Glazed Ceramics

The study is based on the investigation of some unpublished fragments of glazed “bathtub” coffins from Kilizu in Iraq and preserved in the Museo Archeologico Nazionale of Florence. Reflection on the use of this type of sarcophagus in the context of funerary practices in Mesopotamia from the first century A.D. onwards was accompanied by an analysis of the fragments in terms of their technical characteristics.
“Bathtub” or slipper coffins have been found in various Mesopotamian necropolises, some of which are characterized by en applique decoration and green-blue glazing. In the Museo Archeologico Nazionale di Firenze there are a “bathtub” sarcophagus and some unpublished fragments of other similar coffins, from the excavations of the Italian mission at Qasr Shamamuk, the ancient Kilizu in Iraq, conducted in 1933.
The decorative apparatus of the sarcophagi of Kilizu seems to lead the artefacts to a religious context close to Zoroastrianism, practiced in Mesopotamia, from the first half of the first century BC onwards, by soldiers and Parthian rulers and their families, and perhaps suggest who the burials were.

ABSTRACT
Laser is being commonly used in health, graphic, advertising sectors and several other fields of industry nowadays. It is also eligible for experimental practices in arts. That, laser is applied in very sensitive operations like eye surgeries, brings it to mind that it can also be used while making very fragile art works. With the laser engraving method, successful effects are being obtained through several recent practices. In previous researches, the laser engraving method has been applied on ceramic bodies and as a result, successful effects have been obtained as ceramic is a material which is, suitable to engrave. In this research, digitally designed patterns have been engraved on bisque fired ceramic bodies by applying glaze, pigment colours, oxides, engobes and the results have been discussed following the glaze firing. The resulting effects show that, sinterization occurred on the surfaces that were exposed to high temperatures through laser beam and to a large extent the patterns have been successfully copied on the surfaces. This research contains the application of a digitally designed pattern on a glazed or unglazed ceramic surface and an experimental application process.
ÖZET
Lazer günümüzde sağlık, grafik, reklam sektörlerinde, markalamada ve endüstrinin çeşitli alanlarında yaygın olarak kullanılmaktadır. Sanatla ilgili konularda da deneysel uygulamalara açıktır. Göz ameliyatları gibi son derece hassas operasyonlarda lazerin uygulanması, sanatla ilgili son derece hassas eserlerde de kullanılabileceğini düşündürmektedir. Lazer aşındırma yöntemi kullanılarak birçok yeni uygulamayla farklı etkiler yakalanabilmektedir. Önceki yapılan çalışmalarda, lazer aşındırma yöntemi seramik bünyeler üzerinde kullanılmış ve sonuçlara bakıldığında işlenebilir bir malzeme olduğundan başarılı etkiler elde edilmiştir. Araştırmada, bisküvi pişirimi yapılmış seramik bünyelerin üzerine sır, pigment boyalar, oksitler, angoplar sürülerek, bilgisayar ortamında hazırlanan dijital desenler aşındırılmış ve sırlı pişirim gerçekleştirilerek sonuçlar tartışılmıştır. Ortaya çıkan etkilere bakıldığında lazer ışınıyla yüksek ısıya maruz kalan yüzeylerde sinterleşme (kaynaşma) olduğu ve genellikle desenlerin başarılı şekilde yüzeye aktarıldığı gözlenmiştir. Bu araştırma, bilgisayar ortamında tasarlanan bir desenin, lazerle seramik sırlı veya sırsız yüzey üzerine uygulanmasını içermekte ve deneysel bir uygulama sürecini kapsamaktadır.

A 12th-13th-century A.D. ceramic assemblage from Alexander’s Hill at Sagalassos in southwestern Turkey provides new evidence for the typo-chronological study of Byzantine pottery. A functional analysis of the assemblage, along with textual and iconographic evidence, archaeozoological and palynological analyses, and chemical analysis of cooking-pot residues, contributes to the reconstruction of diet and cooking practices in Anatolia. While baked fish, vegetables, pulses, and bread are usually regarded as the staples of Byzantine peasant cuisine, diners at Sagalassos were enjoying beef stews before the Fourth Crusade, when the technique of stewing meat was allegedly introduced to the eastern Mediterranean from the West.

