Journal articles: 'Pottery, American'

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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.

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The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.

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Pratt, Jo Ann F. "Determining the Function of One of the New World's Earliest Pottery Assemblages: The Case of San Jacinto, Colombia." Latin American Antiquity 10, no. 1 (March 1999): 71–85. http://dx.doi.org/10.2307/972212.

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AbstractOne of the earliest pottery assemblages in the New World (5900 B. P.) was manufactured by logistically mobile hunter-gatherers at San Jacinto I, in Colombia, South America. The vessels were constructed using fiber temper and were elaborately decorated. These characteristics along with the archaeological context of the pottery suggest that its use was unrelated to cooking or food processing. Visual and statistical analyses indicate the pottery had high economic and social value for this semisedentary group; it likely was utilized for feasting/serving activities and possibly for short-term storage. Comparative analyses indicate that the pottery from other early sites in northeast South American may have served similar functions during the early Formative period.

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Speakman, Robert J., and Hector Neff. "Evaluation of Painted Pottery from the Mesa Verde Region Using Laser Ablation-Inductively Coupled Plasma-Mass Spectrometry (LA-ICP-MS)." American Antiquity 67, no. 1 (January 2002): 137–44. http://dx.doi.org/10.2307/2694882.

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For decades archaeologists have struggled with the problem of accurately determining organic and mineral-based paints in pottery from the American Southwest. Using Laser Ablation-Inductively Coupled Plasma-Mass Spectrometry (LA-ICP-MS), we have developed a simple and cost-effective method that permits classification of painted surfaces into mineral and organic-based categories. By applying this method to Mesa Verde and Mancos Black-on-white pottery from the Mesa Verde Region, we were able to distinguish easily between mineral and organic-based paints. Preliminary data also suggest that multiple sub-groups of mineral-based paints exist within these ceramic types, indicating that multiple recipes for manufacturing paint may have been employed by prehistoric potters from this region.

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VanPool, Christine S., and Elizabeth Newsome. "The Spirit in the Material: A Case Study of Animism in the American Southwest." American Antiquity 77, no. 2 (April 2012): 243–62. http://dx.doi.org/10.7183/0002-7316.77.2.243.

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AbstractPeople often imbue their surroundings, including tools, with a “life essence” that makes them active objects. A growing number of archaeologists are beginning to study how such “living” beings impact human behavior. These archaeologists use the term “object agency,” but employ many different ontologicai approaches. We explore this variation, and present a framework comparing different ontologicai models archaeologists use. We adopt an animistic perspective, and evaluate its applicability to the Southwest using ethnographic and archaeological data. We further propose that it is applicable throughout the New World. Puebloan potters consider pots living beings with a spiritual essence that is affected by and that impacts humans. Pottery manufacture is a mutual negotiation between the potter and the clay to create a “Made Being” with its own spiritual and material aspects. We conclude that a similar ontology is reflected in effigy pots and globular jars from the Casas Grandes region. Ultimately we conclude that this perspective provides useful insights into the placement, decoration, and discard of many vessels that have puzzled Southwestern archaeologists for decades.

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Joseph, J. W. "Crosses, Crescents, Slashes, Stars: African-American Potters and Edgefield District Pottery Marks." Journal of African Diaspora Archaeology and Heritage 6, no. 2 (May 4, 2017): 110–32. http://dx.doi.org/10.1080/21619441.2017.1345107.

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VINCENT, STEPHANIE. "“A Bull in Our China Shop:” Japanese Imports and the American Pottery Industry." Enterprise & Society 19, no. 2 (March 9, 2018): 430–68. http://dx.doi.org/10.1017/eso.2017.66.

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From its beginning, the American pottery industry had to contend with the presence of imports. At first, manufacturers coped by promoting their own products and striving to improve design and quality. However, when Japan began importing china in greater quantities, American potters faced a challenge unlike any before. Initial attempts to attack imports outright through boycotts met with limited success through World War II. Following the peace, Cold War economic policy designed to reintroduce Japan to the global market led to another round of increasing importation. U.S. potters decried the poor quality and low wages connected to Japanese china, yet could not agree on a strategy to overcome the growing number of imports. Some filed lawsuits over copied designs while others hoped to contract with the Japanese to import on their own terms. The failure of these manufacturers to unify in response to Japan proved one of the most damaging blows to this small industry.

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Kondakova, Olga V. "Imitation as an adaptation tool in pottery making in New Spain." Latinskaia Amerika, no. 6 (December 15, 2024): 55–75. http://dx.doi.org/10.31857/s0044748x24060041.

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Ceramics produced in the Viceroyalty of New Spain in the 16th – 18th centuries serve as a valuable source for studying the history of intercultural contacts and colonization of the American continent. This article focuses on tableware ceramics and their significance in the sociocultural adaptation of colonial populations. The production of pottery on the Iberian Peninsula prior to colonization is described, and the function of ceramic vessels during the initial stages of conquest is explored. The article also examines questions of continuity and innovation in pottery production technology, and presents models for the emergence of new ceramic types in New Spain. Additionally, connections are established between the external appearance of tableware and the social identity of its owner. Particular attention is paid to the study of Tonala Polychrome ceramic type, which is an excellent example of local potters adapting to new standards of tableware. The work is based on the study of collections of Tonaltec pottery from the 17th to 18th centuries found in museums across Russia, Spain, and France.

