African red slip ware

Last updated
African Red Slip flagons and vases, 2nd-4th century AD African Red Slip vessels.JPG
African Red Slip flagons and vases, 2nd-4th century AD
A typical plain African Red Slip dish with simple rouletted decoration. 4th century Roman pottery African Red Slip.jpg
A typical plain African Red Slip dish with simple rouletted decoration. 4th century

African red slip ware or Phoenician Red Slip ware, is a category of terra sigillata , or "fine" Phoenician pottery produced from the 7th century BC into the 7th century in the province of Africa Proconsularis, specifically that part roughly coinciding with the modern country of Tunisia and the Diocletianic provinces of Byzacena and Zeugitana. It is distinguished by a thick-orange red slip over a slightly granular fabric. Interior surfaces are completely covered, while the exterior can be only partially slipped, particularly on later examples. [1]

Contents

By the 3rd century AD, African red slip (ARS) appears on sites throughout the Mediterranean and in the major cities of Roman Europe. It was the most widely distributed representative of the sigillata tradition in the late-Roman period, and occasional imports have been found as far afield as Britain in the 5th-6th centuries. [2] African red slip ware was still widely distributed in the 5th century but after that time the volume of production and trade may well have declined. While the latest forms continued into the 7th century and are found in such major cities as Constantinople and Marseille, the breakup of commercial contacts that typified the later 7th century coincides with the final decline of the African red slip industry.

The production and success of African red slip is probably closely tied to the agricultural productivity of Rome's North African provinces, as indicated in part by the contemporaneous distribution of Roman-period North African amphoras.

Vessel forms

Moulded Mithras slaying the bull, from Lavinium near Rome, 400 +- 50 African cup in terra sigillata with moulded interior decoration showing Mithras slaying the bull, from Lavinium, second half of 4th century - first half of 5th century AD, Museo Nationale, Rome (9442849659).jpg
Moulded Mithras slaying the bull, from Lavinium near Rome, 400 ± 50

From about the 4th century, competent copies of the fabric and forms were also made in several other regions, including Asia Minor, the eastern Mediterranean and Egypt. Over the long period of production, there was obviously much change and evolution in both forms and fabrics. Both Italian and Gaulish plain forms influenced ARS in the 1st and 2nd centuries AD (for example, Hayes Form 2, the cup or dish with an outcurved rim decorated with barbotine leaves, is a direct copy of the samian forms Dr.35 and 36, made in South and Central Gaul), [3] but over time a distinctive ARS repertoire developed.

There was a wide range of dishes and bowls, many with rouletted or stamped decoration, and closed forms such as tall ovoid flagons with appliqué ornament (Hayes Form 171). The ambitious large rectangular dishes with relief decoration in the centre and on the wide rims (Hayes Form 56), were clearly inspired by decorated silver platters of the 4th century, which were made in rectangular and polygonal shapes as well as in the traditional circular form.

Surface decoration

Stamped Dionisos, 550-600 Dionisos plate Barcelona.jpg
Stamped Dionisos, 550-600
Jug with scenes of Orpheus, 3rd century Ceramic cylindrical jug with Orpheus, from Tunisia, 3rd century AD, Neues Museum, Berlin (13717014633).jpg
Jug with scenes of Orpheus, 3rd century

A wide range of bowls, dishes and flagons were made in ARS, but the technique of making entire relief-decorated vessels in moulds was discontinued. [4] Instead, appliqué motifs were frequently used where decoration in relief was required, separately made and applied to the vessel before drying and firing. Stamped motifs were also a favoured form of decoration, and decorative motifs reflected not only the Graeco-Roman traditions of the Mediterranean, but eventually the rise of Christianity as well: there is a great variety of monogram crosses and plain crosses amongst the stamps in the later centuries. Similar forms and fabrics were made for more local distribution in Egypt, which had its own very active and diverse ceramic traditions in the Roman period.

Surface decoration of ARS is relatively simple during the first three centuries of production, with occasional rouletting, barbotine motifs and some appliqué being typical. In the 4th century applied decoration becomes common. By the 5th century stamped central motifs such as animals, crosses and humans are common on larger plates. Paralleling developments in other visual media, gladiatorial scenes and references to pagan mythology come to be replaced by Christian figures. In the last phase of production, surface treatment consists of light spiral burnishing on some plates and rouletting around the floor of certain bowls.

