Islamic pottery from the Évora Municipal Museum
Vanessa FilipeRelated papers
ACTIONS IN TIME: AFTER THE BREAKAGE OF POTTERY AND BEFORE THE CONSTRUCTION OF WALLS AT THE SITE OF CASTELO VELHO DE FREIXO DE NUMÃO
This article is about an enclosure that would normally be defined by its walls. There are many other sites like this in the Iberian Peninsula. Traditional accounts would interpret this site as a fortified settlement, although the excavation director Susana Oliveira Jorge has written in more ritual terms of a monumentalised hill. However, there is another issue, and it underlies and forges the construction of both of these accounts, they are constituted through the spatial. The spatial distributions of 'architectural' and 'material culture' elements are key to these understandings. But what of their temporal dimensions? The enclosing walls of Castelo Velho are a complicated maze of different construction projects that rarely crystallise into clear static forms, and appear to be as much material practice as architecture. Fragments of pottery, as well as slabs of stone, make up these entwined structures and because of this I used the pottery to get at space in a different way. In particular, I have utilised the temporal qualities inherent in assemblages of potsherds in order to understand the temporality of the entanglement of walls. Pots, like walls, are not frozen objects but have extended histories and if you locate these alongside the extended histories of buildings you get an overlap. It is this overlap that adds an extra temporal complexity that enhances the understanding of the site. In this article, I consider the significance of this temporal trajectory, and how it reconfigures accounts of the making and unmaking of space in the Chalcolithic. Resumo: Acções no Tempo: depois da fragmentação da cerâmica e antes da construção de estruturas em Castelo Velho de Freixo de Numão Este texto centra-se na arquitetura do recinto murado de Castelo Velho de Freixo de Numão (Vila Nova de Foz Côa), datado do III/1ª metade do II milénio AC. A arquitetura destes recintos murados é tradicionalmente associada a sistemas de fortificação, sendo a sua construção uma resposta à necessidade de defesa de pessoas e bens. Porém, desde meados dos anos 90 do século XX, têm-se multiplicado os pontos de vista sobre este tipo de arquitetura, surgindo novos modos de discutir a sua espacialidade e temporalidade. Com o propósito de contribuir para esta discussão, pretendemos explorar o entrelaçamento entre os "elementos arquitectónicos" e os "elementos de cultura material". Os muros que definem Castelo Velho são um complicado labirinto de distintos projetos de construção que raramente se cristalizam em formas claras e estáticas. Pelo contrário, sugerem que se ensaie uma ideia de arquitetura como um conjunto de complexas práticas materiais. O estudo que agora se apresenta partiu da análise cerâmica para tentar compreender a construção do espaço de um modo diferente, pois o entrelaçado de estruturas não é apenas composto por lajes de pedra, mas também por fragmentos de cerâmica. Prestando particular atenção às qualidades temporais de conjuntos de fragmentos cerâmicos específicos, tentaremos compreender a temporalidade do emaranhado das paredes. Os recipientes cerâmicos, tal como as paredes, não são objetos congelados. Estes vestígios materiais apresentam longas histórias que, colocadas ao lado das histórias de construção, oferecem um conjunto de sobreposições de acontecimentos. São estas sobreposições que, ao adicionar complexidade temporal e espacial ao estudo destes contextos, aumentam as possibilidades de compreensão do recinto.
Destruido por el fuego, conservado a lo largo del tiempo: cultivos y madera de una estructura de la Edad del Bronce Final / Primera Edad del Hierro en Vila do Touro (Sabugal, Portugal)
Complutum
Las excavaciones arqueológicas en Vila do Touro detectaron una ocupación del Final de la Edad del Bronce/Primera Edad del Hierro en la destacada cumbre del monte. Se trataba de una estructura construida con materiales perecederos, sostenida por postes, y un pequeño espacio de almacenamiento sub-circular, construido en piedra. Durante el trabajo de campo se observaron abundantes restos de plantas carbonizadas en toda el área de excavación, lo que sugiere un incendio ocurrido antes del abandono del lugar, en algún momento del siglo IX a.C. El muestreo arqueobotánico permitió la recuperación de abundante madera carbonizada, así como de frutos y semillas carbonizadas. Los análisis mostraron que las estructuras se construyeron principalmente con madera de Quercus de tipo caducifolio, aunque también se usó pino. Evidencias de la supresión del crecimiento en la madera de esos árboles sugieren el manejo humano directo de los recursos de madera, lo que coincide con otras evidencias de la Pen...