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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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Stoltman, James B., Danielle M. Benden, and Robert F. Boszhardt. "New Evidence in the Upper Mississippi Valley for Premississippian Cultural Interaction with the American Bottom." American Antiquity 73, no. 2 (April 2008): 317–36. http://dx.doi.org/10.1017/s0002731600042293.

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The recovery of anomalous (red-slipped, shell/grog/sandstone-tempered) pottery from three sites in the Upper Mississippi Valley (UMV) prompted a petrographic analysis of thin sections of 21 vessels from these sites. The goal was to evaluate their possible derivation from the American Bottom, the nearest locality where such pottery commonly occurs. Among the 12 UMV vessels tempered with shell (nine red slipped), ten were determined, based on comparisons to thin sections of stylistically similar pottery from the American Bottom, to have essentially identical physical compositions. Additionally, four vessels suspected of being limestone-tempered were determined to have been tempered with a type of sandstone that out-crops only farther south in Illinois and Iowa. Of the three UMV sites, only the Fisher Mounds Site Complex (FMSC) produced the presumed exotic pottery in undisturbed, dated contexts. The petrographic evidence is consistent with the C-14 age and lithic assemblage at FMSC in suggesting an actual influx of people from the American Bottom into the UMV. The time of this influx, the Edelhardt phase of the Emergent Mississippian/Terminal Late Woodland period, ca. cal A.D. 1000-1050, is earlier than previously believed, i.e., precedes the main Mississippian period in the American Bottom.

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Hoopes, John W. "The Tronadora Complex: Early Formative Ceramics in Northwestern Costa Rica." Latin American Antiquity 5, no. 1 (March 1994): 3–30. http://dx.doi.org/10.2307/971900.

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The correlation of archaeological features with tephra stratigraphy and radiocarbon dates in the volcanic cordillera of northwestern Costa Rica has provided evidence for an Early to Middle Formative ceramic complex dating to at least 2000 B.C. Tronadora ceramics have been found in association with evidence for early horticulture and sedentism. Stylistic comparisons with other early pottery from Central America have helped with the refinement of our chronology for the earliest sedentary societies in Costa Rica and Nicaragua. Differences between Tronadora pottery and the earliest complexes of Mesoamerica and southern Central America indicate a high degree of regionalization in ceramic styles during the Early Formative period. Similarities also indicate, however, the common participation of northwestern Costa Rica and southern Mesoamerica in broad interaction networks at this time. Tronadora pottery does not represent an incipient technology or the result of a diffusion of ceramic production from Mesoamerica or northwestern South America. Instead, it implies the existence of an earlier and still-undefined period of technological experimentation in the Central American isthmus.

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King, Adam, Terry G. Powis, Kong F. Cheong, Bobi Deere, Robert B. Pickering, Eric Singleton, and Nilesh W. Gaikwad. "Absorbed Residue Evidence for PrehistoricDaturaUse in the American Southeast and Western Mexico." Advances in Archaeological Practice 6, no. 4 (October 4, 2018): 312–27. http://dx.doi.org/10.1017/aap.2018.30.

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ABSTRACTAbsorbed residue studies have been used in subsistence research for decades. Only more recently have the chemical methods employed been used to explore the consumption of ritual concoctions such as those including cacao, yaupon holly, and alcohol. In this article we use mass spectrometry to identifyDaturaresidues in prehistoric contexts from western Mexico and the American Southeast.Daturais a genus of flowering plants that contain hallucinogenic alkaloids. Their use in both regions is known historically and still continues today. This study sampled 55 pottery vessels and 18 shell vessels using both a traditional burr method and a water-based sonicator sampling method.Daturaresidues were found in 13 pottery vessels and 14 shell vessels using both sampling approaches. These results demonstrate that it is possible to identifyDaturaresidue in pottery and shell vessels and that the use ofDaturaextends back into prehistory in both regions. The form and decoration of pottery vessels withDaturaresidues show correlations with specific motifs and themes. Historically, shell vessels were used in the Southeast for the consumption of another ritual beverage, called the Black Drink. The presence ofDaturashows that those vessels were used for other kinds of beverages as well.

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Anderson, Shelby L., Shannon Tushingham, and Tammy Y. Buonasera. "AQUATIC ADAPTATIONS AND THE ADOPTION OF ARCTIC POTTERY TECHNOLOGY: RESULTS OF RESIDUE ANALYSIS." American Antiquity 82, no. 3 (May 15, 2017): 452–79. http://dx.doi.org/10.1017/aaq.2017.8.

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The late adoption of pottery technology in the North American Arctic between 2,500 and 2,800 years ago coincides with the development of a specialized maritime economy. Arctic pottery technologies present an excellent case study for examining possible correlations between hunter-gatherer pottery and aquatic resource use. Review of the timing and distribution of early pottery in Alaska shows that early pottery is rare and dates at the earliest to 2,500 years ago; the earliest pottery is found in small numbers and primarily in coastal areas. Despite expectations that pottery use would be strongly linked to marine lipids, biomarkers and compound-specific δ13C values of 20 sherds from the Cape Krusenstern site complex, dating from 2700 to 200 cal B.P. years ago, are most consistent with freshwater aquatic resources; mixtures of freshwater aquatic, marine aquatic, and terrestrial resources are also possible. While additional analysis of a larger sample and zooarchaeological reference specimens is necessary, our study suggests that the development of pottery production by Arctic peoples is more complex than previously appreciated. This research is the first synthesis in over 30 years of early pottery in Alaska and is the first to include residue analysis of a small sample of pre-1500 B.P. pottery.

