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Article

Amol  

Gordon Campbell

Article

Bizen  

Richard L. Wilson

Japanese centre of ceramics production. High-fired ceramic wares were manufactured from the end of the 12th century in and around the village of Inbe, Bizen Province (now Okayama Prefect.). This region had been a centre for manufacturing Sue-style stonewares and Haji-style earthenwares from the 6th century ad (see Japan, §IX, 2, (ii), (a)). At the end of the Heian period (794–1185) the potters moved from the old Sue-ware sites around Osafune village to Inbe, just to the north. In response to increased agricultural development, the new kilns manufactured kitchen mortars (suribachi), narrow-necked jars (tsubo) and wide-necked jars (kame). During the 13th century the wares show less of the grey-black surfaces typical of the old Sue tradition and more of the purple-reddish colour characteristic of Bizen. In the 14th century Bizen-ware production sites shifted from the higher slopes to the foot of the mountains. Kilns expanded in capacity, ranging up to 40 m in length. Vast quantities of Bizen wares, particularly kitchen mortars, were exported via the Inland Sea to Kyushu, Shikoku and numerous points in western Honshu, establishing Bizen as the pre-eminent ceramics centre in western Japan. By the 15th century the Bizen repertory had expanded to include agricultural wares in graded sizes; wares then featured combed decoration and such functional additions as lugs and pouring spouts. Plastic–forming was assisted by the introduction of a fusible clay found 2–4 m under paddy-fields. This clay, which fires to an almost metallic hardness, is still in use today....

Article

Gordon Campbell

[Chin.: ‘hidden’]

Term applied to Chinese porcelain where the decoration can only be seen under a clear glaze or through transmitted light. Such decoration is sometimes found in Song dynasty (960–1279) Ding and Xing wares, and becomes very common in the white porcelain of the Yongle period (1403–24) of the Ming dynasty. By the mid-16th century ...

Article

George Bankes

Pre-Columbian culture of South America that extended throughout several valleys on the south coast of Peru and flourished between c. ad 1000 and 1476. The Ica–Chincha pottery style was first recognized by the German archaeologist Max Uhle, and regional variations have since been defined by archaeologists from the University of California at Berkeley, especially by Dorothy Menzel. The Ica Valley appears to have been the main cultural centre, while the Chincha Valley seems to have had greater political significance. Commerce was important; pottery was clearly held in high esteem, since it has been found at sites on the central coast and inland in the Río Pampas area near Ayacucho, and it seems, moreover, to have formed the principal indicator of cultural cohesion and diversity between the valleys. The main feature of the decorated wares is a polychrome style, usually with a red base overpainted with white and black designs. Motifs are frequently geometric, with many designs taken from textiles, including diamonds, stepped lines and zigzag lines. There are also many depictions of birds and fish that are difficult to see in the maze of angular designs. A characteristic vessel shape is a jar with a rounded base, globular body, narrow neck and flaring rim. Dishes with a flanged rim are also common. As on ...

Article

Regina Krahl

[Ching-te-chen]

Town and county seat in north-east Jiangxi Province, China, and the country’s main centre of porcelain production. For most of its existence the town was part of Fouliang, in Raozhou Prefecture, and in historical records its ceramics are generally referred to as Raozhou ware. With a continuous history of manufacturing porcelain from the Tang period (ad 618–907), it is the source of most Chinese porcelain.

The imperial kilns were located at Zhushan in the centre of modern Jingdezhen city; many lesser kilns were situated in Hutian, 4 km to the south-east. The area is supplied with fine-quality porcelain stone, the basic raw material for Chinese porcelain; it is surrounded by forests that provided fuel for the kilns; and it is conveniently connected to the major ports of southern China by rivers. Recent excavations have brought to light several different kiln types, including egg-shaped zhenyao kilns, bread-roll-shaped mantou kilns and dragon kilns (...

