knowledge and techniques necessary to identify pottery-vessel function with a reasonable degree of specificity. This article is intended to demonstrate that capability. The pottery vessel assemblage characteristic of the sixteenth-century Barnett phase in northwest Georgia consists of 13 physically and morphologically distinct vessel types. The mechanical performance characteristics of these vessel types are identified and employed in formulating hypotheses concerning the way vessel types were used. Historic Southeastern Indian food habits are reconstructed from ethnohistorical and ethnographic evidence and employed to refine the vessel-use hypotheses.

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13

Magee, Peter. "Revisiting Indian Rouletted Ware and the impact of Indian Ocean trade in Early Historic south Asia." Antiquity 84, no. 326 (November 25, 2010): 1043–54. http://dx.doi.org/10.1017/s0003598x00067065.

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Indian Rouletted Ware pottery is the iconic marker of the overseas reach of the subcontinent at the turn of the first millennium AD. In the mid twentieth century this was naturally seen as prompted by the contemporary Roman Empire, while the later post-colonial discourse has emphasised the independence and long life of Indian initiatives. In this new analysis the author demonstrates a more complex socio-economic situation. While Greyware is distributed long term over south India, Rouletted ware is made in at least two regional centres for coastal communities using a new ceramic language, one appropriate to an emerging international merchant class.

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14

Pandey, Anjali. "COLOUR TRADITION & CHALCOLITHIC POTTERY." International Journal of Research -GRANTHAALAYAH 9, no. 3 (April 14, 2021): 353–59. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3817.

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Hindi: "भूतकाल का अध्ययन केवल वर्तमान के माध्यम से ही किया जा सकता है । बीते हुए समय के अध्ययन के लिए वर्तमान वस्तुओं तथा वर्तमान में विद्यमान संस्करणों को भूतकाल के अवशेषों के रूप में लेकर उनसे भूतकाल की घटनाओं के बारे में निष्कर्ष निकाला जाता है। वे तर्क जिनके आधार पर निष्कर्ष निकाले जाते हैं वे वर्तमान वस्तुओं घटनाओं तथा संबंधों के अवलोकन पर आधारित होते हैं"।1 English: The excavation work done in India gives information about the stages of ancient Indian culture and various cultural region and their important characteristics. The materials and pottery found from the excavation of chalcolithic sites in Madhya Pradesh are the direct evidences of tradition of pottery paintings . In Madhya Pradesh the cultural range from the Chalcolithic (Tamrashmiya) period to the early medieval period can be traced to the sites of Kayatha, Ujjain, Nagda, Vidisha, Maheshwar-Nawadatoli, Arawa, etc..The erstwhile pottery here provides a perfect example of the amalgamation of different cultures. The Malwa region of Madhya Pradesh has its own style of personal character tradition, this tradition has been more advanced and elaborate than other eligible traditions.

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Youm, Jung-Seop. "A review on the pottery used as śarīra receptacle: Focusing on Buddha’s funeral manner and Korea’s śarīra decoration." Humanities and Meditation Research Institute 2, no. 1 (June 30, 2024): 43–64. http://dx.doi.org/10.60140/mche.2024.2.1.43.

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Pottery is one of the greatest human cultural heritages invented by East Asia. With the development of pottery, it must have been natural that the pottery became a receptacle for Buddha’s śarīra. However, the encounter between the śarīra, the most sacred relic of Buddhism, and the pottery, an East Asian invention, was by no means simple. In this paper, first is examined Buddha’s funeral manner, which became the origin of śarīra. Through this, we can check the method of enshrining the śarīra and the characteristics of the śarīra receptacle, which were different from the traditional ones of India. In addition, this paper also describes the appearance and structure of early Indian Buddhist pagodas. Based on this, Chapter Ⅲ presents the conventional methods to decorate the śarīra in East Asia, focusing on Korean case. And, through the record of <Front and back of śarīra shrine(前後所將舍利)> in 『Samguk Yusa』, it explains the decoration method and śarīra receptacle of the Goryeo royal family. Finally, Chapter Ⅳ reviews the examples of celadon and white porcelains included in Korean śarīra receptacles and their changes. Through this, we can learn that the pottery was initially accepted as an external container of śarīra for storage, but gradually came to have an important position.