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Adams, E. Charles, J. J. Brody, Catherine J. Scott, and Steven A. LeBlanc. "Mimbres Pottery: Ancient Art of the American Southwest." American Indian Quarterly 11, no. 2 (1987): 177. http://dx.doi.org/10.2307/1183716.

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Pearson, Richard. "The social context of early pottery in the Lingnan region of south China." Antiquity 79, no. 306 (December 2005): 819–28. http://dx.doi.org/10.1017/s0003598x00114954.

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Late Pleistocene and early post-Pleistocene communities in East Asia experimented with pottery production and the domestication of plants and animals. What was the nature of the social organisation of these early small-scale societies? Some North American writers consider pottery making to be a ‘prestige technology’ sponsored by aggrandising individuals. However, examples from south of the Nanling Mountains and other areas have simple tool assemblages and site plans showing very little evidence of social differences. Judging from recent debates about social agency, there are more appropriate explanations for the earliest pottery making, which focus on the collective rather than the individual.

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VanPool, Christine S. "The Shaman-Priests of the Casas Grandes Region, Chihuahua, Mexico." American Antiquity 68, no. 4 (October 2003): 696–717. http://dx.doi.org/10.2307/3557068.

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The Casas Grandes culture flourished between two well-known regions: Mesoamerica and the North American Southwest. An analysis of Medio period (A.D. 1200-1450) pottery suggests that Paquimé, the center of the Casas Grandes world, was dominated by shaman-priests. The pottery includes images that document a “classic shamanic journey” between this world and the spirit world. These images can be connected to the leaders of Paquimé and to valuable objects from West Mexico, indicating that the Casas Grandes leadership had more in common with the Mesoamerican system of shaman-leaders than with the political system of the Pueblo world of the North American Southwest.

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Fuortes, Laurence J., Doug Weismann, Jennifer Niebyl, Rita Gergely, and Stephen Reynolds. "Pregnancy, Pica, Pottery, and Pb (Lead)." Journal of the American College of Toxicology 15, no. 5 (October 1996): 445–50. http://dx.doi.org/10.3109/10915819609018013.

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A case of occult lead poisoning during pregnancy resultant from ingestion of shards of Mexican pottery is presented. Pica, although not uncommon in certain cultures, may not be readily admitted to by patients. This poisoning resulted from the practice of pica in the face of iron deficiency and pregnancy in a young Mexican–American mother. Intentional ingestion of fired, lead-glazed pottery has not been heretofore described as a manifestation of pica or cause of lead poisoning. However, this practice must be considered, especially in Hispanic mothers.

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ATIYAH, Ahmed Shams. "AESTHETIC VALUES AND ITS IMPLICATIONS IN MODERN AMERICAN POTTERY." RIMAK International Journal of Humanities and Social Sciences 03, no. 03 (March 1, 2021): 349–60. http://dx.doi.org/10.47832/2717-8293.3-3.33.

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Aesthetic values have grown in light of the innovations and changes taking place in society that can be captured from the outside world, because they are textile creation composed of formal relationships that have produced shapes of aesthetic value. Therefore, it is necessary to realize the most important characteristics of the whole and the part in the context of designing the ceramic figure to highlight its aesthetic value, as it gave the artist a vision inspired by the creations of nature and was thus able to transfer the inner or latent knowledge in the core of artistic activity to the circle of consciousness and feeling, as it relates to the production of meaning and the regularity of lines and colors, as well On the nature of the physical environment that has the ability to achieve constructive relationships in the process of perception such as harmony, dominance, unity and diversity, an attempt to invest in visual art through the illusions that the sculptural work leaves on the eyes of the recipient through his perceptual system, and it is a result of the issue of the dialectical relations between objective vision and self-vision and their visual effects that arise Through the organization and the intermarried lines in the artistic achievement, the first chapter also reviewed a number of terms mentioned in the title of the research, and the second chapter dealt with two topics: the first was the aesthetic value, the concept and the meaning, while the second research concerned visual art and its role in contemporary American ceramics and concluded the theoretical framework by extracting indicators from it, and studies The precedent and its discussion, to be used in drafting the paragraphs of the research tool (the form of analysis of the Samples). The third chapter deals with the research procedures, as the current research follows the approach (descriptive - analytical), in which the research community was defined, "30" works of art were selected and "3" works were selected, where 4areas were identified for analysis to reveal the aesthetic value in the ceramic work. As for the contemporary, the fourth chapter includes research results, conclusions, recommendations and proposals, then sources, appendices and English

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Stewart, R. Michael, and George Pevarnik. "Artisan Choices and Technology in Native American Pottery Production." North American Archaeologist 29, no. 3 (July 2008): 391–409. http://dx.doi.org/10.2190/na.29.3-4.k.

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Crown, Patricia L. "Learning to Make Pottery in the Prehispanic American Southwest." Journal of Anthropological Research 57, no. 4 (December 2001): 451–69. http://dx.doi.org/10.1086/jar.57.4.3631355.

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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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Daems, Dries. "Sarah James. Hellenistic Pottery: The Fine Wares. Corinth VII.7. pp. 360, with 45 ills, 44 plates, 3 plans, 3 tables. 2018. Princeton NJ: American School of Classical Studies at Athens. ISBN 978-0-87661-077-0, hardcover £150." Journal of Greek Archaeology 5 (January 1, 2020): 607–10. http://dx.doi.org/10.32028/jga.v5i.463.