As Artesanias e Tecnologias De Antonio Cação
AntHropológicas Visual, 2020
Na cidade de São Caetano de Odivelas, na microrregião do Salgado, no Estado do Pará, na Amazônia brasileira, desde os anos 30 do século XX, estabeleceu-se uma manifestação de cultura popular com singular marca, mesmo que oriunda do secular boi-bumbá do nordeste brasileiro. Trata-se do boi de máscaras, nome genérico para um sem número de grupos de bumbás que se espalham pela cidade e pelos interiores afora do município. Originariamente essa manifestação surge como folguedo joanino, adquirindo o povo odivelense protagonismo reinante na produção e na execução da festa dos bois mascarados. Contrariamente ao tradicional Boi-Bumbá ou o Bumba-meu-Boi, o Boi de Máscaras não apresenta a “comédia”, ou seja, a narrativa de Mãe Catirina e Pai Francisco, sendo que o motivo principal da manifestação é a folia de rua em que os brincantes — cabeçudo, pierrô, buchudo — dançam em torno do Boi, ao som de sambas e marchas tocadas por uma orquestra de metais e percussão. E o brincante do boi de máscaras...
Boletim: "Cadeira Paroquial da Igreja Matriz do Espírito Santo, da Freguesia de Igreja a Nova do Sobral, Concelho de Ferreira do Zêzere.
Boletim Intervenções, N.º 14, Maio de 2014. Intervenção realizada pelo Laboratório de Conservação e Restauro de Madeiras. Area de Conservação e Restauro do Instituto Politécnico de Tomar., 2014
Boletim relativo à intervenção de conservação e restauro na Cadeira Paroquial da Igreja Matriz do Espírito Santo, da Freguesia de Igreja a Nova do Sobral, do Concelho de Ferreira do Zêzere, efectuada pelo Laboratório de Conservação e Restauro de Madeiras (LCRM) do Instituto Politécnico de Tomar (IPT). Esta intervenção foi efectuada no âmbito do Projecto Restaurar – Conservação e Restauro de Bens Culturais das Igrejas e Capelas do Concelho de Ferreira do Zêzere, que resulta da iniciativa da Fundação Maria Dias Ferreira (FMDF), de Ferreira do Zêzere, e que se promoveu em parceria com o IPT, com objectivo central fomentar a valorização dos bens culturais, em particular da arte sacra, através de intervenções de conservação e restauro, dada a necessidade mais ou menos urgente de estabilização física ou material de alguns desses bens em mau estado, de entre os quais se assinalou esta cadeira. Trata-se de uma cadeira de braços, do século XVIII, em madeira de nogueira com espaldar e assento em couro gravado, fixo através de cardas em ferro protegido com ácido tânico (pregos miúdos de cabeça chata e larga) e de balmazes em bronze (prego de cabeça semiesférica). No que diz respeito ao estado de conservação, os seus materiais constituintes (madeira, couro e metais) apresentavam-se em muito mau estado, em grande parte determinado pelas condições ambientais existentes na igreja, pelo descuido na manutenção e higienização dos objectos, pela falta de cuidado na utilização e manuseamento desta cadeira, bem como pelo tipo de intervenção de que foi alvo – um repinte monocromático integral, de péssima qualidade, quer pelas tintas utilizadas, quer pelo modo de aplicação, sem qualquer critério e rigor técnico. A intervenção passou pela estabilização estrutural da cadeira e dos seus materiais,e pela sua restituição estética através da remoção dos repintes, preenchimento das lacunas, reintegração cromática e limpeza e reconstituição dos elementos metálicos em falta
Do Castelo. Do Tempo. Arqueologia no Castelo Branco (ISBN 978-989-96109-3-4) - Português, English, Español
2015
