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D Glossed Pottery D Glossed pottery Søren Handberg & Jane Hjarl Petersen with contributions by Pia Guldager Bilde, Line M. Højberg Bjerg & Tat’jana L. Samojlova The present chapter presents the analysis of several groups of glossed pottery, roughly covering the period from late Archaic to late Hellenistic times.311 The chapter contains material which can be ascribed to glossed fineware productions from various production centres. There exsist two rather different research traditions on glossed pottery within Western and Eastern scholarship. Since the present publication of the material from Sector NGS is a collaboration between Eastern and Western colleagues, it has been inevitable to accommodate both research traditions in this chapter. Thus, the interpretative text parts are presented by the individual authors, while the common catalogue is consecutively numbered and grouped according to vessel shapes. In the catalogue, each individual fragment has been marked with a prefix to state clearly its affiliation with the different glossed groups. Accordingly, the black-glossed pottery (marked Da), which is presented by J. Hjarl Petersen & S. Handberg, and the West Slope decorated pottery (marked Db), presented by L.M. Højberg Bjerg, are perceived as homogeneous shape dependent groups of pottery featuring a great variety of fabrics, types and decorative schemes. However, detailed analysis and interpretative considerations on the West Slope pottery have been singled out and given a separate text apart from the black-glossed pottery in order to accentuate the specific features of the group. The same concerns the contribution by P. Guldager Bilde on the wheelmade bowls with horizontal fluting, marked Dd. The analysis of brown-glossed pottery, marked Dc and presented by T.L. Samojlova, originates from the Russian and Ukrainian research tradition, which viewes particular shapes of glossed pottery as belonging to a specific separate pottery group (for further considerations on this group, see the contribution by T.L. Samojlova below).312 311 The inking of the line drawings for Da, Db and Dd was done by Hans Joachim Frey. 312 Not all authors of the present chapter share the opinion of the “brown glossed group” as an isolated, distinct production which can be studied separately from black-glossed and West Slope pottery. As a result of the diverging research approaches, dates, typology and comparanda do not necessarily correspond between the black-glossed/West Slope and brown glossed groups. 1111_Bind1_book_r1.indb 185 11/05/10 14.04 1111_Bind1_book_r1.indb 186 11/05/10 14.04 Da Black-glossed pottery Søren Handberg & Jane Hjarl Petersen introduction The black-glossed pottery313 from Sector NGS 1985-2004 comprises 472 catalogue entries from selected deposits as well as 162 fragments that have not been available for study (see catalogue below). The material roughly covers the period from the late 6th to the early 1st century BC. Firstly, the different clay fabrics present in the material, as well as the premises on which the different ascription are based, will be presented. Secondly, the main observations and conclusions regarding the material will be presented in the synthesis section, followed by a more detailed commented catalogue. The catalogue is structured according to function- related shape groups,314 thus following the order: 1. Drinking cups 2. Storage and serving vessels 3. Vessels for oil 4. Toilet vessels The 472 catalogue entries mostly consist of diagnostic fragments and occasionally a rare complete or nearly complete vessel. A great deal of energy has been invested in refitting fragments, and fabric analyses have played a prominent role in this work, thus resulting in a higher confidence in the accuracy of each catalogue entry. However, any attempt at quantitative analysis is hampered by the selection strategies employed during the excavation (see p. 117) and by the fact that not all contexts from the habitation quarter have been included in this publication. Even more importantly, it must be stressed that most of the Archaic and Classical levels have not yet been excavated, since the primary focus of the excavation in Sector NGS was the Hellenistic houses, which covered the site. Moreover, a large amount of material has not been avail- able for study in the store-rooms in Parutino. Dates and chronology are primarily based on shape parallels from the Athenian Agora, where the most reliable deposits, and thus shape developments and chronologies, are available.315 However, in acknowledgment of the fair distance from Athens to the Black Sea and in order not to underestimate other production centres, efforts have been made, where ap- propriate, to refer to parallels from other production centres both in the Mediterranean and within the Black Sea region where this has been possible. 