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Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.

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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous kinds of paintings, as a means of communication, entertainment and livelihood. Being an important form of artistic expression, these paintings depict the life and customs followed by the people of different time periods.

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Braun, Barbara. "PAUL GAUGUIN'S INDIAN IDENTITY: HOW ANCIENT PERUVIAN POTTERY INSPIRED HIS ART." Art History 9, no. 1 (March 1986): 36–54. http://dx.doi.org/10.1111/j.1467-8365.1986.tb00227.x.

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Manoharan, C., P. Sutharsan, R. Venkatachalapathy, S. Vasanthi, S. Dhanapandian, and K. Veeramuthu. "Spectroscopic and rock magnetic studies on some ancient Indian pottery samples." Egyptian Journal of Basic and Applied Sciences 2, no. 1 (March 2015): 39–49. http://dx.doi.org/10.1016/j.ejbas.2014.11.001.

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Rathore, Sumati, Usha Thakur, and Sarla Shashni. "POTTERY: A UNIQUE TRADITIONAL CRAFT IN INNER SIRAJ VALLEY OF NORTHWESTERN HIMALAYAN DISTRICT OF KULLU, HIMACHAL PRADESH." International Journal of Advanced Research 8, no. 9 (September 30, 2020): 1106–11. http://dx.doi.org/10.21474/ijar01/11766.

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Pottery is a century old craft used by human and is one of the most tangible and iconic elements of Indian art. This craft system shows the lifestyle of native communities, their belief, faith, customs and tradition through their craft. This paper documents the traditional pottery art of the Sirajicommunity living in the inner Siraj Valley of Kullu district in Himachal Pradesh. The uniqueness of the art is wheels are not used for making different pots as in other parts of the country. Paper also documents the procedures involved in making the pots and its current status. Study revealed that this traditional craft system will not survive if some urgent measures are not be taken in near future.

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20

Dietler, Michel. "Pottery in Rajasthan: Ethnoarchaeology in Two Indian Cities:Pottery in Rajas than: Ethnoarchaeology in Two Indian Cities." American Anthropologist 101, no. 1 (March 1999): 194–95. http://dx.doi.org/10.1525/aa.1999.101.1.194.

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21

Sassaman, Kenneth E. "Catawba Indian Pottery: The Survival of a Folk Tradition. Thomas John Blumer." Journal of Anthropological Research 60, no. 3 (October 2004): 425–26. http://dx.doi.org/10.1086/jar.60.3.3630771.

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FEATHERS, J. K., M. BERHANE, and L. MAY. "FIRING ANALYSIS OF SOUTH-EASTERN MISSOURI INDIAN POTTERY USING IRON MÖSSBAUER SPECTROSCOPY*." Archaeometry 40, no. 1 (February 1998): 59–70. http://dx.doi.org/10.1111/j.1475-4754.1998.tb00824.x.

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23

Punekar, Ravi Mokashi, and Shiva Ji. "Ceramic-ware along the Ancient Silk Trade Route—A Short Study of Cross-Cultural Influences on Product Form." Science & Technology Journal 4, no. 2 (July 1, 2016): 84–97. http://dx.doi.org/10.22232/stj.2016.04.02.02.

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The exchange of goods and materials by way of trading and exchanges were common in ancient times between India and China via silk route and other trading routes. The movement of people from one place to another brought exchange of not only materials but also techniques and processes and helped to establish their own manufacturing facilities and craftsmanship. This has resulted into a cross-cultural influence over the craft forms as reflected in many resemblances of material culture, annotations and apologies seen in various forms and shapes in multiple domains such as ceramic pottery, glazed pottery, metalware, ship buildings, printing, silk and other fabrics, patterns and motifs etc. Observations of ancient remains from Belitung and artifacts from Indian cities along secondary and tertiary Silk routes, show significant influence in the similarities in techniques, materials, surface treatments, kiln processes, colors, motifs , etc. This paper examines a cross-cultural resemblance of product form factor between Changsha pottery and pots to ceramic ware from eastern parts and metalware from western regions of India like Gujarat and Rajasthan. The spread of Buddhism from India to China and other eastern and south eastern countries during this period must also form a strong reason for this cultural exchange.