Embora o "castelo branco" seja um símbolo identitário da cidade albicastrense, a maioria dos habitantes da capital da Beira Baixa, pouco ou nada sabe sobre a História de um monumento que marca de forma incontornável o passado e a paisagem da região. Ao longo do século XX tiveram lugar diversos achados fortuitos, mas foi só nos anos 80 decorreram os primeiros trabalhos arqueológicos sistemáticos, na primeira intervenção do género organizada na cidade. Foi também uma das primeiras em Portugal que teve como objetivo o estudo de contextos medievais e modernos, numa época em que esse tipo de investigação ainda não tinha começado a surgir na maior parte das cidades do país. Volvidos quase 30 anos do fim dos trabalhos, a exposição agora organizada pretende dar a conhecer alguns dos achados mais significativos encontrados naquele local, tendo em conta a sua funcionalidade e os espaços quotidianos onde se inseriam. Although the “white castle” is an identity symbol of the city where it was build, its history is totally unknown to most of the city’s residents. During the 20th century there were some fortuitous findings, but it was only in the 1980’s that the archaeological excavations started in a systematical form. It was the first intervention of that kind in the city and one of first in Portugal to study medieval and modern contexts, when it had not happened yet in other Portuguese sites. Almost thirty years after the end of the excavations, this exhibition wants to show some of the objects that were found, demonstrating their use and placing them in the everyday spaces where they belong. Aunque el "castillo blanco" es un símbolo identitario de la ciudad albicastrense, la mayoría de los vecinos de la capital de la Beira Baixa poco o nada sabe acerca de la Historia de un monumento que marca de forma inevitable el pasado y el paisaje de la región. A lo largo del siglo XX hubo una serie de hallazgos fortuitos, pero fue sólo en la década de 80 cuando tuvieron lugar los primeros trabajos arqueológicos sistemáticos, en lo que fue la primera intervención de esa clase organizada en la ciudad. Fueran también de los primeros trabajos arqueológicos en Portugal en tener como objectivo el estudio de contextos medievales y modernos, en una época en la que este tipo de investigación todavía no había empezado a surgir en la mayoría de las ciudades del país. Casi treinta años después del final de las excavaciones, la exposición ahora organizada pretende dar a conocer algunos de los hallazgos más significativos realizados en ese lugar, teniendo en cuenta su funcionalidad y los espacios cotidianos en que se integraban.
Medieval pottery from the forum of Aeminium (Coimbra, Portugal) – a proposal of chrono-typological evolution.
Several archaeological interventions at the Machado de Castro National Museum, once the forum and cryptoportico of the Roman city of Aeminium, allowed the identification of several archaeological contexts, created by landfilling and the burial of negative structures, dating between the end of the 9th century and the beginning of the 13th century, and the recovery of a large pottery assemblage. This paper discusses a preliminary approach to the materials, characterized by varied technical, formal and stylistic solutions. Overall, they point towards a close coexistence and assimilation of southern Islamic traits, associated and combined with northern Christian influences. On the other hand, it can be stated that, throughout the studied period, the evolution of pottery characteristics does not simultaneously reproduce the abrupt political and religious changes that the city was subjected to. As várias intervenções arqueológicas realizadas no espaço do Museu Nacional de Machado de Castro, outrora o fórum e criptopórtico da cidade romana de Aeminium, permitiram identificar vários contextos, associados a níveis de aterro e de colmatação de estruturas em negativo, datados entre os finais do século IX e os inícios do século XIII, onde foi possível exumar uma considerável colecção de materiais cerâmicos. Neste texto pretende-se efectuar uma abordagem, ainda que preliminar, a este espólio que apresenta uma diversidade de soluções ao nível técnico, formal e estilístico e que aponta para uma estreita convivência e assimilação de características do mundo islâmico meridional associadas e combinadas a outras de influência cristã setentrional. Por outro lado, poderá constatar-se que a evolução daquelas características ao longo deste hiato temporal não acompanha em simultâneo as alternâncias políticas e religiosas bruscas a que a cidade esteve submetida.