Main typologies

In 1972 John Hayes published a type series running from form 1 to 200, with forms 112-120 remaining unused. [5] A supplement appeared in 1980. [6] In addition to other previous work, Hayes made use of Waage's work in both Antioch and the Athenian Agora, as well as Lamboglia's in Ventimiglia. Michael Fulford's publication of the British excavations at Avenue du Président Habib Bourguiba, Salammbo in Carthage expanded on the work of Hayes. [7] Carandini's typology, published in Enciclopedia dell'arte antica classica e orientale, is also important. [8] Michael Mackensen offers an alternate typology for later forms based on his work in northern Tunisia. [9] Michel Bonifay has also collected previous scholarship alongside his own observations. [10]

Centers of production

Some major ARS centres in central Tunisia are Sidi Marzouk Tounsi, Henchir el-Guellal (Djilma), [11] and Henchir es-Srira, [12] all of which have ARS lamp artifacts attributed to them by the microscopic chemical makeup of the clay fabric as well as macroscopic style prevalent in that region.

Notes

  1. López-Ruiz, Carolina; Doak, Brian R. (2019). The Oxford Handbook of the Phoenician and Punic Mediterranean. Oxford University Press. p. 524. ISBN   978-0-19-049934-1.
  2. Tyers 1996, pp.80-82
  3. Hayes 1972, p. 19–20.
  4. For the detailed typology and distribution maps, see Hayes 1972 and Hayes 1980
  5. Hayes, John. (1972). Late Roman Pottery. London: British School at Rome (hardcover, ISBN   0-904152-00-6)
  6. Hayes, John. 1980. A Supplement to Late Roman Pottery. London: British School at Rome ISBN   0-904152-10-3
  7. Fulford, Michael & Peacock, David. (1984). The Avenue du President Habib Bourguiba, Salammbo: the pottery and other ceramic objects from the site excavations at Carthage. (The British Mission 1.2.) Sheffield: University of Sheffield, Department of Prehistory and Archaeology.
  8. 1981. Enciclopedia dell'arte antica classica e orientale. Atlante delle Forme Ceramiche I, Ceramica Fine Romana nel Bacino Mediterraneo (Medio e Tardo Impero). Rome: Istituto della Enciclopedia italiana.
  9. Mackensen, Michael (1993). Die spätantiken Sigillata- und Lampentöpfereien von el Mahrine (Nordtunesien): Studien zur nordafrikanischen Feinkeramik des 4. bis 7. Jahrhunderts. Munich: Beck (hardcover, ISBN   978-3-406-37015-1)
  10. Bonifay, Michel. 2004. Études sur la céramique romaine tardive d’Afrique. (British Archaeological Reports International Series 1301) Oxford: B. A. R.
  11. 34°42′18″N9°21′58″E / 34.7049689°N 9.3661589°E Hitchner, R.; R. Warner; R. Talbert; T. Elliott; S. Gillies (20 October 2012). "Places: 324723 (Henchir-el-Guellal)". Pleiades. Retrieved January 14, 2014.
  12. 35°26′15″N9°22′09″E / 35.437423°N 9.3690949°E Hitchner, R.; R. Warner; R. Talbert; T. Elliott; S. Gillies (20 October 2012). "Places: 324738 (Henchir-es-Srira)". Pleiades. Retrieved January 14, 2014.

Related Research Articles

<span class="mw-page-title-main">Pottery</span> Craft of making objects from clay

Pottery is the process and the products of forming vessels and other objects with clay and other raw materials, which are fired at high temperatures to give them a hard and durable form. The place where such wares are made by a potter is also called a pottery. The definition of pottery, used by the ASTM International, is "all fired ceramic wares that contain clay when formed, except technical, structural, and refractory products". End applications include tableware, decorative ware, sanitaryware, and in technology and industry such as electrical insulators and laboratory ware. In art history and archaeology, especially of ancient and prehistoric periods, pottery often means vessels only, and sculpted figurines of the same material are called terracottas.