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Gandon, Enora, Thelma Coyle, Frédéric Pous, Franck Buloup, and Reinoud J. Bootsma. "A preliminary study of rotation velocity regulation in pottery wheel-throwing: Fieldwork with Indian potters using the low-inertia kick-wheel." Journal of Archaeological Science: Reports 37 (June 2021): 102987. http://dx.doi.org/10.1016/j.jasrep.2021.102987.

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25

McChesney, Lea S. "Beauty from the Earth: Pueblo Indian Pottery from The University Museum of Archaeology and Anthropology (1990):Beauty from the Earth: Pueblo Indian Pottery from The University Museum of Archaeology and Anthropology." Museum Anthropology 15, no. 4 (November 1991): 33–34. http://dx.doi.org/10.1525/mua.1991.15.4.33.

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Dhanapandian, S., C. Manoharan, and P. Sutharsan. "Applications of FTIR and57Fe Mössbauer Techniques in Studies of Recently Excavated Indian Archaeological Pottery." Acta Physica Polonica A 121, no. 3 (March 2012): 592–98. http://dx.doi.org/10.12693/aphyspola.121.592.

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Swami, Meenakshi. "NATURAL COLORS IN INDIAN SOCIAL TRADITION." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3625.

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Ramdhari Singh Dinkar states that “Indian social life is enriched by traditions.The colorful painting on pottery in the Indus civilization is a testimony to the importance of painting in our tradition. Figures colored in red and yellow symbolize Indian social traditions.The consciousness of the throbbing body within the society is an expression of impulses attested through colors. Painting with colors derived from nature occurred in prehistoric times. Such as black, red, white, yellow, blue etc. Folk art is based on emotions and traditions. It is an expression of the feelings of the common man. The color combination based on divine signs and traditional beliefs is expressed in social traditions. रामधारी सिंह दिनकर का कथन है “भारतीय सामाजिक जीवन परम्पराओं से सम्पृक्त है।सिंधु सभ्यता में बर्तनों पर हुई रंग-बिरंगी चित्रकारी हमारी परम्परा में चित्रकला के महत्व का प्रमाण है। लाल और पीले रंगों से रंगी आकृतियाँ भारतीय सामाजिक परम्पराओं का प्रतीक है।समाज के भीतर धड़कती सजृन की चेतना रंगों के माध्यम से अनुप्रमाणित उद्वेगों की अभिव्यक्ति है। प्रकृति से प्राप्त रंगों से चित्रांकन का प्रागेतिहासिक काल में हुए। जैसे काले, लाल, सफेद, पीले, नीले आदि। लोक कला का संबंध भावनाओं और परम्पराओं पर आधारित है। यह जन सामान्य की अनुभूतियों की अभिव्यक्ति है। देवीय संकेतो व परम्परागत विष्वासों पर आधारित रंग संयोजन सामाजिक परम्पराओं में अभिव्यक्त होता है।

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Quiñones, Fernando R. Espinoza, Carlos R. Appoloni, Adenilson O. dos Santos, Luzeli M. da Silva, Paulo F. Barbieri, Pedro H. Aragão, Virgílio F. do Nascimento Filho, and Melayne M. Coimbra. "EDXRF study of Tupi-Guarani archaeological ceramics." Revista do Museu de Arqueologia e Etnologia, no. 13 (December 23, 2003): 199. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2003.109492.

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A set of indian Brazilian pottery fragments belonging to Tupi-Guarani tradition has been studied by an archaeometric non-destructive technique. The pottery fragments were accidentally discovered in the Santa Dalmacia farm, sited near Cambé city at the north of Paraná Brazilian state. Each one of these fragments came from different ceramic recipients and their physical characteristics are very similar. The EDXRF measurements were performed employing both an X-ray tube and three radioisotope sources (Fe, Cd and Pu). The compositional data of the ceramics paste and pigments is investigated. For detection of the elements within the ceramic paste, the fragments were irradiated at the center of the lateral section, while several superficial areas with remaining plastic decoration were also chosen and irradiated at the convex and concave sides of each fragment. A paste-subtracted compositional data of the remaining pigments was statically extracted from the XRF analysis of each area. A program based on the graphic polygonal representation method was developed and used to correlate the representative intensity data of each fragment.