This paper completes the information regarding the glazed pottery from 10th—11th century from the western region of the
Black Sea, from Dobrudja. Majority of the new discoveries belongs to the group with monochrome glaze (green-olive), rarely polychrome
(green-olive with yellow; greenish-yellow on a chestnut background). The material, mostly fragmentary, comes from jugs,
pots and cups of diff erent sizes. Among other fi nds, a glazed clay egg was discovered at Hârşova. Glazed pottery from the two
analyzed settlements represents local productions and imports, several fragments were studied by using archaeometric analysis,
some data regarding the glaze are presented at the end of the article.

Поливная керамика раннего средневековья из укреплений Хыршова и Олтина в юго-восточной Румынии
Настоящая статья дополняет сведения о поливной керамике X—XI веков, найденной в западной части Причерно-
морья — в Добрудже. Новые находки по большей части принадлежат к группе монохромной поливы (зелено-оливковой),
редко полихромной (оливково-зеленой с желтым; зеленовато-желтой на каштановом фоне). Материал представляет собой
в основном фрагменты различного размера кувшинов, горшков и чашек. В Хыршове было также найдено глиняное полив-
ное яйцо. Поливная керамика с двух изученных поселений является как местным производством, так и импортом. Несколь-
ко фрагментов были подвергнуты археометрическому исследованию, результаты которых представлены в конце статьи.

Main purpose of this study is to know the current raw materials avaliable in our
country to be used for ceramic industry and to improve artistic glazing works using such
raw materials.
There is almost no collective study on chromate glazes found in both national and
international literature. Therefore, it is intended that the results of the study made on this
subject will constitute a reference for the ceramists and inorganic chemists who would like
to work on this subject in the future.
Chromate glazes are member of the group of artistic salt glazes. Chromate is called
as chromium salt. In this study, chromium salt is put under reaction with various
carbonates and colorant other salts and their under-glaze and in-glaze effects at high
temperatures have been scientifically observed and documented.
Chromium salts are rather variable and unstable salts. Using chromic acid, earth
alkali elements have been transformed into chromate to the extent it is practicable. Such
chromates have been scientifically observed by making additions of different percentages
within ready frit, easily soluble at low temperatures, and transparent glaze structure. In
summary, with this study we obtained positive results at 750ºC – 1020ºC, while
experiments for chromium slats which do not yield any results , further to various
chromate glaze structure. Additionally, the study handles, to great extent, general
specifications of raw materials used for ceramic technology, where and how these are used
and the areas of use for artistic ceramic glazes.
At the conclusion of the study, the effects of chromium salts at high temperatures
and in diluted vitreous bodies are scientifically studied and documented together with the
risks and solutions they bring along.

"This paper gives an outline of the history of the building materials industry in Bendigo. I focused on the brick industry while Mike Butcher did the rest.

As it was done in the pre "Trove" and digitised Australian newspapers it may need updating."

Lead-glazed potsherds from archaeological excavations at six Renaissance (1536-1660 CE) sites in southern Denmark and northern Germany have been subjected to etching experiments using 4 wt% acetic acid. The extracts of 45 sherds were analysed by Inductively Coupled Plasma Mass Spectrometry. At one site, the ducal hunting castle of Grøngaard, Pb levels in acid extracts from glazed dishes were so high (up to 29,000 µg Pb cm −2 day −1) that acute toxic effects likely occurred if the dishes were used for serving food containing vinegar. More moderate acid-etching Pb levels were found in dishes from other sites, but they still exceed the WHO critical level if used daily. Acetic acid etching experiments performed on pipkins (three-legged cooking pots with a handle) yielded somewhat lower Pb extract values, averaging ca. 25 µg Pb cm −2 day −1. Taking into account the widespread use of pipkins for cooking, they might easily have led to a higher weekly Pb intake than the use of the moderate-level dishes. The question remains whether such high levels of Pb exposure during meals led to injurious Pb intake. Prior skeletal analyses have shown that medieval to early modern individuals from the area, especially in towns, were exposed to Pb. While exposure could have come from various sources other than lead-glazed ceramics, such as cosmetics, paint, antibacterial ointments, and lead water pipes, widely distributed lead-glazed ceramics had the potential of being a main source of Pb. How the pottery was actually used is uncertain, and it certainly was not evenly distributed across all segments of society, but the etching experiment results suggest that severe poisonous effects could have resulted from the use of lead-glazed Renaissance ceramics.