<span class="mw-page-title-main">Africa (Roman province)</span> Roman province in north Africa

Africa was a Roman province on the northern coast of the continent of Africa. It was established in 146 BC, following the Roman Republic's conquest of Carthage in the Third Punic War. It roughly comprised the territory of present-day Tunisia, the northeast of Algeria, and the coast of western Libya along the Gulf of Sidra. The territory was originally and still is inhabited by Berbers, known in Latin as the Mauri, indigenous to all of North Africa west of Egypt. In the 9th century BC, Semitic-speaking Phoenicians from West Asia built settlements along the coast of the Mediterranean Sea to facilitate shipping. Carthage, rising to prominence in the 8th century BC, became the predominant of these.

<span class="mw-page-title-main">Terra sigillata</span>

Terra sigillata is a term with at least three distinct meanings: as a description of medieval medicinal earth; in archaeology, as a general term for some of the fine red Ancient Roman pottery with glossy surface slips made in specific areas of the Roman Empire; and more recently, as a description of a contemporary studio pottery technique supposedly inspired by ancient pottery. Usually roughly translated as 'sealed earth', the meaning of 'terra sigillata' is 'clay bearing little images', not 'clay with a sealed (impervious) surface'. The archaeological term is applied, however, to plain-surfaced pots as well as those decorated with figures in relief, because it does not refer to the decoration but to the makers stamp impressed in the bottom of the vessel.

<span class="mw-page-title-main">Slipware</span> Pottery with a coating of slip

Slipware is pottery identified by its primary decorating process where slip is placed onto the leather-hard (semi-hardened) clay body surface before firing by dipping, painting or splashing. Slip is an aqueous suspension of a clay body, which is a mixture of clays and other minerals such as quartz, feldspar and mica. The slip placed onto a wet or leather-hard clay body surface by a variety of techniques including dipping, painting, piping or splashing. Slipware is the pottery on which slip has been applied either for glazing or decoration. Slip is liquified clay or clay slurry, with no fixed ratio of water and clay, which is used either for joining pottery pieces together by slip casting with mould, glazing or decorating the pottery by painting or dipping the pottery with slip.

<span class="mw-page-title-main">Minoan pottery</span> Pottery from Bronze Age Crete

Minoan pottery has been used as a tool for dating the mute Minoan civilization. Its restless sequence of quirky maturing artistic styles reveals something of Minoan patrons' pleasure in novelty while they assist archaeologists in assigning relative dates to the strata of their sites. Pots that contained oils and ointments, exported from 18th century BC Crete, have been found at sites through the Aegean islands and mainland Greece, in Cyprus, along coastal Syria and in Egypt, showing the wide trading contacts of the Minoans.

<span class="mw-page-title-main">Bucchero</span>

Bucchero is a class of ceramics produced in central Italy by the region's pre-Roman Etruscan population. This Italian word is derived from the Latin poculum, a drinking-vessel, perhaps through the Spanish búcaro, or the Portuguese púcaro.

<span class="mw-page-title-main">Slip (ceramics)</span> Slurry of clay and water

A slip is a clay slurry used to produce pottery and other ceramic wares. Liquified clay, in which there is no fixed ratio of water and clay, is called slip or clay slurry which is used either for joining leather-hard (semi-hardened) clay body together by slipcasting with mould, glazing or decorating the pottery by painting or dipping the pottery with slip. Pottery on which slip has been applied either for glazing or decoration is called slipware.

<span class="mw-page-title-main">Levantine pottery</span> Ceramics from the Levant

Pottery and ceramics have been produced in the Levant since prehistoric times.

<span class="mw-page-title-main">Philistine Bichrome ware</span> Archaeological term

Philistine Bichrome ware is an archaeological term coined by William F. Albright in 1924 which describes pottery production in a general region associated with the Philistine settlements during the Iron Age I period in ancient Canaan. The connection of the pottery type to the "Philistines" is still held by many scholars, although some question its methodological validity.

<span class="mw-page-title-main">Kamares ware</span>

Kamares ware is a distinctive type of Minoan pottery produced in Crete during the Minoan period, dating to MM IA. By the LM IA period, or the end of the First Palace Period, these wares decline in distribution and "vitality". They have traditionally been interpreted as a prestige artifact, possibly used as an elite table-ware.