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Lerner, Judith A. "A prolegomenon to the study of pottery stamps from Mes Aynak." Afghanistan 1, no. 2 (October 2018): 239–56. http://dx.doi.org/10.3366/afg.2018.0016.

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That Afghanistan has been a cultural crossroads is no better demonstrated than by its glyptic art. The designs and styles of the seals used to sign, authenticate and secure documents and packages reflect the artistic and religious traditions of the Hellenistic, Iranian, and Indian worlds. A particular category of seal design is, to my knowledge, known only from impressions on the exterior of clay vessels; they occur at a number of sites in Afghanistan. Their designs differ in style and imagery from the glyptic art of the regions and cultures that produced seals used for authentication purposes and thus suggest that they were carved specifically to mark or decorate ceramics. Recently, a number of potsherds with such seal impressions have been salvaged at the major Buddhist site of Mes Aynak, 40 km southeast of Kabul. Some share motifs with stamped pottery from other sites in Afghanistan, but others are unique. This article is a preliminary exploration of the subject matter and style(s) of the Mes Aynak pottery stamps.

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Fusaro, Agnese. "The Islamic Port of al-Balīd (Oman), between Land and Sea: Place of Trade, Exchange, Diversity, and Coexistence." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 67–95. http://dx.doi.org/10.1163/26666286-12340003.

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Abstract The site of al-Balīd (Southern Oman), identified as the ancient Ẓafār, was a major port city in the Islamic period. Its strategic position and its history, strongly interdependent with that of neighbouring regions, gave it an important socio-economic role. The abundant ceramics and the rich and diverse archaeological materials recovered at the site prove that al-Balīd has always maintained relationships with people living inland and, at the same time, that it was intensively involved in the Indian Ocean trade. The pottery also reflects the coexistence of different traditions, various social classes, and several communities at al-Balīd.

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Akilandeeswari and C. Pitchai. "POTTERY INDUSTRY AND ITS DEVELOPMENT BY EFFECTIVE MARKETING THROUGH INFORMATION AND COMMUNICATION TECHNOLOGIES (ICT)." International Journal of Research -GRANTHAALAYAH 4, no. 4SE (April 30, 2016): 6–13. http://dx.doi.org/10.29121/granthaalayah.v4.i4se.2016.2737.

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Globalization has opened up the economy at a very high speed, as a result of that information technology has opened the sphere a global village and have facilitated global communications network that transcends national boundaries. Due to ICT there is a dramatic change in the society. Handicraft industry is the second largest industry which provides employment to rural and underemployed agricultural laborers. But large group of artisans are in the unorganized sectors like handicraft and cottage industry and these handicraft artisans are in inaccessible area of rural India. Majority of artisans are still bounded to traditional way of living so they are not enjoying the modern world benefits and adopted to modern scenario. These artisans are not access to available technology or participation and to promote for the contribution of societies development and these artisans are less engaged with Information and Communication Technologies (ICTs) than common man. Information and Communication Technologies are for everyone and handicraft artisans should equally benefit to the advantages offered by the technology to the products and processes. Almost in all the States of the India, people are expert in producing handicraft items traditionally. The worth of Indian handicrafts in the international market was realized when the exports crossed Rs. 300,274.12 crores in 2012-13. The handicrafts sector has made considerable contribution to the Indian economy through exports. ICT brings success to marketing and export activities and production part of the craft. But knowledge on marketing technology was poor for artisans. So, an attempt has been made in this paper to bring out the problems and opportunities of artisans in the handicraft industry with the usage of ICT, and the opportunity for exporting to foreign countries and to help artisans improving their standard of living and thus the economy.

