DOI Heft:
Mazurkevich, Andrey; Dolbunova, Ekaterina: The oldest pottery and Neolithisation of Eastern Europe
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26514#0148
144
Andrey Mazurkevich, Ekaterina Dolbunova
Several main features of so called “chaine opera-
toire” (operations seąuence) are used in order to
reconstruct pottery making technology. Ali these
features have been studied in this research: pastę
composition, ways of shaping different vessel parts,
ways of modelling, surface treatment, wali thickness.
Morphological characteristics include descrip-
tion of forms of constructive elements which con-
stitute a vessel. This description is based on the idea
that every vessel has definite points (criticalpoints’)
that mark places where vessel profile changes its di-
rection (Shepard 1956: 226). Thus, a vessel consists
of several main constructive elements: edge, rim,
neck, belly, bottom, tray, as well as a few additional
elements (nose, bail etc). They are described with
definitions of geometrical figures.
Ornamental pattern structure shows varied reg-
ularities of rhythm and symmetry. The design as a
system consists of several sub-systems: element, mo-
tif, composition and graphical sign, which are ana-
lysed in this research (Mikljaev et al. 1994). Study
of symmetrical changes is the basis of design analy-
sis. These symmetrical changes are madę at differ-
ent levels of the system that are described according
to a codę system (symbols of symmetry are used).
Analysis of choice of any symbols of symmetry used
to construct an ornamental system might serve as
another cultural indicator (Mikljaev et al. 1994: 83).
From the point of view of symmetry, all ornamental
forms can be put into three main categories: rosette,
border and net. Elements madę by graphical signs
are viewed as lines that organize and form borders
(side view) and rosette (dorsal view) or asymmetri-
cal figures. The following symbols of symmetry are
used to describe rosettes: n (marks the axis of reflec-
tion) and m (marks the piane of symmetry). There
are several symbols of symmetry for borders (a and
b - mark lines of graphical signs)): a x m, a : m, a : 2,
a : b and a : 2 xm (Ivanov 1963: 37-39).
Results of research
We have managed to reconstruct the process
of pottery making from the first stages to the finał
stages of firing. Plastic clay with natural admixture
of shells with or without a smali amount of sand or
chamotte (crushed dry clay) was used for the con-
struction of the yessels. It was kneaded carefully at
the preparatory stage that is characteristic of the
lowest layers. Also there are yessels that are madę of
similar but not so well kneaded clay and with rath-
er big admixture of natural organie materiał. Their
amount inereases in upper layers. Clay with organie
admixture was also used.
The remaining Iow parts of the yessels allow us to
suppose that they were constructed from the bottom.
On the basis of fragments of fiat bottoms three ways
of their modeling can be reconstructed. The first one
is modelling with coils that were wound in a circular
action. It is marked now by diagonal cracks in pro-
file and arched crack on the bottom. Other ways are
represented by modelling by slabs pressed together
which is distinguished by one long crack, and using
a clay lump which can be distinguished by a homog-
enous clay structure in the bottom profile. Bottoms
constructed by coils have thickness of 1.5 cm, those
madę of one lump - 0.5-0.8 cm. Clay was stretched
from the center to the edges that is testified by cracks
outeoming from the center. Two ways of bottom fas-
tening to the belly can be reconstructed: two coils
were attached from the inner and outer side of the
bottom or only one coil was attached from the outer
side. Short coils or additional lumps of clay which
were often put on the surfaces are marked in the
profile by a roundish part of the coil. Then the vessel
was shaped by a coil (Fig. 7.4). It is seen clearly due
to a “groove” along the perimeter of round bottoms
that appeared as the result of fingers pressing while
putting the first coil that attached belly to bottom.
Vessel belly was modelled using different coil tech-
niques which will be described below. Also, using of
additional lumps of clay was quite frequent (Fig.7.5).
Fiat rim edges were formed usually by addition of a
smali coil in order to add thickness from the side and/
or on the upper part.
The surface was usually smoothed, there are
traces of smoothing by “wet hands” (Fig.7.2), pebble
(Fig.7.1), and also traces that could have been left by
a bonę tool (see Martineau 2001: Fig. 17,18). Because
of the conditions of their conservation in the layer
and further materiał treatment the vessel surface is
eroded, which is why some traces of surface treatment
have not been preserved. Traces of comb-like tool left
in the process of roughening are often obseryed on
the inner surface that was especially important while
making yessels with thick walls to put away addition
of clay. These traces of working with a comb tool are
Andrey Mazurkevich, Ekaterina Dolbunova
Several main features of so called “chaine opera-
toire” (operations seąuence) are used in order to
reconstruct pottery making technology. Ali these
features have been studied in this research: pastę
composition, ways of shaping different vessel parts,
ways of modelling, surface treatment, wali thickness.