Various rare elements which were extremely expensive and difficult to extract from nature are nowadays easier to access due to advanced technology. This in turn has led to the widely use of such elements in the ceramic and glass industries with studies on their oxides and salts. Ceramic and glass artists who especially follow these new technologies and aim to apply them to art, have attained new experience using the various effects of the oxides and salts of such rare elements. There are various different effects, bodies and application methods available by trial of effects of these elements under different heating conditions. Following these progresses researchers have found the opportunity to improve their studies in the area of glass and ceramic arts by observing the different effects of these rare alkalines which cannot be obtained through known elements and the varying of effects under different heating conditions for applications in art. All these improvements have accelerated the research in the area of ceramic and glass art.

In this research study, the behavior within glazed ceramic/porcelain bodies of attained various rare soil elements and some oxides of which compounds are rarely found in the ceramic technology have been researched and conclusions drawn. Various studies have been carried out with attained oxides or compounds of elements such as Gallium, Rubidium, Selenium, Lanthanum, Cerium, Erbium and as a result of these trials the usage of these elements in ceramic and glass arts has been assessed. All positive and negative conclusions have been documented in this research study by low and high heating conditions.

The present paper is dedicated to an unusual example of sgraffito ware bearing a monogram found
in the citadel of the medieval town Cherven during the excavations of Church No. 7 (fig. 2, 22). The
bowl insert for ceramoplastic façade decoration whose tubular shaft was broken, is covered by white slip
and green glaze that is partially missing (fig. 3). The fabric is characteristic for the ceramic assemblage of
Cherven. The shape, the size, the technology, and the quality of the craftsmanship of the item also conform
to those of other representative examples of the decorative ceramics found during the exploration
of the town. However, only on this artefact there is an inscription – a cruciform monogram containing
the letters А, Λ, Η, C, and Τ. In the Byzantine written tradition the monograms were usually used as
abbreviation for the names or the titles of the elite. In this paper I propose a reconstruction of the name
Kallistos: [К]АΛ(Λ)ΗСΤ[ΟС] (fig. 10, 12). Based on the palaeographic and orthographic analysis it
is possible to conclude that the monogram is characteristic for the Late Byzantine epigraphy, but was
created by local craftsmen. Having command and using the Greek language and literacy in the capital
and in the large urban centers of the Second Bulgarian Empire is no surprise at all. Concerning the interpretation
of the inscription, it is necessary to consider similar monograms belonging to high-ranking
patrons in the socio-political life: tsars, despotes, high-ranking individuals in the military administration,
high-born members, as well as high-ranking clergymen – patriarchs and metropolitan bishops, which are
found on the exterior or in the interior of a number of Late Byzantine churches. For example, patriarch
Niphon I of Constantinople (1310 – 1314) has his monograms placed at several spots on the exterior of
the magnificent church of Agioi Apostoloi in Thessaloniki (fig. 17, 18). Extremely similar in appearance
are the monograms of Alexios Apokaukos, carved on capitals from Silivri (fig. 19). Another interesting
example is the Poganovo monastery, where Konstantin Dejanović (ca. 1378 – 1395), the despot of
Velbuzhd, is immortalized together with his daughter Elena in the inscriptions on some stone discs (fig.
20). But Mystras is the center where the use of monograms becomes an obsession. It is hard to find there
a church that was not “stamped” with the monograms of its founders (fig. 9, 13, 21). Based on the parallels
of a wide range of monuments of the elite from the 14th to the 15th c., it can be assumed that the bowl
with the engraved cruciform monogram with the name “Kallistos” from Cherven was most probably set
in a ceramic band, framing one of the blind arches on the southern façade of the church along which the main street of Cherven passed. Around the mid-14th c. Kallistos I (1350 – 1353; 1354 – 1363), patriarch
of Constantinople, stands out in the Orthodox world with his vigor and expansiveness. He intensifies
the contacts with the Churches of Bulgaria, Serbia and Russia attempting to impose the primacy of the
Ecumenical Patriarchate. Kallistos also left numerous literary works translated into Medieval Bulgarian.
In his works he repeatedly praised tsar Ivan Alexander (1331 – 1371) and demonstrated his close relations
to the Hesychasts in Bulgaria – St. Theodosius of Tarnovo, who lived in the vicinity of Cherven,
in the first place. It is not impossible that Church No. 7 posessed the respective patron’s marks exactly
of Kallistos I. In this regard, the inscription can also be considered not only as a patron’s mark and as a
dedication, but as a material expression of the political program, followed by the Ecumenical patriarch
and his allies in Bulgaria.