Article

Jizhou  

Peter Hardie

[Chichow; Chi-chou; Ji’an; Chi-an]

Site in central Jiangxi Province, China, and former centre of ceramic production. Jizhou is the Sui- to Song-period (581–1279) name for modern Ji’an, a town on the Ganjiang River, which flows northwards into the Yangzi Basin. Ceramic kilns operated from at least the Tang period (ad 618–907) until the end of the Yuan (1279–1368) at the village of Yonghexu, about 8 km outside the town. The site is recorded in Wang Zuo’s 1462 edition of the Gegu yaolun (‘Essential criteria of antiquities’). Archibald Brankston visited it in 1937 and took sherds to England (London, BM), and from 1953 the local authorities have continued the investigation and excavation of the remains of some 20 kilns and other structures.

After some experimentation with whitewares and celadons in the Tang, the kilns’ range of activity was developed during the Song (960–1279), especially the Southern Song (...

Article

H. B. Nicholson

Stylistic and iconographic tradition in Mesoamerica during the Post-Classic period (c. 900–1521).

The term was coined in 1938 by the American archaeologist George Vaillant for what he variously defined as a ‘culture’, ‘civilization’ or ‘culture complex’ that developed after the Teotihuacán collapse in the region of the modern Mexican state of Puebla and the western portion of Oaxaca, an area known as the Mixteca (from the predominant indigenous language of the region). He hypothesized that Mixteca–Puebla diffused into the Basin of Mexico during what he termed the ‘Chichimec’ period, providing ‘the source and inspiration of Aztec civilization’. He believed that aspects of the complex spread widely throughout Mesoamerica during its final major era, the Post-Classic, which he suggested should be labelled the ‘Mixteca–Puebla period’.

Although Vaillant never defined his concept with precision, he clearly had in mind a distinctive artistic style and its concomitant iconography, particularly exemplified by the members of the ‘Codex Borgia group’ of ritual and divinatory screenfolds (...

Article

Muslim  

[Muslim ibn al-Dahhān]

(fl c. Cairo, 1000).

Arab potter. Twenty complete or fragmentary lustreware vessels signed by Muslim are known. A fragmentary plate with birds in a floral scroll (Athens, Benaki Mus., 11122) is inscribed on the rim ‘[the work of] Muslim ibn al-Dahhan to please … Hassan Iqbal al-Hakimi’. Although the patron has not been identified, his epithet al-Hakimi suggests that he was a courtier of the Fatimid caliph al-Hakim (reg 996–1021). The other pieces, bowls or bases from them, are decorated with animals, birds, interlaced bands, inscriptions and floral motifs. One complete bowl (New York, Met., 63.178.1) shows a heraldic eagle, a second (Cairo, Mus. Islam. A., 14930) has a central griffin surrounded by palmettes, and a third (Cairo, Mus. Islam. A., 15958) has a design of four white leaves surrounded by an inscription in kufic offering good wishes. Muslim also countersigned objects made by other potters and may have been the master of an important workshop. His work represents the zenith in the animal, floral and abstract decoration of Egyptian lustrewares of the Fatimid period (...

Article

Sanage  

Richard L. Wilson

Centre of ceramics production in Japan. It flourished from the 5th to the 16th century. The large complex of kilns is clustered around Mt Sanage near Nagoya (Aichi Prefect.). Sanage wares are understood, through extensive archaeological research carried out from the mid-1950s, to have been the earliest glazed stonewares (kaiyūtō) to have been made in Japan. Probably due to its proximity to transportation routes and because of ample supplies of refractory clay, Sanage became established as a centre of Sue ware production in the late 5th century (see Japan §IX 2., (ii), (a)). In the mid-8th century, inspired by imported Chinese celadons, particularly Yue wares (see China, People’s Republic of §VIII 3., (iv), (b)), the Sanage potters began to move away from the Sue styles and techniques in favour of new continental models. More refractory, whiter-firing, levigated clays were employed, and the Sue style tunnel kiln (...