Morphological characteristics include descrip-
tion of forms of constructive elements which con-
stitute a vessel. This description is based on the idea
that every vessel has definite points (criticalpoints’)
that mark places where vessel profile changes its di-
rection (Shepard 1956: 226). Thus, a vessel consists
of several main constructive elements: edge, rim,
neck, belly, bottom, tray, as well as a few additional
elements (nose, bail etc). They are described with
definitions of geometrical figures.
Ornamental pattern structure shows varied reg-
ularities of rhythm and symmetry. The design as a
system consists of several sub-systems: element, mo-
tif, composition and graphical sign, which are ana-
lysed in this research (Mikljaev et al. 1994). Study
of symmetrical changes is the basis of design analy-
sis. These symmetrical changes are madę at differ-
ent levels of the system that are described according
to a codę system (symbols of symmetry are used).
Analysis of choice of any symbols of symmetry used
to construct an ornamental system might serve as
another cultural indicator (Mikljaev et al. 1994: 83).
From the point of view of symmetry, all ornamental
forms can be put into three main categories: rosette,
border and net. Elements madę by graphical signs
are viewed as lines that organize and form borders
(side view) and rosette (dorsal view) or asymmetri-
cal figures. The following symbols of symmetry are
used to describe rosettes: n (marks the axis of reflec-
tion) and m (marks the piane of symmetry). There
are several symbols of symmetry for borders (a and
b - mark lines of graphical signs)): a x m, a : m, a : 2,
a : b and a : 2 xm (Ivanov 1963: 37-39).
Results of research
We have managed to reconstruct the process
of pottery making from the first stages to the finał
stages of firing. Plastic clay with natural admixture
of shells with or without a smali amount of sand or
chamotte (crushed dry clay) was used for the con-
struction of the yessels. It was kneaded carefully at
the preparatory stage that is characteristic of the
lowest layers. Also there are yessels that are madę of
similar but not so well kneaded clay and with rath-
er big admixture of natural organie materiał. Their
amount inereases in upper layers. Clay with organie
admixture was also used.
The remaining Iow parts of the yessels allow us to
suppose that they were constructed from the bottom.
On the basis of fragments of fiat bottoms three ways
of their modeling can be reconstructed. The first one
is modelling with coils that were wound in a circular
action. It is marked now by diagonal cracks in pro-
file and arched crack on the bottom. Other ways are
represented by modelling by slabs pressed together
which is distinguished by one long crack, and using
a clay lump which can be distinguished by a homog-
enous clay structure in the bottom profile. Bottoms
constructed by coils have thickness of 1.5 cm, those
madę of one lump - 0.5-0.8 cm. Clay was stretched
from the center to the edges that is testified by cracks
outeoming from the center. Two ways of bottom fas-
tening to the belly can be reconstructed: two coils
were attached from the inner and outer side of the
bottom or only one coil was attached from the outer
side. Short coils or additional lumps of clay which
were often put on the surfaces are marked in the
profile by a roundish part of the coil. Then the vessel
was shaped by a coil (Fig. 7.4). It is seen clearly due
to a “groove” along the perimeter of round bottoms
that appeared as the result of fingers pressing while
putting the first coil that attached belly to bottom.
Vessel belly was modelled using different coil tech-
niques which will be described below. Also, using of
additional lumps of clay was quite frequent (Fig.7.5).
Fiat rim edges were formed usually by addition of a
smali coil in order to add thickness from the side and/
or on the upper part.
The surface was usually smoothed, there are
traces of smoothing by “wet hands” (Fig.7.2), pebble
(Fig.7.1), and also traces that could have been left by
a bonę tool (see Martineau 2001: Fig. 17,18). Because
of the conditions of their conservation in the layer
and further materiał treatment the vessel surface is
eroded, which is why some traces of surface treatment
have not been preserved. Traces of comb-like tool left
in the process of roughening are often obseryed on
the inner surface that was especially important while
making yessels with thick walls to put away addition
of clay. These traces of working with a comb tool are