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Schaefer, C. E. G. R., H. N. Lima, R. J. Gilkes, and J. W. V. Mello. "Micromorphology and electron microprobe analysis of phosphorus and potassium forms of an Indian Black Earth (IBE) Anthrosol from Western Amazonia." Soil Research 42, no. 4 (2004): 401. http://dx.doi.org/10.1071/sr03106.

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The Indian black earth (IBE) anthrosols (Terra Preta) overlying deep weathered kaolinitic soils of Western Amazonia represent one of the most interesting features of the Amazon Basin, with broad implications to human ecology. We studied one IBE site, in particular the chemical composition and forms of phosphate and potassium, micropedological attributes, and their ecological implications. In the IBE anthrosol, high levels of available P were due to the presence of comminuted fish and animal bone apatite. Flakes of 2 : 1 layer silicates rich in K occurred in pottery remains in the IBE, indicating that they were manufactured from neighbouring 'Várzea' soils. Amazon 'Várzea' environs were the only source of the soil material for pottery, since K-rich 2 : 1 minerals are not present in Terra Firme kaolinitic sediments. High available and total P contents of IBE were related to abundant, very small particles (5–60 μm) of Ca-P and Al-P forms, resolved by s.e.m./EDS at very high magnification. These features originated in animal bones and fish spines that have chemically altered in the soil environment. Earthworm and other biological channels exhibited high Al/P contents, due to apatite ingestion, comminution, and alteration. In transitional horizons, abundant secondary Al/P was present in biological channels, indicating intense biological activity down to 1.5 m. In deeper B horizons, apatite fragments are rare. Charcoal residues of incompletely combusted wood are widespread down to the B horizon. No spatial or concentration relationships exist between P and total free-iron in the soil.

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Nicolas, Arsenio. "Gongs, Bells, and Cymbals: The Archaeological Record in Maritime Asia from the Ninth to the Seventeenth Centuries." Yearbook for Traditional Music 41 (2009): 62–93. http://dx.doi.org/10.1017/s0740155800004148.

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The growth and expansion of maritime trade in the first millennium CE altered the musical landscape of Asia, from earlier Austronesian and Austroasiatic migrations, to the early contacts with India, China, Arabia, and the continuing navigation towards the Pacific and Oceania. Much later in the tenth century, Chinese chronicles describe that peoples from the south called Luzoes (Luzon, Philippines) had invaded its southern shores, while Indian histories record the voyages of sailors from western Indonesia. By the eighth century, Austronesian languages from Borneo had spread towards Madagascar. A trade centred on beads, tin, copper, pottery, ceramics, natural products, and food also carried musical instruments and musicians bearing new ideas in music making and ritual life.

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Goyal, Dinesh, Yashpal Soni, and Geeta Gandhi. "Issues and Challenges of E-Bazaar Implementation in Rural Rajasthan: A Review." ECS Transactions 107, no. 1 (April 24, 2022): 16779–84. http://dx.doi.org/10.1149/10701.16779ecst.

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India is a country with cultural heritage rooted to its villages and livelihood. Indian cultural diversity facilitates many remarkable art forms and craft products. Along with other states, Rajasthan is a major stakeholder in this rich cultural heritage and industry like handicraft, pottery, khadi, etc. This sector of market is unorganized, decentralized, and a labor intensive cottage industry which has high potential in global space. To provide this unorganized sector marketplace, an e-commerce scheme with the name e-bazaar has been launched by the Rajasthan government. In this paper we review the current e-bazaar scheme of GoR, its impact, and its technical challenges while comparing it with other such platforms provided by government or non-government agencies.

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Gaumond, Michel. "Premiers résultats de l’exploration d’un site archéologique à Sillery." Cahiers de géographie du Québec 5, no. 9 (April 12, 2005): 63–72. http://dx.doi.org/10.7202/020263ar.

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Archeological investigation of an Indian site was conducted in 1959 and 1960 by /'Équipe d'archéologie de Québec at Sillery, within the limits of Metropolitan Québec. From written sources as well as from numerous documents found in situ, it appears that this site was the scène of much activity through the centuries. Artifacts were found, but no pottery, and this tends to suggest archaic occupation of a workshop-site. Most of the finds are attributed to the Montagnais, the Abenaquis, the Hurons and some other tribes. The dating of the material is uneasy for there is evidence of the removing of local topsoil and rocks for dock filling and house building purposes in the surroundings.