Coordenação editorial de:
Maria José Gonçalves
Susana Gómez-Martínez
Edição de:
X CONGRESSO INTERNACIONAL A CERÂMICA MEDIEVAL NO MEDITERRÂNEO SILVES - MÉRTOLA, AUDITÓRIO DA FISSUL,
22 A 27 DE OUTUBRO DE 2012
10TH INTERNATIONAL CONGRESS ON MEDIEVAL POTTERY IN THE MEDITERRANEAN. SILVES & MÉRTOLA, 22-27 OCTOBER
2012
ORGANIZAÇÃO: CÂMARA MUNICIPAL DE SILVES, CAMPO ARQUEOLÓGICO DE MÉRTOLA
EM COLABORAÇÃO COM: AIECM2 E CEAUCP
APOIOS: FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA, FUNDAÇÃO CALOUSTE GULBENKIAN
COMITÉ INTERNACIONAL DO AIECM2
PRESIDENTE: SAURO GELICHI
VICE-PRESIDENTE: SUSANA GÓMEZ-MARTÍNEZ
SECRETÁRIO: JACQUES THIRIOT
TESOUREIRO: HENRI AMOURIC
SECRETÁRIO ADJUNTO: ALESSANDRA MOLINARI
MEMBROS DOS COMITÉS NACIONAIS
FRANÇA: HENRI AMOURIC, JACQUES THIRIOT, LUCY VALLAURI
ITÁLIA: SAURO GELICHI, ALESSANDRA MOLINARI, CARLO VARALDO
MAGHREB: RAHMA EL HRAIKI
MUNDO BIZANTINO: VÉRONIQUE FRANÇOIS, PLANTON PETRIDIS
PORTUGAL: MARIA ALEXANDRA LINO GASPAR, SUSANA GÓMEZ-MARTÍNEZ
ESPANHA: ALBERTO GARCIA PORRAS, MANUEL RETUERCE, JUAN ZOZAYA STABEL-HANSEN
PRÓXIMO ORIENTE: ROLAND-PIERRE GAYRAUD
ACTAS DO X CONGRESSO INTERNACIONAL A CERÂMICA MEDIEVAL NO MEDITERRÂNEO. SILVES - MÉRTOLA, 22 A 27 DE
OUTUBRO DE 2012
PROCEEDINGS OF 10TH INTERNATIONAL CONGRESS ON MEDIEVAL POTTERY IN THE MEDITERRANEAN. SILVES &
MÉRTOLA, 22-27 OCTOBER 2012
SILVES, OUTUBRO DE 2015
EDIÇÃO /// PUBLISHER: CÂMARA MUNICIPAL DE SILVES & CAMPO ARQUEOLÓGICO DE MÉRTOLA
COORDENAÇÃO EDITORIAL /// EDITOR: MARIA JOSÉ GONÇALVES E SUSANA GÓMEZ-MARTÍNEZ
DESIGN GRÁFICO /// GRAPHIC DESIGN: RUI MACHADO
IMPRESSÃO /// PRINTING: GRÁFICA COMERCIAL DE LOULÉ
ISBN 978-972-9375-48-4
DEPÓSITO LEGAL /// LEGAL DEPOT ??????
TIRAGEM /// PRINT RUN: 500
Não é bem como um texto escrito em belos caracteres góticos ou cúficos, contando a história de um milagre,
registando um contrato encomendado pelo príncipe, ou denunciando a ameaça do reino vizinho. Não é
como qualquer frase gravada na pedra ou pergaminho, que além de denunciar a sua origem de classe, porque
necessariamente produzida no seio de uma elite, esconde sempre nas suas entrelinhas uma carga ideológica,
quantas vezes indecifrável ou falaciosa. Ao contrário, os fragmentos de cerâmica arqueológica recolhidos
numa camada estratigraficamente reconhecível, embora não pareça, são mais fiáveis, autorizando uma mais
segura e escorreita informação histórica. Por vezes, quase sempre, são minúsculos ou mesmo insignificantes
os fragmentos. Por vezes, quase sempre, nem sequer a forma é reconhecível e muito menos reconstituível. E
no entanto a sua informação histórica é sempre preciosa. O simples perfil reclinado do lábio, a forma grácil
de arquear a asa, aquela pincelada rápida de traço avermelhado ou a pequena mancha de esmalte melado são
os indícios suficientes para reconstituir com verosimilhança a forma e a idade do jarro ou cântaro de água,
e, com ele, alguns gestos de trabalho da camponesa que o usou e até, sem errar muito, o seu local de fabrico.