* Understanding Radiation* Industial Uses of The Radiation* What is Uranium* Uranium Based Ceramic Glazes and Glasses* Artistic Uses of  U/V Glow Ceramic Glazes* Artistic Uses of  U/V Glow Vaseline Glasses* Researches About  Uranium Glazes* Patented Invention about Uranium Glazes By Sencer Sari* Risks and Penaltys For Artists and Researchers* Other Glowing Earth Alkali Sources From The Nature

This study is a first approach to glazes of the traditional potter’s village of Sadirac, Gironde. Productions from eight sites from the 14th to the 19th centuries are studied by scanning electron microscopy with energy dispersive X-ray spectrometer (SEM-EDS).
Because of their composition in costly and often inaccessible raw materials unlike clay, looking at glazes can bring information about potter’s work, skills and know-how, besides to inform about social and professional organisation.
The main purpose of this research is to understand raw materials, methods and techniques implemented in conception and recipes of glazing mixture. A first part dealing with physicochemical characterisation of 61 ceramic samples with green glaze will precede the evaluation of the spatial-temporal variations of their compositions.
Results tend to show substantial variations between workshops for all periods. Furthermore, it was possible to correlate some tendencies with deep mutations of this handcraft already describe historically and archeologically.
Key words: Glaze, Sadirac, SEM-EDS, pottery.

Cette recherche porte sur une première approche des glaçures du centre potier de Sadirac, en Gironde. Des productions de huit sites datant du XIVe au XIXe siècle sont étudiées par microscopie électronique à balayage avec spectrométrie de rayons X en dispersion d’énergie (MEB-EDS).
L’étude des glaçures peut nous apporter des informations sur le travail des potiers, leurs techniques et savoir-faire, mais aussi sur l’organisation sociale et professionnelle de cet artisanat. En effet, la glaçure est constituée de matières premières qui sont parfois dispendieuses et inaccessibles localement, contrairement aux argiles.
Cette étude des glaçures du centre potier de Sadirac effectue une première approche des recettes de mélanges glaçurant dans le but de comprendre les matières premières utilisées, ainsi que les techniques et méthodes de fabrication mises en oeuvre. Une première partie concernant la caractérisation physico-chimique de 61 échantillons de céramiques glaçurées vert précédera l’évaluation des variations spatio-temporelles de ces recettes de glaçure.
Les résultats tendent à démontrer une variabilité conséquente au sein des ateliers pour toutes les périodes confondues. De plus, il a été possible de corréler certaines tendances avec des mutations profondes de l’artisanat, déjà entraperçues historiquement et archéologiquement.
Mots-clés : Glaçure, Sadirac, MEB-EDS, poterie.

Tin-based opacification by tin oxide and lead-tin-oxide particles was used in glass production since the first millennium BC and in ceramic glazes since the eighth century AD. Opacification process is often characterised by significant amounts of tin oxide and lead oxide dispersed into glassy matrices or by identification of the opacifying particles by means of microstructural or (micro-)XRD analyses. The processes of opacification and manufacture are usually more difficult to establish from compositional and microstructural analyses because they leave little diagnostic traces. This review aims to integrate compositional data on archaeological glass and glazes and in particular the Pb/Sn values, with descriptions of the opacification processes in historical treatises, observations at traditional workshops, and the results of previous replication experiments to shed further light on technological issues underlying these methods of opacification and highlight new research perspectives.