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KUSHWAHA, DILIP KUMAR, and DALJEET SINGH. "Release To Reorganization: A Case Study Of Indo-Gangetic Plain During 1700 Bc To 1200 Bc." History Research Journal 5, no. 4 (August 22, 2019): 134–49. http://dx.doi.org/10.26643/hrj.v5i4.7139.

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An important debate in Indian archaeology revolves around the questions such as what happened after the collapse of ‘Harappan Civilization' or where those people went, when did the classic Harappan traits from the pottery, bead, seal and town planning disappear. Archaeologists gave different explanations and answers to these questions. For a long archaeologist, have made various attempts to find a possible explanation for the problem such as Aryan invasion, flood, climate change, economic and administrative disintegration. J.P. Joshi put another theoretical answer of interlocking phase between late Harappa and Painted Grey Ware culture forward after the excavation of sites like Bhagwanpura, Dadheri, Katplalon, and Nagar. Preceded by small interlocking phase traits of late Harappan culture disappeared from these sites.

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Porter, Yves. "The Shahi ʿIdgah of 1312 at Rapri (Uttar Pradesh): A Landmark in Indian Glazed Tiles." Muqarnas Online 35, no. 1 (October 3, 2018): 281–91. http://dx.doi.org/10.1163/22118993_03501p012.

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Abstract The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAla⁠ʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.

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Wyckoff, Lydia L. ": Beauty from the Earth: Pueblo Indian Pottery from the University Museum of Archaeology and Anthropology . J. J. Brody." American Anthropologist 93, no. 4 (December 1991): 1044–45. http://dx.doi.org/10.1525/aa.1991.93.4.02a01090.

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Boram-Hays, Carol. "Rookwood and the American Indian: Masterpieces of American Art Pottery from the James J. Gardner Collection (review)." Ohio History 116, no. 1 (2009): 129–31. http://dx.doi.org/10.1353/ohh.0.0063.

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Autiero, Serena. "Indo-Roman lamps from Ter: the long shadow of Rome or the light of transculturation?" Ancient lamps from Spain to India. Trade, influences, local traditions, no. 28.1 (December 30, 2019): 659–70. http://dx.doi.org/10.31338/uw.2083-537x.pam28.1.29.

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Ter, ancient Tagara, in the Osmanabad district (Maharashtra), is among the most important sites when discussing Indo-Roman relations. Local production of small artefacts, such as pottery lamps and figurines, reveals an enthrallment for the exotic resulting in new transcultural visual solutions. The shape, iconography, and execution of terracotta lamps of the so-called Indo-Roman type from Ter are a clear witness to this phenomenon. The absence of precise comparisons with Western productions, and the impossibility to connect them to a direct trade of lamps confirm the transcultural value of these lamps. They are indeed the product of intermingling and contact, not just a copy of well-known types; they are better understood as an original product of Indian manufacturers based on a current stylistic trend gathering inputs from different media and materials. The result is a syncretic original product, created to satisfy the refined taste of urban mercantile elites. These lamps definitely show how alien visual culture found a welcoming environment in the countries involved in ancient globalisation.

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Fenner, Jack N., Mark R. Schurr, Madeleine McLeester, and Laure Dussubieux. "Modeling the Chronology of a Late Precontact Site Using Radiocarbon and Trade Good Dates: Middle Grant Creek." Midcontinental Journal of Archaeology 48, no. 2 (July 1, 2023): 121–45. http://dx.doi.org/10.5406/23274271.48.2.02.

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Abstract Late precontact- and contact-period sites often produce multiple sources of chronological information, including stratigraphy, radiocarbon dates, European trade goods, and pottery seriation patterns. In this article, we describe a step-by-step approach to incorporating such information in an OxCal-based Bayesian chronology model, with special emphasis on incorporating trade-good dating into radiocarbon-based modeling. The Middle Grant Creek site in Illinois is an American Indian site that has yielded a number of European copper and brass trade goods along with extensive ceramic, faunal, floral, and lithic artifacts. Our modeling addresses issues resulting from an inversion in the radiocarbon calibration curve during the late precontact period and produces surprisingly different results depending on the boundary conditions applied to the model. We consider the probabilities produced by the models, propose the most likely chronology for Middle Grant Creek, and provide detailed OxCal scripts and examples that other researchers may adapt to their circumstances and preferences. We also describe lessons learned related to chronological modeling of sites where the radiocarbon curve contains significant inversions.