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The latest edition in the Corinth volumes, Hellenistic Pottery: The Fine Wares by Sarah James, is the seventh instalment of the pottery volumes, initiated by Saul Weinberg in 1943. It provides a much-needed extension and revision of the chronology of Hellenistic pottery posited in Roger Edwards’ book Corinthian Hellenistic Pottery, which was published as the third volume in this series in 1975.

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Harry, Karen G., Timothy J. Ferguson, James R. Allison, Brett T. McLaurin, Jeff Ferguson, and Margaret Lyneis. "Examining the Production and Distribution of Shivwits Ware Pottery in the American Southwest." American Antiquity 78, no. 2 (April 2013): 385–96. http://dx.doi.org/10.7183/0002-7316.78.2.385.

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AbstractCompositional analyses were undertaken to evaluate the hypothesis that Shivwits Ware pottery found in southern Nevada was not produced in that area but, instead, manufactured on the Shivwits Plateau. The evidence supports this hypothesis and indicates that large quantities of Shivwits Ware jars moved through a distribution system linking the upland areas of the western Arizona Strip with the lowlands of southeastern Nevada. This long-distance movement of utilitarian pottery is unusual for precontact North America, in that it occurred in the apparent absence of any centralized distribution mechanisms and between what would have been small, kin-based communities. The nature and the causes for the development of this distribution system are discussed.

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Van der Enden, Mark. "Susan I. Rotroff. The Athenian Agora XXXIII: Hellenistic Pottery, the Plain Wares. pp. 480, with 98 ills and 90 plates. 2006. Princeton NJ: American School of Classical Studies at Athens. ISBN 978-0-87661-233-0, hardback $150." Journal of Greek Archaeology 5 (January 1, 2020): 603–4. http://dx.doi.org/10.32028/jga.v5i.461.

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Rotroff’s Hellenistic Pottery, the Plain Wares is one of the key Hellenistic Pottery publications available to specialists in the field. The publication, by now more than a decade old, is still a shining example of the ideal pottery publication. It combines a rigorous, exhaustive and authoritative presentation and discussion of ceramic data with substantial contextual analysis. The lavishly illustrated volume joins its sister volumes, Agora XXIX and XXII, in providing a complete picture of the Hellenistic period pottery attested at the Athenian Agora.

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Zaslavsky, Claudia. "Symmetry In American Folk Art." Arithmetic Teacher 38, no. 1 (September 1990): 6–12. http://dx.doi.org/10.5951/at.38.1.0006.

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Symmetrical designs and repeated patterns are important elements in the arts of many cultures—in fabrics, masks, pottery, and wood carvings, to mention just a few examples (Appleton 1971; Chatley 1986; Harris 1987; Krause 1983; Larsen and Gull 1977; Zaslavsky 1973, 1979, 1981, 1987). Many examples can be found in the textile arts alone. Symmetrical patterns in quilts and rugs, the subject of this article, often have symbolic meaning and play a role similar to writing in conveying ideas. The artist, who is usually anonymous, may introduce variations on the traditional themes or may boldly create new designs.

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Malmer, Zenia. "The Material Culture of Tableware: Staffordshire Pottery and American Values." Journal of Design History 32, no. 3 (September 2019): 310–11. http://dx.doi.org/10.1093/jdh/epz031.

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Samford, Patricia. "The Material Culture of Tableware: Staffordshire Pottery and American Values." Historical Archaeology 54, no. 2 (February 18, 2020): 517–18. http://dx.doi.org/10.1007/s41636-020-00232-w.

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Tsetlin, Yu B. "The Origin of Pottery as a Result of Human Adaptive and Imitative Activity." Bulletin of the Irkutsk State University. Geoarchaeology, Ethnology, and Anthropology Series 41 (2022): 113–21. http://dx.doi.org/10.26516/2227-2380.2022.41.113.

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The study of the origin of pottery production includes a consideration of two important questions: 1) Why pottery production appeared? and 2) How it was? In European and American archaeological literature, we can find various approaches to these issues. This article proves the fact that pottery production appeared in the result of gradual accumulation of concrete human knowledge about the useful features of different natural materials distributed in the environment. The all useful knowledge in pottery making was found only by cut-and-try method. It was a long-time and step by step process, when positive acquirements became a part of local cultural traditions which passed down from generation to generation. Resemblance between stone, wicker, and clay vessels in general proportionality and volume shows that the emergence of pottery was an obligate course of development, when different natural materials were tested. The process had been finished by widespread distribution of clay vessels as universal things by their function. Since the emergence of pottery production was a polycentric process, a concrete ways of pottery technology development were different in various natural and climatic conditions. But in any cases, this process obeyed general laws, which are consisted in gradual knowing about important qualities of silt and then of clay plastic raw materials. The change from silt to clay was manifested itself in special imitation of complex constituent of silt by adding of different organic or mineral tempers in natural clay. The author shows that the development of vessels’ shapes passed from the use of natural containers then to artificial containers made of natural materials, and finally to artificial ones made of new special constructional materials (i.e., pottery pastes). Such clay containers could be fired with various regimes. So, we can do a conclusion, that the origin of pottery production was an obligate historical process of human adaptation to the natural environment, its imitation, and finally to the making a new artificial material which are absent in the world.

