A Note on Some Large Pits in Certain Sites Near Dallas, Texas
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Abstract:
During August and September, 1948, the writer made an archaeological survey of the Lavon Reservoir area in Collin County, Texas. This was a project of the River Basin Surveys program of archaeological salvage, undertaken by the Smithsonian Institution, with the cooperation of the Corps of Engineers and the National Park Service. This reservoir is being built on the East Fork of the Trinity River near Wylie, Texas and approximately 25 miles northeast of Dallas. Twenty-five sites were located in or near the proposed reservoir area during the course of this survey. Nineteen of these appear to be small, temporary campsites, some producing a few potsherds; others are apparently non-pottery sites. However, six of the sites appear to be permanent village locations occupied by relatively large groups of pottery-using people over a long period of time. The material from these sites is in the process of laboratory analysis at the present time and a statement of the cultural affiliations involved cannot yet be made.Keywords:
Geological survey
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Traditional Gakyung Pottery with a square shape is based on the deformed form of earthenware, and the pottery type culture and difference in designation of the representative excavated sites in South Korea. While paying attention to the types of Pottery excavated from Gim-po, Gang-hwa, and Geom-dan, the main issue wanted to examine the aspect of the culture of Mumun pottery excavated in the area. Based on this intention, the existing type of pottery was named 'Sinheung-dong style pottery' based on the representative excavated site. Among the northwestern regions of Gyeonggi-do, the status of the Ganghwa, Gimpo, and Geomdan during the period of Mumun pottery was reviewed. The current status of excavation of each pottery and the examples of residential areas where the pottery was excavated alone were calculated. Through this analysis, Gimpo and Geomdan were identified as Yeoksam-dong type culture areas. Furthermore, it was confirmed that Heunamri pottery was close to being absent in Gimpo. The area is located in the north of South Korea and has various ways of inflow along the west coast of Gyeonggi Province, so we cannot overlook the pottery culture relationship with North Korea. Ultimately, it can be seen that the unmanned Mumun pottery culture is not simple and that the pottery was used under various possibilities.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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The tri-coloured glazed pottery of the TANG Dynasty produced in Luoyang has been a series of multi-coloured glazed pottery in a unique style.The pottery experienced the historical stages of tri-colooured glazed pottery of the TANG Dynasty, the counterfeited pottery, the handicraft pottery and the pottery evolved from the digestion and changes of the above mentioned categories. As a cultural carrier, the tri-coloured glazed pottery always holds the special position in the development of Henan-Luoyang culture. The accurate understanding of evolution processs of the pottery will help to promote the culture grade of the tri-coloured glazed pottery of the TANG Dynasty.
Handicraft
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Part I. History and Potential: 1. History of pottery studies 2. The potential of pottery as archaeological evidence Part II. Practicalities: A Guide to Pottery Processing and Recording: 3. Integration with research designs 4. Life in the pot shed 5. Fabric analysis 6. Classification of form and decoration 7. Illustration 8. Pottery archives 9. Publication Part III. Themes in Ceramic Studies: 10. Making pottery 11. Archaeology by experiment 12. Craft specialisation and standardisation of production 13. Pottery fabrics 14. Form 15. Quantification 16. Chronology 17. Production and distribution 18. Pottery and function 19. Assemblages and sites Conclusion: the future of pottery studies.
Craft
Chronology
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The potteries of the proto-Three Kingdoms Age or the Iron Age were studied much during the 1990s. The argues about them still exist, but there is no agreement which one is the typical type of the pottery in this Age. This problem is related with the Age chronology, but until now many opinions about the Iron Age potteries have been suggestedBR From the result of the analysis on the recent studies of the Iron Age potteries, I think that opinions are divided into two sides. One supports the Wazil-pottery assumption, the other opposes this assumption. So in most cases they are confronted with each other. But some scholars suggested the compromised opinions or the new directions of pottery' s researches. The problems of these studies are the confusion on the name of potteries, the chronology of potteries, the different opinions about the origin of potteries, and the lack of the objection on the pottery' s researches.BR The Iron Age potteries are divided into two groups, that is, the plain potteries and the beating patterned potteries. The plain potteries are consisted of hard-plain pottery and hard brushed pottery, and the beating patterned potteries are consisted of reddish brown soft pottery, greyish white soft pottery(Wajil pottery), greyish soft pottery, and hard greyish blue pottery. Even though some differences existed among regions, the soft potteries(reddish brown soft pottery, greyish white soft pottery, greyish soft pottery) were made after the hard plain potteries were used, and than they developed to the hard greyish blue potteries.BR The problems of the studies on potteries and directions in the future are the objective classification and the selection of pottery's name, the need of the scientific analysis on the potteries, the establishment of the pottery's chronology and the regional chronology, and the research of the methodology for the potteries.BR But it is restricted to study the past culture only through the potteries. To reconstruct past culture and to understand the process of past culture, all kinds of archaeological materials including potteries have to be analyzed and the theoretical system to interpretate them is needed.
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Iron Age
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Overview of pottery manufacturing traditions in St Lucia, placed within the island's cultural history from pre-Columbian times up to present Afro-Caribbean folk pottery. Authors focus on manufacturing processes in different cultural traditions through history, looking at raw materials used, the shaping and finishing, decoration, and firing process. First, they sketch St Lucia's habitation history since the first Amerindian settlers in 200 AD, and evidence of pottery, which climaxed in the later Suazoid period pottery since about 1150 AD, and discuss how later European colonization and arrival of Africans contributed to the decline of Amerindian traditions, replaced by European and West African pottery traditions, although some Amerindian traditions remained. The pottery manufacturing of 3 main cultural traditions are examined, discussing differences, as well as similarities due to cultural blending: Suazoid pottery, later Amerindian Island Carib pottery, with origins in the Guianas region, related to the Kar'ina, and current St Lucian, West African-influenced, "folk pottery". Authors conclude that all 3 traditions mainly use local clay, and include hand-built and low-fired pottery. Shaping techniques include coiling, and in today's pottery also fashioning with smaller lumps. Surfaces are smooth and polished in today's pottery, but more scraped and scratched in Suazoid vessels. Further, they find that decoration is uncommon in today's pottery, while Suazoid ceramics included decorations, and that vessel shapes tend to be simple in all 3 traditions. They also find that women have been the principal potters through time, although pottery was a male activity among the Island Caribs in the mid-17th c.
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Traditional Gakyung Pottery with a square shape is based on the deformed form of earthenware, and the pottery type culture and difference in designation of the representative excavated sites in South Korea. While paying attention to the types of Pottery excavated from Gim-po, Gang-hwa, and Geom-dan, the main issue wanted to examine the aspect of the culture of Mumun pottery excavated in the area. Based on this intention, the existing type of pottery was named 'Sinheung-dong style pottery' based on the representative excavated site. Among the northwestern regions of Gyeonggi-do, the status of the Ganghwa, Gimpo, and Geomdan during the period of Mumun pottery was reviewed. The current status of excavation of each pottery and the examples of residential areas where the pottery was excavated alone were calculated. Through this analysis, Gimpo and Geomdan were identified as Yeoksam-dong type culture areas. Furthermore, it was confirmed that Heunamri pottery was close to being absent in Gimpo. The area is located in the north of South Korea and has various ways of inflow along the west coast of Gyeonggi Province, so we cannot overlook the pottery culture relationship with North Korea. Ultimately, it can be seen that the unmanned Mumun pottery culture is not simple and that the pottery was used under various possibilities.
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