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The earliest variation is Plain Bowl, with a wider range of basic forms than Carinated Bowl, including high shoulders, S-shaped rims, developed rims, some closed forms, and coarser fabrics than the thin-walled CB. [7] [8] Plain Bowl, like CB, is widely distributed across the British Isles. [7] Hembury Ware is a specific type of Plain Bowl found ...
Hagi ware chawan with matcha green tea, by Yū Okada (2011). The subtle form and natural, subdued colors of Hagi ware are highly regarded. [5] [failed verification] In particular, the beautiful contrast between the bright green color of matcha [tea] and the warm neutral tones of Hagi ware is aesthetically notable.
The fabric is tempered with shell powder or reduced shell, typically handmade until the 10th century. Thames Valley, East Midlands, South East England [10] Shelly-sandy ware: 12th to 13th centuries AD The fabric is a blend of both sand and shell, most commonly quartz sand and ground-up shell Greater London [11] Stamford ware: 9th to 13th ...
Fabric analysis (see section below), used to analyse the fabric of pottery, is important part of archaeology for understanding the archaeological culture of the excavated site by studying the fabric of artifacts, such as their usage, source material composition, decorative pattern, color of patterns, etc.
In production, first, a large clay cone was shaped on the disc. The peak of the cone was the actual point of rotation, around which the bowl was to be formed. It was then sliced off with a wire or a cord. The resulting bowls had a relatively thick wall near the base and marks from rotation and pulling on the underside of the base.
Decoration is usually limited to bands of horizontal grooving on the shoulders or neck, with occasional patterns of wavy combing, rouletting, or stamping. [2] One of the best known products of the Humber kilns are the small drinking jugs, which replaces wooden bowls used in earlier times. [1] Humber ware jug in the Yorkshire Museum
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The bowl of an oinochoe (pitcher) might be emphasized by closely spaced vertical lines incised into the soft clay before firing. Further decoration could be added before the green ware was loaded into the kiln by using a toothed wheel or a comb-like instrument to create rows of dots arranged in fan patterns. On later examples a roller with ...