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bin Sauffi, Mohd Sherman, and Daniel Perret. "The Ecole francaise d'Extreme-Orient - Sarawak Museum Department Archaeological Project in Santubong." Sarawak Museum Journal LXXXII, no. 103 (December 1, 2019): 37–50. http://dx.doi.org/10.61507/smj22-2019-vp4t-03.

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Archaeological research in Sarawak began just after the Second World War under the leadership of Tom Harrisson. As Curator of the Sarawak Museum since 1947, he began exploring the Sarawak River Delta, a 600 km area between Telaga Air in the northwest, Tanjung Sipang in the north, Tanjung Po in the northeast, Samarahan in the southeast and Kampung Makam in the southwest. It is the village of Santubong at the mouth of the Santubong River, one of the branches of the delta, that first caught Harrisson's attention because of observations and chance finds made there since the middle of the nineteenth century. Mention should be made of the famous Batu Gambar, an anthropomorphic sculpture in high relief on a rock at the Sungai Jaong site, rediscovered by a local in the 1880s, and near which was found a "Hindu" terracotta figurine, of carved stones reported at the beginning of the twentieth century on the neighbouring site of Bongkissam, "Indian character" pottery, as well as various objects in gold, Chinese coins and a few residues from ironworking (cf. especially Evans 1929).

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Autiero, Serena. "- Indian Ocean trade: a reassessment of the pottery finds from a multidisciplinary point of view (3rd century BC-5th century AD)." Vicino Oriente 19 (2015): 113–25. http://dx.doi.org/10.53131/vo2724-587x2015_8.

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Pavan, Alexia, and Heidrun Schenk. "Crossing the Indian Ocean before thePeriplus: a comparison of pottery assemblages at the sites of Sumhuram (Oman) and Tissamaharama (Sri Lanka)." Arabian Archaeology and Epigraphy 23, no. 2 (October 29, 2012): 191–202. http://dx.doi.org/10.1111/aae.12000.

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Roman, Liliya G. "Prāmāṇya’s Interpretation Question." Voprosy Filosofii, no. 8 (2023): 189–96. http://dx.doi.org/10.21146/0042-8744-2023-8-189-196.

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This work is devoted to the problems of true knowledge in Indian philosophy. As a starting point of the study, the author analyzes the article of the American philosopher and indologist Karl Potter (1927–2022) “Does Indian Epistemology Concern Justified True Belief?” The author of the introductory article briefly outlines the main problematics of Potter’s work concerning the problem of the truth of knowledge in the Indian philosophical tradition, which is built around the Sanskrit term prāmāṇya and the classical controversy between the theories of svataḥ-prāmāṇya and parataḥ-prāmāṇya, and also the author analyzes the interpretation of the term prāmāṇya proposed by Potter from the point of view of a pragmatic attitude, expressed by the concept of workability, borrowed from representatives of American pragmatism.

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Felicissimo, Marcella P., José Luis Peixoto, Carla Bittencourt, Roberto Tomasi, Laurent Houssiau, Jean-Jacques Pireaux, and Ubirajara P. Rodrigues-Filho. "SEM, EPR and ToF-SIMS analyses applied to unravel the technology employed for pottery-making by pre-colonial Indian tribes from Pantanal, Brazil." Journal of Archaeological Science 37, no. 9 (September 2010): 2179–87. http://dx.doi.org/10.1016/j.jas.2010.03.015.