<span class="mw-page-title-main">Ancient Roman pottery</span>

Pottery was produced in enormous quantities in ancient Rome, mostly for utilitarian purposes. It is found all over the former Roman Empire and beyond. Monte Testaccio is a huge waste mound in Rome made almost entirely of broken amphorae used for transporting and storing liquids and other products – in this case probably mostly Spanish olive oil, which was landed nearby, and was the main fuel for lighting, as well as its use in the kitchen and washing in the baths.

<span class="mw-page-title-main">Cizhou ware</span>

Cizhou ware or Tz'u-chou ware is a wide range of Chinese ceramics from between the late Tang dynasty and the early Ming dynasty, but especially associated with the Northern Song to Yuan period in the 11–14th century. It has been increasingly realized that a very large number of sites in northern China produced these wares, and their decoration is very variable, but most characteristically uses black and white, in a variety of techniques. For this reason Cizhou-type is often preferred as a general term. All are stoneware in Western terms, and "high-fired" or porcelain in Chinese terms. They were less high-status than other types such as celadons and Jun ware, and are regarded as "popular", though many are finely and carefully decorated.

<span class="mw-page-title-main">Eastern sigillata A</span>

In archeology, eastern sigillata A (ESA) is a category of late Hellenistic and early Roman terra sigillata. In 1957, Kathleen Kenyon introduced categories A, B, C, to classify eastern sigillata without determining the exact place of manufacture. For ESA, still no production centers have been identified but distribution patterns suggest an origin in northern Syria. ESA is distinguished by the fineness of its fabric, which stands out as very pale in comparison to the deep red-slip that usually covers all surfaces. When fully applied, the slip is of a consistent color and thickness across the vessel. There are many examples on which the thickness of the slip varies considerably or on which firing is inconsistent and very dark in patches.

<span class="mw-page-title-main">Eastern sigillata C</span>

Eastern sigillata C, also known as Çandarli ware, is a category of Late Hellenistic and Roman terra sigillata. The best known production center is at Çandarlı, ancient Pitane.

Phocaean red slip (PRS) is a category of terra sigillata, or "fine" Ancient Roman pottery produced in or near the ancient city of Phokaia in Asia Minor. It is recognizable by its thin reddish slip over a fine fabric, often with occasional white (lime) inclusions. The main period of production is the late 4th century AD into the 7th century, contemporary to the later production of African red slip. All forms are open bowls or dishes. Later forms have stamped decoration.

The pottery of ancient Cyprus starts during the Neolithic period. Throughout the ages, Cypriot ceramics demonstrate many connections with cultures from around the Mediterranean. During the Early and Middle Bronze Ages, it is especially imaginative in shape and decoration. There are also many early terracotta figurines that were produced depicting female figures.

<span class="mw-page-title-main">Redware</span> Various types of red-colored pottery

Redware as a single word is a term for at least two types of pottery of the last few centuries, in Europe and North America. Red ware as two words is a term used for pottery, mostly by archaeologists, found in a very wide range of places. However, these distinct usages are not always adhered to, especially when referring to the many different types of pre-colonial red wares in the Americas, which may be called "redware".

<span class="mw-page-title-main">Nene Valley Colour Coated Ware</span>

Nene Valley Colour Coated Ware is a type of Romano-British ceramic produced in the lower Nene Valley centred on Durobrivae from the mid-2nd to 4th centuries AD. The closest city is Peterborough, which vies with Northampton, Wisbech and London museums as a main repository and exhibition location of finds, arguably the most impressive of which are at the British Museum. The name of this type of ceramic is often abbreviated to NVCC.

The basic chronology of the early town of Manda Island in the Lamu Archipelago of Kenya is divided into 6 different periods, based mostly on the types of imported pottery that has been found in different strata of the excavations. The first period, I, begins in the mid ninth century and is subdivided into four parts, a, b, c, and d, ending in the early eleventh century. Period II has two parts, A and B, though the divide between the two is rather vague and could be entirely arbitrary, and dates from the mid eleventh to the late twelfth for the former, and late twelfth to late thirteenth century for the latter. Period III runs from the late thirteenth century to the fourteenth when Period IV picks up and ends in the early Sixteenth. Period V covers the mid Sixteenth and all of the seventeenth, and the final period covers everything after the Seventeenth century.

References

Further reading