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Sassaman, Kenneth E., Meggan E. Blessing, and Asa R. Randall. "Stallings Island Revisited: New Evidence for Occupational History, Community Pattern, and Subsistence Technology." American Antiquity 71, no. 3 (July 2006): 539–65. http://dx.doi.org/10.1017/s0002731600039809.

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For nearly 150 years Stallings Island, Georgia has figured prominently in the conceptualization of Late Archaic culture in the American Southeast, most notably in its namesake pottery series, the oldest in North America, and more recently, in models of economic change among hunter-gatherer societies broadly classified as the Shell Mound Archaic. Recent fieldwork resulting in new radiocarbon assays from secure contexts pushes back the onset of intensive shellfish gathering at Stallings Island several centuries; enables recognition of a hiatus in occupation that coincides with the regional advent of pottery making; and places abandonment at ca. 3500 B.P. Analysis of collections and unpublished field records from a 1929 Peabody expedition suggests that the final phase of occupation involved the construction of a circular village and plaza complex with household storage and a formalized cemetery, as well as technological innovations to meet the demands of increased settlement permanence. Although there are too few data to assess the degree to which more permanent settlement led to population-resource imbalance, several lines of evidence suggest that economic changes were stimulated by ritual intensification.

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Tabarev, Andrey V., Yoshitaka Kanomata, Jorge G. Marcos, Alexander N. Popov, and Boris V. Lazin. "Insights into the Earliest Formative Period of Coastal Ecuador: New Evidence and Radiocarbon Dates from the Real Alto Site." Radiocarbon 58, no. 2 (January 13, 2016): 323–30. http://dx.doi.org/10.1017/rdc.2015.23.

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AbstractOne of the most intriguing questions of South American archaeology is the time, place, and origin of the earliest pottery. Since the late 1950s, the earliest pottery has been attributed to the materials of the Early Formative Valdivia culture (5600–3500 BP), coastal Ecuador. Excavations at the Real Alto site conducted in the 1970s and 1980s allowed the rejection of the spectacular “Jomon–Valdivia” hypothesis and established a local origin of the phenomenon. Recent radiocarbon dates from a joint Russian–Japanese–Ecuadorian project at Real Alto open a new page in our knowledge of the transition from pre-ceramic Las Vegas to ceramic Valdivia cultures.

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Crown, Patricia L., Jiyan Gu, W. Jeffrey Hurst, Timothy J. Ward, Ardith D. Bravenec, Syed Ali, Laura Kebert, et al. "Ritual drinks in the pre-Hispanic US Southwest and Mexican Northwest." Proceedings of the National Academy of Sciences 112, no. 37 (September 8, 2015): 11436–42. http://dx.doi.org/10.1073/pnas.1511799112.

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Chemical analyses of organic residues in fragments of pottery from 18 sites in the US Southwest and Mexican Northwest reveal combinations of methylxanthines (caffeine, theobromine, and theophylline) indicative of stimulant drinks, probably concocted using either cacao or holly leaves and twigs. The results cover a time period from around A.D. 750–1400, and a spatial distribution from southern Colorado to northern Chihuahua. As with populations located throughout much of North and South America, groups in the US Southwest and Mexican Northwest likely consumed stimulant drinks in communal, ritual gatherings. The results have implications for economic and social relations among North American populations.

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Kooiman, Susan M. "Woodland Pottery Function, Cooking, and Diet in the Upper Great Lakes of North America." Midcontinental Journal of Archaeology 41, no. 3 (October 1, 2016): 207–30. http://dx.doi.org/10.2307/26599939.

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Abstract A multidimensional approach to functional analysis was employed to examine pottery use, cooking, and subsistence in pre-European North American contexts. A variety of analytic techniques were applied to ceramic assemblages from two sites on the south shore of Lake Superior: the Middle Woodland Naomikong Point site and the Late Woodland Sand Point site. The analyses of both technical attributes and use-alteration traces suggest that a majority of pottery vessels from these sites were used for cooking throughout the Woodland period. Lipid residue analysis corroborates traditional subsistence information but specifies which foods were cooked in pottery vessels. Vessel size varies according to context rather than by time or by function, with larger vessels associated with ritual areas and smaller vessels originating from domestic spheres, a trend potentially related to feasting behavior. Interior carbonization patterns change in frequency between the Middle and Late Woodland periods, suggesting a shift in cooking and possibly subsistence practices.

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أ . م . د احمد هاشم الهنداوي and م . د زينب كاظم البياتي. "The Technical Mechanism For The Contemporary American Raku (Samples Chosen For Pioneers of American Pottery)." Journal of the College of Basic Education 15, no. 57 (December 20, 2022): 19–48. http://dx.doi.org/10.35950/cbej.v12i57.7964.