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Krause, Richard A. ": Vessels of the Spirit . Nic David. ; The Potters of Buur Heybe, Somalia . Tara Belklin. ; Maria: Indian Pottery of San Ildefonso . National Park Service. ; The Working Process of the Korean Folk Potter . Ron du Bois. ; The Working Process of the Potters of India: Bijdapur - A Colony of 700 Potters . Ron du Bois. ; The Working Process of the Potters of India: Massive Terra-Cotta Horse Construction . Ron du Bois." American Anthropologist 94, no. 3 (September 1992): 768–70. http://dx.doi.org/10.1525/aa.1992.94.3.02a00820.

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IOANA, Adrian, Daniela TUFEANU, Dragos Florin MARCU, Bogdan FLOREA, Bianca Cezarina ENE, Daniela Ionela JUGANARU, and Roxana Marina SOLEA. "HISTORICAL AND EDUCATIONAL ASPECTS OF DISCOVERIES AND INVENTIONS THAT REVOLUTIONIZED MANKIND." European Journal of Materials Science and Engineering 6, no. 3 (September 19, 2021): 131–35. http://dx.doi.org/10.36868/ejmse.2021.06.03.131.

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This article presents discoveries and inventions from different periods of mankind, which played an important role in social and technological evolution. Thus, from the period of the Ancient World (prehistory - 400 AD), we present: the appearance of stone tools (which occurred in East Africa and belongs to the first hominids); pottery (appeared in 10500 BC); the development of metallurgy (began in the Middle East, around 6500 BC); the invention of the ox-drawn plow (which occurred around 4000 BC); the construction of the first pyramid in Egypt (2600 BC); the development of iron processing (as part of the development of metallurgy, it occurred around 1400 BC); modernization of papermaking technology (attributed to Tsai Lun, China, around 105 AD); Another historical period that we analyzed in terms of discoveries and innovations that revolutionized humanity was the Middle Ages (400 - 1500). Thus, from this period we presented the following discoveries and inventions: the discovery of the number zero (occurred in 520 and belongs to Indian mathematicians); woodcut printing (appeared in sixth century China); the first printed newspaper (year 700); the development of algebra (it belongs to the Greek mathematician Diophantos, 3rd century AD); gunpowder (it was discovered around 850); the establishment of the University of Bologna (made in 1088); The last period approached was the current one. From this period we presented the following discoveries: magnetism - a new form of electricity; devices controlled only by hand gestures.

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Arnold, Dean E. "Pottery in Rajasthan: Ethnoarchaeology in Two Indian Cities. Carol Kramer. 1997. Smithsonian Institution Press, Washington, D.C. xvii + 264 pp., 70 figures, 11 tables, 2 appendixes, references cited, index. $49.95 (cloth)." American Antiquity 63, no. 3 (July 1998): 519–20. http://dx.doi.org/10.2307/2694652.

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Triwurjani, Triwurjani. "TRADE DURING PRE-SRIWIJAYA (4th–5th Centuries AD)." Berkala Arkeologi 31, no. 1 (May 28, 2011): 57–73. http://dx.doi.org/10.30883/jba.v31i1.418.

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Since early century AD until 5th century AD South Sumatra had been inhabited by communities that were composed in solid social integrations in form of local chiefdoms. Researches concluded that in 4th century AD there were settlements of communities in the East coast of Sumatera. It was believed that these communities had made cantacts with India and Chinese traders, as well as with traders from other countries, Karang Agung Site is one of the sites that had been inhabited by humans during the above period. It is located in South Sumatra in the east coast of Sumatra. There are a number of variables that show the importance of this site, they are: its location which was near water (Musi tributary, moats); the existence of boat stake and various artifacts that were assumed to be trade commodities (stone and glass beads, fine-paste pottery, gold jewelry in forms of earrings and rings) and remains of a boat; its location in international trade route. According to Van Leur, one of the two main trade routes in Asia is the “silk road” that covers China, India and up to Europe. It passed through Central Asia, Turkistan, and the Mediterranean Sea, which had contacts with Indian travelers/traders. This paper is made in an attempt to re-emphasize the existence of the site of Karang Agung, which is based on its natural landscape that was a tidal swamp with very limited sources of fresh water. Despite all that, its inhabitants were very advanced in the field of trade. There must have been some factors that forced this area to become the buffer zone in an international trade route between the open seas and the interior areas.

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