ÖZET: Yer karosu ve porselen karo (granit) gibi kaplama malzemeleri kullanıldıkları ortamlarda (hastane, lokanta, alışveriş merkezi vb.) yüksek oranda aşınma kuvvetlerine maruz kalmaktadır. Böylesi alanlarda tercih edilen karoların sırları yeterince sert değilse, ürün kısa sürede aşınmakta ve kullanılamaz hale gelmektedir. Son yıllarda porselen karoya olan ilginin giderek artması bu karolara uygun özellikte sert sırların geliştirilmesini zorunlu kılmaktadır. ZrO 2-CaO-MgO-SiO 2 (ZrCMS) ve CaO-MgO-Al 2 O 3-SiO 2 (CMAS) sistemlerine ait cam-seramik malzemeler çok sert olmalarının yanı sıra, aşınma ve yüzey çizilmelerine karşı da yüksek dayanım sergilemektedirler. Bu çalışmayla, Eti Maden Kırka Bor İşletmesi konsantratör ve türev tesisi atıklarının ZrCMS ve CMAS cam-seramik sistemlerinde değerlendirilerek yüksek aşınma dayanımlı firitlerin üretilmesi, sonrasında geliştirilecek firit esaslı sırlarla son dönemde Avrupa'da olduğu gibi ülkemizde de çok popüler hale gelen porselen karo bünyelerin kaplanması amaçlanmıştır. Atıkların CaO, MgO, SiO 2 ve B 2 O 3 içermesi belirtilen cam seramik sır sistemlerinde değerlendirilmelerini mümkün kılmaktadır. Böylesi bir geri dönüşüm hem atıkların depolanma problemlerinin ve zararlı çevresel etkilerinin önüne geçilmesine hem de son ürün maliyetinin azaltılmasına yol açacaktır. Anahtar Kelimeler: Boraks atığı, Porselen karo, Cam-seramik sırı, Hızlı pişirim, Değerlendirme ABSTRACT: Materials such as floor and porcelain (granite) tiles are subjected to high wearing forces in places like hospitals, restaurants, shopping centers, etc. If glazes are not hard enough, product will become unusable and worn out well before its expected service life. In recent years upsurge of interest in porcelain tile make it necessary to develop hard glazes with convenient properties. Glass-ceramic materials, which belong to ZrO 2-CaO-MgO-SiO 2 (ZrCMS) and CaO-MgO-Al 2 O 3-SiO 2 (CMAS) systems, are rather hard and indicate high resistant to wear and scratches. In this study, production of high wear resistant frits via evaluation of concentrator and derivative wastes of Eti Maden Kirka Boron Company in ZrCMS and CMAS glass-ceramic systems, and then coating porcelain tile bodies with glazes prepared by using these frits, which are so popular both in our country and Europe in recent years, are mainly aimed. Wastes are enabled to be used in declared glass-ceramic glaze systems due to their CaO, MgO, SiO2 and B2O3 content. Such a kind of recycling leads to both discouraging their harmful environmental effects and storage problems and diminishing final product's cost.

The “Caff a” Archaeological Expedition of the Institute of Archaeology named after A. Kh. Khalikov
of the Academy of Sciences of the Republic of Tatarstan has conducted systematic studies of
the Golden Horde settlement of Majar since 2015. These works are carried out within the framework
of the implementation of a state program of the Republic of Tatarstan “Preservation of the National
Identity of the Tatar People (2014 – 2019)”. The article features a brief summary of the main results
obtained during the three-year study of Madzhar.

Археологическая экспедиция «Каффа» Института археологии им. А.Х. Халикова
Академии Наук Республики Татарстан с 2015 г. проводит систематические исследования
золотоордынского Маджарского городища. Эти работы выполняются в рамках реализации
мероприятий государственной программы Республики Татарстан «Сохранение национальной
идентичности татарского народа (2014 – 2019 годы)». В статье в краткой форме публикуются
основные результаты полученные в течении трёхлетнего периода исследования города Маджар

The article addresses chronology of the Ostolopovo settlement in Alekseevsky District of Tatarstan Republic. The occupation layer is dated back to the beginning XI – second half XII centuries. Similar artefacts from settlements of Volga Bulgaria and chronological workings out of materials of Ancient Russia, numismatical finds from an occupation layer, radio carbon analysis C14 have been used for dating. It has been established that the occupation layer was formed on chernozem (buried soil) which was traced practically on all excavation. 5 layers were allocated: a layer I: the XX century; a layer II: the first - second third XII centuries; layer IIIп (the third late): second half XI centuries - the beginning of XII century; layer IIIр (the third early): the beginning of XI century - first half XI centuries; a layer IV: boundary Х - XI centuries - the beginning of XI century; a layer V: buried soil. A layer IV: it is the top horizon of a layer V. The most extensive thickness is characteristic of the layer III deposits. They are divided into two sub layers because of dangerous event – fire (or fires) which took place in the middle of XI century, from which many manors of the settlement have suffered. This layer is most representative in the western part of the settlement. In eastern part of the settlement the basic cultural deposits have been concerned to the layer II. At the end of XI – the beginning of XII century the settlement was ruined almost completely, and the considerable part of inhabitants was lost. After any time life on settlement has renewed. During this period it was generated II stratigraphy a layer. By the end of XII century, and can be and hardly earlier Settlement has died away. After that this place did not grow roots and did not swing open that has kept the generated occupation layer without essential damages.