313 The definition of the term “glossed”, as opposed to “glazed”, is defined by Hayes (1984, 1). However, the distinction between glossed, slipped and glaze is uncertain. For a critique of Hayes’ definition, see Warner 1986. We are deeply grateful to the fol- lowing scholars for useful critique and guidance: Susan Rotroff, Catherine Morgan, Kathleen Lynch, Andrea Berlin, Krzysztof Domżalski, and Jean-Paul Morel. 314 The placement of shapes in the different categories is based on the most commonly accepted function of the vessel shapes, primarily taken from Rotroff 1997a and Morgan 2004, 12-14. It must, however, be stressed that the use of a certain shape was probably rarely limited to a single function and we must consider multiple purposes for many of the vessel shapes included in the material, see, for example, Morgan 2004, 223; Vogeikoff-Brogan 2000, 296, n. 18. 315 Sparkes & Talcott 1970; Rotroff 1997a. 1111_Bind1_book_r1.indb 187 11/05/10 14.04 188 Søren Handberg & Jane Hjarl Petersen fabrics The identification of various fabrics has been a major concern in the current study of the black-glossed pottery. The differ- ent fabrics have been divided into 10 fabric groups as presented in Table 1. The identification relies only on visual studies and the gloss has been taken into consideration in the ascription of several of the fabrics.316 Fabric group Description of clay 1 Attic Follows the general descriptions of Attic clay by Rotroff from the Athenian Agora (1997a, 10-11) and Sparkes & Talcott (1970, 14). 2 Knidian(?) Fabric: fine-grained, very compact, hard fired. Some to many tiny and very tiny lime particles. Few very tiny voids, occasionally a single golden mica particle. Ranges in colour from reddish-yellow 7.5YR 6/6 to greyish-brown 10YR 5/2. Gloss: semi-lustrous to dull, metallic, evenly applied, generally well preserved, ranges in colour from black 5Y 2.5/1 or dark-grey 5Y 4/1 to brown 7.5YR 5/2. 3 Pergamene(?) Fabric: medium amount of sand, relatively compact, hard fired, some small to medium-sized lime particles, occasionally a few small black particles, some to many very tiny light-reflecting particles. Varies in colour, mostly from light-red 2.5YR 6/6 to red 2.5YR 5/6 to yellowish-red 5YR 5/6. Gloss: dull to semi-lustrous, badly applied, unevenly fired often with stacking marks, flaked off in many places. Varies in colour from red 2.5YR 4/8 to dark-brown 7.5YR 3/2 to yellowish-brown 10YR 5/4-5/6 to black. 4 Production place? Fabric: medium-grained, sandy, very compact, hard fired, single or few black particles, some very tiny to tiny lime particles, occasionally few light-reflecting particles, some larger voids. Primarily brown 7.5YR 5/4 to light-brown 7.5YR 6/4 but occasionally reddish-yellow 5YR 6/6. Gloss: predominantly lustrous, often very metallic, primarily black 5Y 2.5/1 with variations of reddish- brown 2.5YR 4/3 and dark reddish-grey 2.5YR 4/1. Evenly applied and predominantly evenly fired, tends to flake off. 5 Production place? Fabric: very many very tiny light-reflecting particles, sandy, granular, very tiny to medium-sized particles of lime. Reddish brown 5YR 5/3 and strong brown 7.5YR 5/6. Gloss: very metallic and varies in black, brown and olive-green shades, usually very well applied. 316 For the visual identification a 14x magnifying glass was used and the pieces were examined in daylight conditions. The Munsell colour chart is used in all colour descriptions. The termssingle, few, some and many are used to describe the amount of inclusions and as such only represent an arbitrary indication of the amounts of inclusions, which is only relative to the examined pieces. The absolute size of the inclusions have been divided into the following categories: Very tiny (0.06-0.125 mm), tiny (0.125-0.25 mm), medium (0.25-0.5 mm), large (0.5-1 mm) and very large (1-2 mm). In case of uncertainties in the identification of inclusions, broad terms such as “light-reflecting particles” have been preferred over, for example, “mica”. Furthermore, where we have been unable to ascribe pieces to a fabric group, we have grouped them under other fabrics in the catalogue and provided a more detailed description of the fabric. 1111_Bind1_book_r1.indb 188 11/05/10 14.04 Da Black-glossed pottery 189 6 Local(?) Fabric: very micaceous, small mica particles. Often black inclusions, almost always containing tiny to medium-sized lime particles, thicker walled fragments often contain few medium-sized quartz particles. Larger vessels are often more coarse-grained and tend to have voids, tends to rub off, not very hard fired. Very pale-brown 10YR 7/4, reddish-yellow 5YR 7/6. Gloss: dull, often unevenly applied, often flaked off, very varied in colours from black, for example 5YR 2.5/1, over very dark-grey, for example 7.5YR 3/1 to brown, for example 10YR 4/3, and occasionally red, for example 10R 4/8.
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