Some Notes on Replicating Prehistoric Pottery

My interest in pottery replication began about 30 years ago. As an archeologist, I was often required to analyze collections of prehistoric pottery. My analytical techniques were limited but standard for the day and usually involved classifying pottery according to previously defined pottery types and varieties. While this type of classification helps archeologists develop chronologies and determine cultural affiliation, it provides little understanding of how pottery was actually made. I felt that I might be able to enhance my analytical skills and possibly glean a little more from the archeological record if I could learn more about how pottery was made. So in 1978, I gathered some alluvial clay from the Arkansas River floodplain and began my long journey. My primary objective has been to try and reproduce, as closely as possible, what I see in the archeological record in hopes that it might give me and others a better understanding of all the processes involved in the manufacture of prehistoric pottery. I sometimes find that I can’t see what I am looking at in sufficient detail until I am faced with the task of having to draw or make it. Replication forces us to take a closer look at things and then allows us to see a little more clearly. Replication also connects you to the past and allows you to learn directly from the original artist. For me, it was simply not enough to just study pottery – I had to experience it. During my journey, I have drawn information from a variety of resources. These include a careful analysis of prehistoric pottery, an extensive review of archeological and ethnographic documentation regarding Indian pottery manufacture in the Southeast, studying modern cultures that still use traditional pottery making techniques, consulting with Indian potters, archeologists other replicators and through trial and error coupled with careful observation and comparison (basic Experimental Archeology)

Caddo Pottery in Modern and Contemporary Art and Protection of Native American Cultures in Fine Arts by the IACB’s Indian Arts and Crafts Act

Hello, my name is Chase Kawinhut Earles. I was named by Julia Edge, daughter of Pauline Washington, who was the granddaughter of the Caddo chief, George Washington. I recently, well, not that very long ago started creating Caddo pottery with the much appreciated guidance from Jeri Redcorn. I have been an artist all my life, but mostly only a painter, not much clay, sculpture or pottery. I was inspired to create pottery though, but my experiences were with the Southwest and the Pueblo artists, as this is what I grew up around and what I learned. But I never started. I never found any inspiration. I realized one day it was because I am not a Pueblo Indian and creating Pueblo or Southwest pottery would, to me, feel hollow. I would feel as though I was just creating knock-offs or replications, and not truly inspired or authentic art. This beginning is what defines me and my ideas about Native American Art. Jeri Redcorn and I are two of only maybe a few active Caddo traditional potters. As we work to revive our long tradition and heritage of pottery we have started to unfold an ancient legacy that has proven to be very unique among other native cultures

Ceramics and Society in Northern Europe

Neolithic pottery in Britain and Ireland was produced from shortly after 4000 BC. There are regional variations but overall a four phase chronology for the pottery is also suggested: First Neolithic, approximately 4000–3800 BC; Early Neolithic, approximately 3800–3500 BC; Middle Neolithic, approximately 3500–2900 BC; and Late Neolithic, approximately 2900–2400 BC. Within this framework evidence for the processes of pottery production and use are studied to define a number of different traditions and practices. The external form of vessels seems to be strongly codified in the early part of the period, although there was a range of different inclusion recipes used. In the Middle and Later Neolithic there seem to be much simpler fabrics but a greater range of vessel shapes. This later pottery also seems to have been used for a much wider range of tasks

Comparing Caddo and Coles Creek Pottery Using Petrographic Analysis

Pottery classified as “Coles Creek Incised” is common both to the earliest Caddo sites along the Red River and to contemporary sites in the Lower Mississippi Valley. Although it often is suggested that Coles Creek pottery from the two regions can be distinguished by differences in paste, no detailed comparative studies have been carried out. An initial attempt to identify variation through the use of petrographic analysis was carried out by comparing 50 samples drawn from sites in northwest and central Louisiana. Although no sharp dichotomy was noted between the regions, the study identified distinctions that support the notion that most Coles Creek pottery was made locally and different technological traditions may be represented

Traditional Caddo Potter

Although I originally set out to find an art form that I was comfortable with and would be inspired by, for myself, I ended up discovering an ancient art form that would benefit not just myself, but the generations of Caddo people that would come after me. I feel that eventually they will see the benefit from its rediscovery. But also, I quickly realized the need to make public the distinction of our ancient pottery legacy for the sake of those Caddo that would pick up the craft. The Native American art world in the American Southeast is much different from that of the Southwest that I grew up loving. So many Native American artists are confused about what is their tribe’s specific legacy and traditional art form that many claim a broad spectrum of tribes in the region by creating artwork under the umbrella of “Mississippian” or “Southeastern Ceremonial.” It became apparent that the Caddo’s specific and unique pottery heritage is in danger of being misrepresented in the art world and to collectors. Making it all the more obvious was that I found out there was only one active Caddo member practicing pottery making, Jereldine Redcorn. I felt like although she was successful in reviving the lost art of our Caddo pottery, there is only so much one person can do and it was then that I decided that I could help expand and help spread our knowledge and our experiences so that our beautiful pottery tradition could be reborn and survive for all time, rather than become lost again in the earth