Samshvilde archaeological expedition of the University of Georgia was conducting field works in three main directions in 2015: the first – reconnaissance of specific sections of the former settlement by geoarcheolocational methods and identification of archaeologically prospective sections on the basis of the obtained information, the second – conducting archaeological expeditions in the citadel of the former settlement for the purpose of identification of stratigraphy and the third - reconnaissance of the cape, the adjacent valleys and areas.

Доклад посвящен одной группе керамических находок стабильно представленных в культурных напластованиях основных
золотоордынских городских центрах Болгаре, Укеке, Царёвском  городище, Маджаре, Азаке, но в очень малом единичном количестве. Это красноглиняные пилообразные чаши с росписью ангобом под прозрачной бирюзовой глазурью. Глина сосудов коричнево-красная, средней пластичности, с включениями мелких частиц  белого цвета, дресвы, с большим количеством пустот, у двух черепков обжиг не равномерный, трехслойный, более темный у поверхностей. Дата находок по археологическому контексту соответствуют периоду с 1340 по 1380 гг.

ÖZ
Türkiye’de çıkan kırmızı kil yataklarından en önemlilerinden ikisi Nevşehir ilinin Avanos ilçesinde ve
Bilecik ilinin Pazaryeri ilçesine bağlı Kınık Köyünde bulunmaktadır. Avanos ve Kınık killerinin ortak özelliği; bu killerde demir oksit (%Fe2O3) oranının, %7’nin üzerinde olmasıdır. Bu çalışmanın amacı ise, saf kaolinin olmadığı durumlarda, sır reçetesine Avanos ve Kınık kırmızı killerinin eklenmesinin sırda yaratacağı artistik değişikliklerin belirlenmesidir. Bu doğrultuda, Avanos ve Kınık killerinin eklendiği ham sır karışımları, şamotlu kil, kırmızı çömlek kili ve döküm kilinden oluşan tabletlere akıtma yoluyla uygulanmıştır. Ayrıca kıyaslama yapmak amacıyla, Avanos ve Kınık killeri yerine saf Avanos kaolini ham sırlara aynı oranda ilave edilmiş ve aynı yüzeyler üzerine uygulanmıştır. Bunlara ek olarak, demir oksit kaynağı olarak düşünülen Avanos ve Kınık killeri; aventurin, krakle ve parlak transparan sır bileşimlerine ilave edilerek ek denemeler yapılmıştır. 1050 derecede fırınlanan sır kompozisyonlarının bünyeyle uyumu, sırın yüzeye tutunması, renkleri, parlak-matlık özellikleri ve estetik durumu incelenmiştir. Sonuç olarak, saf kaolinin olmadığı durumlarda çömlekçi kili olarak kullanılan Avanos ve Kınık killerinin sır karışımında kaolin görevi görebileceği ve sırda küçük çaplı renk değişimleri ve artistik etkiler yarattığı gözlemlenmiştir.

ABSTRACT
Avanos, as a town located in Nevşehir and Kınık village in Pazaryeri, Bilecik, are among the most prominent well-known red clay deposits in Turkey. The common characteristic specific to these both sites is the fact that the percentage of iron oxide (%Fe2O3) in clays extracted from Avanos and Kınık deposits is above 7 (seven). Within this study, it was aimed to examine the changes and artistic effects occurring after the red clays from Avanos and Kınık deposits were added to glaze as colorant, in the absence of pure kaolin. Along with this aim, Avanos and Kınık clays were added to raw glaze compositions, and this blend was applied to tablets made through the proportioned mixture of chamotte clay (fireclay), red earth pottery clay and casting clay. In addition to that, pure Avanos kaolin was added at the same amount to raw glaze composition instead of Avanos and Kınık clays and this composition
was applied to the tablets as well, produced through the use of same clays in order to obtain comparative results. Furthermore, additional tests were conducted by adding Avanos and Kınık clays as iron-oxide source to the blend of aventurine glaze, glossy crackle glaze and transparent glaze. Glaze compositions applied to tabled were fired at 1050 Celsius degrees, and the effects were examined carefully in terms of glaze fit, compatibility between glaze and clay body, glaze colours, the degree of being matte and glossy and aesthetics. The results indicated that Avanos and Kınık clays, used as the pottery clay in the absence of pure kaolin, could be utilized as substitute of kaolin, and the addition of these clays to glaze compositions lead to small-scale colour changes and artistic effects.