Estes simples e informes fragmentos cerâmicos permitem aproximar-nos e mesmo compreender a história
daqueles a quem nunca foi dado o direito de ter história, daqueles que nunca comandaram exércitos, que
nunca decidiram da paz e da guerra, daqueles que nunca habitaram palácios ou castelos. À primeira vista a
gramática ornamental destas bilhas e tigelas sistematiza línguas estranhas e aparentemente indecifráveis. E
no entanto, os seus códigos, sem serem isotéricos, referem-se indirectamente a espaços culturais, a zonas de
influência que ao longo dos séculos marcaram o Mediterrâneo, na sua fantástica diversidade. As referências
mais antigas, ainda relacionadas com os entrançados romboidais da cestaria e da tecelagem, denunciam
origens neolíticas e sobretudo permanências das sociedades nómadas dos tuaregues, rifenhos e pastores
ibéricos. Na linguagem vegetalista com referências orientalizantes e sobretudo no que se refere à enorme e
variada simbologia da Flor de Lotus de época califal, destaca-se, como é natural, a memória dos jardins e
vergéis do Nilo, da Mesopotâmia e mesmo da Índia e da China. Nos encadeados de volutas de gavinhas com
folhas de videira, sentimos ainda perene a longínqua referência das festas dionisíacas e báquicas da cultura
greco-romana a que a Pérsia islamizada esbateu ou anulou o cacho de uva, transformando-o em inofensiva
pinha. Esta linguagem cifrada, estas referências decorativas, são sinais de civilização, são marcas indeléveis
que identificam formas de pensar, zonas de fabrico, caminhos de intercâmbio, que permitem folhear com
segurança as páginas da história.
O Presidente do Campo Arqueológico de Mértola
Cláudio Torres
INDICE
TEMA: 1
AS CERÂMICAS NO SEU CONTEXTO
POTTERY WITHIN ITS CONTEXT
SUSANA GÓMEZ MARTÍNEZ | MARIA JOSÉ GONÇALVES | ISABEL INÁCIO | CONSTANÇA
DOS SANTOS | CATARINA COELHO | MARCO LIBERATO | ANA SOFIA GOMES | JACINTA
BUGALHÃO | HELENA CATARINO | SANDRA CAVACO | JAQUELINA COVANEIRO | ISABEL
CRISTINA FERNANDES
A cidade e o seu território no Gharb al-Andalus através da cerâmica
19
ROLAND-PIERRE GAYRAUD | JEAN-CHRISTOPHE TREGLIA
La céramique d’une maison omeyyade de Fustât - Istabl ‘Antar (Le Caire, Égypte). Vaisselles
de table, céramiques communes et culinaire, jarres de stockage et amphores de la pièce
P5 (première moitié du VIIIe s.)
51
VÍCTOR CAÑAVATE CASTEJÓN | SONIA GUTIÉRREZ LLORET
Cerámica, espacio doméstico y vida social: el temprano al-Andalus en el sudeste
peninsular a la luz de El Tolmo de Minateda (Hellín, Albacete)
56
4.
JOSÉ AVELINO GUTIÉRREZ GONZÁLEZ | JOSÉ LUIS HERNANDO GARRIDO | HORTENSIA
LARRÉN IZQUIERDO | FERNANDO MIGUEL HERNÁNDEZ | JUAN ZOZAYA STABEL-HANSEN
| CARMEN BENÉITEZ GONZÁLEZ
Notas sobre la cerámica en la iconografía cristiana del norte peninsular (ss. X-xii)
68
5.