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تعد تقنية خزف الراكو, احدى تقنيات اظهار الخزف القديمة والمعاصرة, وتتنوع اليات تنفيذ هذه التقنية على وفق طرائق الاسلوبية للخزاف بدءاً من جدولة الفورملة الخاصة بالطين والزجاج,والحرق المؤكسدوالاختزال الاولي داخل الفرن وحتى عملية الاختزال الاخيرة خارج الفرن. تكمن اهمية البحث الحالي توافقاً واستجابة مع حاجة مؤسساتنا المعرفية ,لاسيما (مكتباتنا العربية) لحاجتها لمثل هذه البحوث التي تمت بلغات اجنبية مغايرة, لتعزيز دور العلم والفن في التحول بمفهوم الخزف كأحد المجالات الفنية التي تمنح اللون أهمية كبيرة لاسيما في سطوحه التي تبثه التقنية أما أهداف البحث فترتكز على دراسة الالية التقنية لخزف الراكو الامريكي المعاصر منه على نحو خاص وكشف مفارقاته عن تقنيات الراكو في بلدان محايثة أثرت بشكل جلي في تأسيس هذه التقنية. ويتحدد البحث علاوة على مكانيته (خزف الراكو الامريكي ) ليشمل زمنيا بالفترة المحددة بين نحو (1972-2008) . تم التطرق للمحاور التالية: مقدمة في مفهوم التقنية ، الراكو..... ماهيته ومرجعياته في الخزف الامريكي ، الراكو والياته التقنية بين الاكسدة والاختزال ( الطين والزجاج) ،نماذج تطبيقية من خزف الراكو الامريكي المعاصر . وتم التوصل الى نتائج البحث والتي افصحت على تفرد خزف الراكو الامريكي بخصائص مميزة تتوافق في تعزيز التجربة الامريكية في البحث عن ما هو جديد ومبتكر.

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Simon, Arleyn W. "Pottery and Pigments in Arizona: Salado Polychrome." MRS Bulletin 21, no. 12 (December 1996): 38–47. http://dx.doi.org/10.1557/s0883769400032103.

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Salado-polychrome ceramics, marked by distinctive black on white with red designs (Figure 1), coincided with the development of platform-mound communities and were the result of an amalgamation of technological traditions that occurred during a time of population movements and cultural changes in the prehistoric American Southwest. Saladopolychrome ceramics were the most abundant decorated ware of the Classic period (A.D. 1275–1450) and have been recovered from sites in central Arizona, southwestern New Mexico, and northern Chihuahua, including the site of Casas Grandes. Several archaeologists have interpreted Salado-polychrome designs as symbols of a regional cult (Adams, Crown, Rice) that eased the integration of diverse populations in times of migration and social stress. The color scheme and designs of Salado polychrome are distinctive compared to other contemporary and earlier ceramics, making definition of its development difficult.

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Stern, Marc J. "Industrial Structure and Occupational Health: The American Pottery Industry, 1897–1929." Business History Review 77, no. 3 (2003): 417–45. http://dx.doi.org/10.2307/30041185.

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Beginning in 1897, the American ceramics industry entered a period of stability and collaboration that emerged from an agreement by several leading firms to fix prices and discounts, exchange cost and price information, and begin close contractual relations with its workers' union, the National Brotherhood of Operative Potters. One issue, however, remained trouble-some: how to deal with occupational health issues in this disease-ridden trade. Should firms rely on state or private inspection? Should they be bound to one standard? Significantly, the companies and unions opted for private inspection systems that allowed them to maintain trade stability, even at the cost of health improvements. This arrangement remained in place until 1923, when federal antitrust actions shattered the trade association. Employers then faced a shift to state inspection and enacted a range of new schemes and private welfare plans to suit their designs.

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Kim, Ho Chung. "The Influences of Dow’s Anti-Classical Art Education on the Advent of American Art Pottery and Female Artist-Potters." Journal of Art Theory and Practice 25 (June 30, 2018): 75–103. http://dx.doi.org/10.15597/jksmi.25083538.2018.25.075.

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Gibson, McGuire, Muhammad Maktash, Judith A. Franke, Amr Al-Azm, John C. Sanders, Tony Wilkinson, Clemens Reichel, et al. "First season of Syrian-American investigations at Hamoukar, Hasekeh Province." Iraq 64 (2002): 45–68. http://dx.doi.org/10.1017/s0021088900003648.

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In 1999, the joint expedition of the Syrian Directorate General of Antiquities and the Oriental Institute of the University of Chicago initiated excavations and surface reconnaissance at the site of Tell Hamoukar in the northeastern corner of Hassekeh Province (Figs. 1–2). We need to acknowledge, with gratitude, the help and encouragement rendered by Dr Sultan Muhesen, then Director General of Antiquities, and by Sayyid Abdul Messieh Bagdo, of the Antiquities office in Hassekeh.McGuire Gibson arrived in Damascus on August 24, 1999 and began to implement logistical arrangements with the co-director, Muhammad Maktash. Actual excavation of the site of Hamoukar began on September 9 and ended on October 31.Hamoukar has been a subject of interest to a number of scholars through the years because of its size and surface pottery, which includes southern Uruk IV types. The presence of even earlier 4th millennium local Late Chalcolithic pottery as well as Ninevite V and mid-3rd millennium types makes the site crucial in addressing a number of important questions. The complexity of settlement in the early 4th millennium, the nature of the Late Uruk occupation and its relation to other sites with similar material in Syria and Turkey, and the history of the site in the Akkadian and post-Akkadian periods can all be elucidated by excavation here.

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Freeman, Meghan. "NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH." Journal of the Gilded Age and Progressive Era 17, no. 1 (January 2018): 121–44. http://dx.doi.org/10.1017/s1537781417000573.

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In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.

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Vuković, Jasna. "Keramičke studije i arheometrija: između analiza prirodnih nauka i arheološke interpretacije." Issues in Ethnology and Anthropology 12, no. 3 (November 18, 2017): 683. http://dx.doi.org/10.21301/eap.v12i3.1.