":چکیده
در ابتدای این مقاله سعی شده است تا به تعریفی دقیق از خمره سفالی از نظر ادبی، لغوی، فنی و همچنین از منظر کارشناسان صنایع دستی آورده شود. سپس انواع تکنیک‌های ساخت خمره‌های سفالی و تزیینات آنها شرح داده شده است. همچنین با استناد به نگاره‌های شرقی به جا مانده و همچنین نقاشی‌های غربی به اختصار و با مثال‌های موردی به ذکر موارد استفاده از این ظرف در اعصار مختلف پرداخته شده است.
در ادامه تلاش شده است تا با استفاده از قابلیت‌های موجود در این ظروف کهن موارد استفاده امروزی جهت حفظ آنها در محیط زندگی ذکر شود. از آنجا که برخی از این ظروف به لحاظ تاریخی ارزش چندانی ندارند و مربوط به دوره‌های قاجار و پهلوی هستند، حفظ آنها در موزه‌ها ضرورتی نداشته و بهتر است برای جلوگیری از نابودیشان آنها را به نحوی در محیط‌های مختلف زندگی به کار بست. از جمله می‌توان آنها را به عنوان شئ تاریخی - هنری در موزه‌های متناسب با آن‌ها از جمله موزه آب، موزه دفینه، حمام موزه‌ها، باغ موزه‌ها، خانه موزه‌های قدیمی، موزه عصارخانه‌ها، موزه‌های مردم شناسی و یا حتی در باغ‌ها و باغچه‌های خانگی مورد استفاده قرار داد تا به احیاء آنها در محیط زندگی کمک کرد و از نابودی قسمتی از میراث فرهنگی خود جلوگیری کنیم.
واژگان کليدی: خمرة سفالی، موزه، طراحی داخلی، باغ‌آرایی، شئ تزئینی"

The paper focuses on the detailed presentation of the numerous vessels which are immured in the main wall of the narthex of the church of Panagia Eleousa. The church is located to the north of the village of Kitharida, southwest of Herakleion (Crete). Given their number, their state of preservation, the various categories of pottery to which they belong which were imported from regions of the western and eastern Mediterranean, the particular interest in their disposition and possible hidden symbolic meanings behind their decoration, the vessels constitute one of the most representative groups of bacini immured in Cretan churches.

The presented pottery collection comes from the excavation of a medieval Islamic cemetery discovered at the Kom el-Dikka site in Alexandria, Egypt. The described set represents only a small fraction of an assemblage consisting of ceramics imported from the world known at the time. Hafsid pottery is easily distinguished thanks to a characteristic palette of colors: brown and blue patterns painted on a creamy-white background. The decoration repertoire can be divided into the following main groups of motifs: zoomorphic, floral, geometric and pseudo-epigraphic. The archaeological evidence is insufficient to support a periodization of this collection; the suggested dating follows from a stylistic analysis of the decoration compared with dated parallels from excavations on the citadel in Tunis and the bacini (bowls) preserved in Italian cathedrals.

In north-western Europe it has long been realised that potsherds should not be used exclusively as a dating tool but also as a means for examining aspects of socio-economic organisation, trade and exchange, dining and drinking habits. In contrast to methodological advances in Europe, medieval and post-medieval archaeology in Greece is still in its dawn. Remains of the post-Roman periods have just begun to be decently excavated and scientifically recorded. On the basis of older and recently published excavations in urban centres (Athens, Corinth and Thessaloniki) and surface surveys in the Greek countryside and other areas in the eastern Mediterranean, this paper offers an overall review of pottery forms and styles found in Greece. Case studies are also used from the late medieval and post-medieval Aegean islands of the Cyclades, examining some first results of the CY.RE.P. (Cyclades Research Project) survey research. Medieval pottery research in Greece is discussed in an attempt to examine socio-economic and cultural aspects of post-Roman ceramics in Greece in terms of trade and contacts between East and West, economic and social formation, cultural and/or symbolic meanings and domestic life.

An extensive cemetery was revealed during the rescue excavation conducted in the coal mine of Amyntaio, Florina district. Pottery indicates continuous use of the site from the middle byzantine era (early 12th or even late 11th century) to the Ottoman occupation (late 14th century). Nevertheless substantial quantity of handmade pottery could indicate towards an earlier phase, even since the so called “dark ages”.