By Philip J. Arnold III
This pioneering ethnoarchaeological examine is of latest ceramic construction and intake in different villages within the Los Tuxtlas quarter of Mexico. whereas many archaeologists have pointed out ceramic creation zones within the archaeological checklist, their selecting standards have usually been imprecise and impressionistic. the current book's contribution is to take advantage of ethnographic learn to signify how archaeologists could always realize ceramic production. It additionally areas ceramic creation in higher cultural contexts and offers information of the ecology, construction, distribution, use, discard, and location formation strategies. Philip Arnold's serious observations on a few of the severe weaknesses in archaeological interpretations of ceramic creation will curiosity Mesoamericanists and all different archaeologists grappling with those, and similar, matters.
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Additional resources for Domestic Ceramic Production and Spatial Organization: A Mexican Case Study in Ethnoarchaeology (New Studies in Archaeology)
Sample text
Ceramic producers in the three remaining communities rely on deposits of volcanic ash, which tend to be exposed along stream courses near the villages. Potters are never charged for this material. 45 km, respectively. 93 km. 18 17 13 Bascascaltepec Chuniapan de Aba jo Sehualaca 1 Measured as round trip distance to source. g. Arnold 1985:53-54; Matson 1965:210). Like the other production materials, the character of the fuel resources is determined by the geology and the climate of the region. In addition, fuel availability is also a function of agricultural activities and deforestation.
The most notable difference was in production frequency, in which potters at San Isidro and Sehualaca worked more often than the potters in Chuniapan de Abajo and The ceramic production environment 34 Bascascaltepec. It would be reasonable to expect this distinction to be manifest in the kinds of production tools and techniques employed by the various potters. As the following chapter indicates, however, production frequency does not appear to be associated with differences in pottery making. In fact, many of the most interesting differences displayed by the Tuxtlas potters occur between producers who are operating at similar levels of output.
Fuel must be dried and the green portions removed. These green parts often produce steam that can damage vessels during firing. REFINING In the case of the Tuxtlas potters, most of the materials occur in a naturally refined manner. The quality of the clay is high and is generally low in aplastic inclusions. Tempers, especially ash, frequently occur in size-sorted deposits, making extraction of desired granule size an easier task. If wood is purchased from vendors, it has already been cut and requires little additional attention.