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The consideration of the relationship between pottery studies and the application of hard sciences in archaeology includes the scrutiny of the importance of pottery studies in the history of archaeology as a discipline, and especially the differences in the approach to material culture between European and North American researchers. After modest beginnings during the 19th century, petrographic analyses were introduced into ceramology during the first decades of the 20th century, mainly thanks to the works of Anna Shepard. She was one of the initiators of the first conference on the ceramic technology, held as early as 1938. For archaeology in general, it is significant to note that the beginning of pottery studies, stressing the importance of social anthropology as well as the application of hard science methods, markedly predates the expansion of processual archaeology.It is also vital to explore certain tensions and differences in approaches to ceramics, exiting today as the consequence of polarization inside archaeology, among researchers primarily leaning upon natural sciences, and the ones regarding material culture as the product of cultural processes. Archaeometry is widely applicable in ceramology, above all in identifying the pottery recipes, raw material provenance, firing regimes, and many other aspects that are the consequences of various cultural practices. Maybe paradoxically, the researchers leaning towards natural sciences have most frequently embraced the concept of technological choices, presupposing that every human activity is the consequence of social relations, leading artisans to choose one of several technical possibilities, depending upon social norms. On the other hand, ethno-archaeological research relativizes to a certain extent the “solid” and unambiguous results of natural sciences, more readily accepting the concept of technological style, i.e. considering the socially influenced technological traditions. The concept of archaeological biomarkers, i.e. research into the remains of organic matters on ceramic vessels, indicates the differences between the scientistically oriented European archaeology, as opposed to the North American, dominated by the anthropological dimension of research, and pottery is not treated as a mere source of data, but as an object of research in its own right. An additional difficulty in pottery studies is presented by the essential misunderstanding between archaeologists and natural scientists, also present in Serbia. We are still faced with the insufficient knowledge of possibilities of analytical techniques. On the other hand, the majority of research is conducted by the natural scientists, resulting in one-sided or multidisciplinary outcomes, and interdisciplinary studies are extremely rare. At the same time, although with exceptional possibilities, natural sciences applied to the research into the past are not infallible, and have been criticized on several levels, concerning the issues of raw material provenance, as well as identifying the remains of organic material on pottery vessels. Interdisciplinarity should undoubtedly be considered as an advantage in archaeological research, but we should bear in mind that the aim of pottery studies is the understanding of people and processes in the past, so the ultimate responsibility of interpretation rests upon archaeologists. For this very reason, they are obliged to understand the advantages as well as limitations of analytic techniques, and above all to formulate the theoretical framework, research topics and hypotheses.

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Sassaman, Kenneth E., and Wictoria Rudolphi. "Communities of Practice in the Early Pottery Traditions of the American Southeast." Journal of Anthropological Research 57, no. 4 (December 2001): 407–25. http://dx.doi.org/10.1086/jar.57.4.3631353.

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Milanich, Jerald T. "Native societies and Spanish empire in the 16th-century American Southeast." Antiquity 66, no. 250 (March 1992): 140–52. http://dx.doi.org/10.1017/s0003598x00081151.

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But from what nation did those ancients derive their origin? How numerous were they? How long did they occupy these regions? When, and by what means, were they exterminated? Would they have lost the well known arts, especially agriculture, pottery and salt making – arts so easy to preserve, and so necessary? And to imagine that the whole people became extinct by pestilence, or some other awful catastrophe, is an extravagant hypothesis, not supported by any precedent in the annals of mankind. M. FISKE (1820: 305, 307)

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Stewart, Joe D., and Karen R. Adams. "Evaluating Visual Criteria for Identifying Carbon- and Iron-Based Pottery Paints from the Four Corners Region Using SEM-EDS." American Antiquity 64, no. 4 (October 1999): 675–96. http://dx.doi.org/10.2307/2694212.

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AbstractPaint types on black-on-white pottery in the prehistoric American Southwest have had significance for both chronological and sociocultural interpretations. Visual attributes have formed the basis for distinguishing carbon- and mineral-based paints on ancient black-on-white pottery in the American Southwest for over 60 years. In this study, an SEM-EDS (scanning electron microscope-energy dispersive X-ray spectrometer) system was first used to make an independent objective determination of the mineral or non-mineral paint present on 15 Mesa Verde White Ware sherds. Then, a group of 19 people (including experienced archaeologists and newly trained individuals) examined and classified the paint on these sherds, achieving an overall accuracy of 84.2 percent. This group also ranked in priority order the visual attributes they felt were most useful in determining pottery paint type: nature of edges (fuzzy, sharp), absorption (soaks in, sits on top), luster (shiny, dull), color range (black-gray-blue; black-brown-reddish), flakiness (doesn't flake off, flakes off), thickness (thin, thick), and surface polish (polish striations visible through paint, striations not visible through paint). In each case, the attribute applicable to carbon-based paint is listed first. The most difficult sherds for the group to identify displayed attributes of both carbon and mineral paints. A category for "mixed" paint type, already in use by archaeologists, is a reasonable third category for labeling sherd paint, as long as it does not become a "catch-all" category. For problematic sherds, the SEM-EDS can be used to characterize paint type, then the visual attributes adjusted to improve investigator accuracy in paint type determination.

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Bell, Clare V. "Learning Geometric Concepts through Ceramic Tile Design." Mathematics Teaching in the Middle School 9, no. 3 (November 2003): 134–40. http://dx.doi.org/10.5951/mtms.9.3.0134.