Tracking ancient beach-lines inland: 2600-year-old dentate-stamped ceramics at Hopo, Vailala River region, Papua New Guinea

The Lapita expansion took Austronesian seafaring peoples with distinctive pottery eastward from the Bismarck Archipelago to western Polynesia during the late second millennium BC, marking the first stage in the settlement of Oceania. Here it is shown that a parallel process also carried Lapita pottery and people many hundreds of kilometres westward along the southern shore of Papua New Guinea. The key site is Hopo, now 4.5km inland owing to the progradation of coastal sand dunes, but originally on the sea edge. Pottery and radiocarbon dates indicate Lapita settlement in this location c.600 BC, and suggest that the long-distance maritime networks linking the entire southern coast of Papua New Guinea in historical times may trace their origin to this period

Structural and Compositional Investigation of Pottery Samples from Guatemala

Purpose of investigation: The composition and characteristics of Mayan pottery samples from Guatemala was investigated

Effect of waste plaster of Paris on physical and mechanical properties of ceramic pottery body

Over the years, millions tonnes of waste plaster of Paris (POP) were generated and disposed in landfills or most of the time was dumped directly into the environment without any treatments, makes it as one of the environmental issues. Therefore, a new alternative is required to convert the wastes POP into useful materials and marketable to minimize the environmental impact. In the early stage, this study focused on the characterization of the raw material used through particle size analysis, thermal analysis, and identification of its purity. Then, the slip casting technique and standard American Society for Test and Materials (ASTM) was respectively used to fabricate and characterize all of the pottery samples. In the second stage, the ceramic pottery body was fabricated using different composition of waste POP, started from 0 wt.% until 12 wt.%. The samples obtained were analysed through viscosity test and its green body was observed. The results showed that the samples with compositions of 0 to 10 wt.% of waste POP were the only samples that can be used in this study. The analysis on the effects of particle sizes ranging from 25 to 73 μm and sintering temperatures ranging from 950 to 1050 °C on the physical and mechanical properties of the fabricated ceramic pottery body, respectively, were then determined in the third and fourth stage of this study. The physical properties were reported in terms of shrinkage, porosity, and density values; whereas, the mechanical properties were reported in terms of the value of modulus of rupture (MOR). The result showed that a dense and a high strength of ceramic pottery can be produced by using a finer size of particle of 25 μm and at a high sintering temperature of 1050 °C, based on the low porosity value, the high density value, MOR and also the controllable value of shrinkage. Therefore, it can be concluded that the waste POP can be successfully used as a filler to enhance the properties of ceramic pottery body

Effect of waste plaster of Paris on physical and mechanical properties of ceramic pottery body

Over the years, millions tonnes of waste plaster of Paris (POP) were generated and disposed in landfills or most of the time was dumped directly into the environment without any treatments, makes it as one of the environmental issues. Therefore, a new alternative is required to convert the wastes POP into useful materials and marketable to minimize the environmental impact. In the early stage, this study focused on the characterization of the raw material used through particle size analysis, thermal analysis, and identification of its purity. Then, the slip casting technique and standard American Society for Test and Materials (ASTM) was respectively used to fabricate and characterize all of the pottery samples. In the second stage, the ceramic pottery body was fabricated using different composition of waste POP, started from 0 wt.% until 12 wt.%. The samples obtained were analysed through viscosity test and its green body was observed. The results showed that the samples with compositions of 0 to 10 wt.% of waste POP were the only samples that can be used in this study. The analysis on the effects of particle sizes ranging from 25 to 73 μm and sintering temperatures ranging from 950 to 1050 °C on the physical and mechanical properties of the fabricated ceramic pottery body, respectively, were then determined in the third and fourth stage of this study. The physical properties were reported in terms of shrinkage, porosity, and density values; whereas, the mechanical properties were reported in terms of the value of modulus of rupture (MOR). The result showed that a dense and a high strength of ceramic pottery can be produced by using a finer size of particle of 25 μm and at a high sintering temperature of 1050 °C, based on the low porosity value, the high density value, MOR and also the controllable value of shrinkage. Therefore, it can be concluded that the waste POP can be successfully used as a filler to enhance the properties of ceramic pottery body

Chemical analysis of Mycenaean pottery from the Menelaion and its vicinity

A chemical characterisation of the Mycenaean pottery from the major prehistoric site of the Menelaion in Laconia. The study defines the the lcoal pottery production and identifies the imports from various centres