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Symmetry and geometric patterns are commonly used in the creation of designs that symbolize and contribute to the definition of culture. Native American weaving and pottery designs, Mexican tiles, and Islamic religious art are forms of cultural representation that rely heavily on a repetition of geometric figures and symmetry. These items are used as examples of geometric art for the lessons in this article (see fig. 1).

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Green, William, and Roland L. Rodell. "The Mississippian Presence and Cahokia Interaction at Trempealeau, Wisconsin." American Antiquity 59, no. 2 (April 1994): 334–59. http://dx.doi.org/10.2307/281936.

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Red-slipped pottery and a multiterrace platform mound at Trempealeau, Wisconsin, indicate the presence of an early Mississippian outpost in the upper Mississippi Valley ca. A.D. 1000. Trempealeau apparently represents a Mississippian elite site-unit intrusion from the American Bottom, and it probably served as a nodal point of early contact between Cahokia and peoples of the upper Mississippi Valley. By establishing a mound center at Trempealeau, its founders not only secured access to material goods but also facilitated the flow of information from the northern Mississippi Valley to the newly emerged elites in the American Bottom.

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Anawalt, Patricia Rieff. "Ancient Cultural Contacts between Ecuador, West Mexico, and the American Southwest: Clothing Similarities." Latin American Antiquity 3, no. 2 (June 1992): 114–29. http://dx.doi.org/10.2307/971939.

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Clothing styles, design motifs, and techniques of cloth production found in codex illustrations and on pottery and extant textile fragments suggest diffusion of culture traits from the northern coast of South America to West Mexico and on into the American Southwest. The non-mesoamerican garments depicted in a West Mexican sixteenth-century manuscript and on mortuary figurines buried more than 1,000 years earlier in an adjacent area find analogs only in styles that were present in Ecuador from 1500 B. C. up to the time of Spanish contact. Clothing and textile design motifs represented on figures found in the West Mexican shaft tombs of Ixtlán del Río, Nayarit, indicate that these parallels existed as early as 400 B. C. A variety of other data suggest that intermittent maritime contact persisted between Ecuador and West Mexico through the intervening period and into the sixteenth century.

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Skibo, James M., Mary E. Malainey, and Susan M. Kooiman. "Early pottery in the North American Upper Great Lakes: exploring traces of use." Antiquity 90, no. 353 (September 15, 2016): 1226–37. http://dx.doi.org/10.15184/aqy.2016.169.

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Wallis, Neill J. "The Materiality of Signs: Enchainment and Animacy in Woodland Southeastern North American Pottery." American Antiquity 78, no. 2 (April 2013): 207–26. http://dx.doi.org/10.7183/0002-7316.78.2.207.

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AbstractArchaeological examinations of symbolic meaning often have been hampered by the Saussurean concept of signs as coded messages of preexisting meanings. The arbitrary and imprecise manner by which meaning is represented in material culture according to Saussure tends to stymie archaeological investigations of symbolism. As an alternative, archaeologists recently have drawn on Peirce’s semiotic to investigate how materiality is bound to the creation of meanings through the process of signification. This study examines how the symbolism expressed in pottery of the Middle Woodland period southeastern United States, Swift Creek Complicated Stamped and Weeden Island effigy vessels, might be better explained as icons and indexes that were enlisted to have particular social effects. Examining the semiotic potentials of these objects helps explain their apparent uses and the significance of alternative representations of the same subjects.

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Sánchez-Medina, Patricia S., René Díaz-Pichardo, and Joseph S. Guevara-Flores. "Gender and satisfaction of basic psychological needs: an exploratory study of pottery crafts in Latin America." Entreciencias: Diálogos en la Sociedad del Conocimiento 11, no. 25 (September 28, 2023): 1–16. http://dx.doi.org/10.22201/enesl.20078064e.2023.25.85926.

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Purpose: This paper analyzes the relationship between gender and the satisfaction of basic psychological needs in the artisanal pottery sector in Latin America. Methodological design: We surveyed 195 owners/managers of small family businesses operating in artisanal communities in three Latin American countries: Mexico, Honduras, and Colombia. We used structural equation modeling to offer evidence of factorial invariance of the measurement instrument across genders. Results: We found that women artisans seem to be more satisfied than men in meeting their need for autonomy and competence, revealing an important benefit of artisanal activity. No significant difference was found in relation to the fulfillment of the need for relatedness. Research limitations: The limitations of this research are derived from the sampling method, which was mainly driven by practical, financial, and logistical restrictions rather than by theoretical criteria. Nonresponse bias may have also affected our results. Findings: It is important for the artisanal sector to find motivational factors that contribute to the continuity and development of the sector.

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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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Schurr, Mark R., Patrick H. Donohue, Antonio Simonetti, and Emily L. Dawson. "Multi-element and lead isotope characterization of early nineteenth century pottery sherds from Native American and Euro-American sites." Journal of Archaeological Science: Reports 20 (August 2018): 390–99. http://dx.doi.org/10.1016/j.jasrep.2018.05.014.

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Shafer, Harry. "Painted by a Distant Hand: Mimbres Pottery from the American Southwest. Steven A. LeBlanc." Journal of Anthropological Research 62, no. 2 (July 2006): 297–98. http://dx.doi.org/10.1086/jar.62.2.3630919.

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Journal articles on the topic 'Pottery, American'

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