VANESSA FILIPE
Islamic pottery from the Évora Municipal Museum
84
6.
MARCELLA GIORGIO
Ceramics and society in Pisa in Middle Ages
93
7.
MÁRIO VARELA GOMES| ROSA VARELA GOMES
A Cerâmica e o Sagrado, no ribĀt da Arrifana (Aljezur, Portugal) (Séc. XII)
106
FRANCESCO M. P. CARRERA | BEATRICE FATIGHENTI | CATERINA TOSCANI
Le Ceramiche e le Attività produttive. Recenti acquisizioni da un quartiere artigianale
di chinzica (Pi)
114
9(61$%,.,ü
Context, Character and Typology of Pottery from the Eleventh and Twelfth Century
Danube Fortresses: Case Studies from Morava and BraniČevo
125
VALENTINA VEZZOLI
The area of Bustan Nassif (Baalbek) between the 12th and the early 15th cent.: the
ceramic evidence
133
11.
ELENA SALINAS
Uso y consumo de la cerámica almohade en Córdoba (España)
139
12.
MARCELLO ROTILI
Aspetti della produzione in campania nel basso medioevo
148
13.
ALESSANDRA MOLINARI | VALERIA BEOLCHINI | ILARIA DE LUCA | CHIARA DE SANTIS
EMANUELA FRESI | LAURA ORLANDI | GIORGIO RASCAGLIA | MARCO RICCI | JACOPO RUSSO
Stili di vita, produzioni e scambi: la città di roma a confronto con altri siti del lazio.
Secoli ix-xv
158
SILVINA SILVÉRIO | ELISABETE BARRADAS
A cerâmica medieval e tardo-medieval na beira interior: materiais provenientes dos
castelos de castelo novo e penamacor (sécs. Xii – xvi)
180
ISABEL MARIA FERNANDES
A cerâmica e seu uso em portugal, a partir de posturas, taxas e regimentos de oleiros (séc.
Xii a xviii): a análise de algumas peças
188
MARGHERITA FERRI | CECILIA MOINE | LARA SABBIONESI
The sound of silence. Scratched marks on late medieval and early modern pottery from
nunneries: Practice and significance
203
1.
2.
3.
8.
9.
10.
14.
15.
16.
17.
HENRI AMOURIC | LUCY VALLAURI
La vie de château d’un vaisselier : Roquevaire près Marseille, 1593
215
18.
ALEXANDRA GASPAR | ANA GOMES
Recipíentes de medidas da cidade de Lisboa
229
19.
ANDREIA AREZES
Formas cerâmicas e seu significado simbólico na Alta Idade Média
236
20.
VICTORIA AMORÓS RUIZ
La estratigrafía como herramienta
242
21.
CRISTINA CAMACHO CRUZ
Candiles de piquera. Uso y morfología en la Córdoba del siglo X
248
22.
SARA ALMEIDA | ALEXANDRE VALINHO | JOÃO NUNO MARQUES
Conjunto medieval cerâmico no contexto da linha de muralha de Cacela Velha (Portugal)
253
23.
SILVINA SILVÉRIO | ELISABETE BARRADAS
Ocupação islâmica na vertente sudoeste da várzea de aljezur – o sítio da barrada e a
envolvente da igreja matriz de n. Sra. Da alva
257
MARIA JOÃO DE SOUSA
Uma habitação do século XI/XII sob a muralha do Castelo dos Mouros de Sintra –
Evidências arqueológicas de um contexto doméstico
262
MANUEL JESÚS LINARES LOSA
Un nuevo lote cerámico del
guájares, granada). La casa 7
266
24.
25.
poblado fortificado medieval
de “el castillejo” (los
26.
MARIA INÊS RAIMUNDO | VANESSA DIAS
Al-Madan e o seu Contexto na Península Ibérica
271
27.
VANESSA FILIPE | CLEMENTINO AMARO
Castle of Torres Vedras. Archaeological perspectives on a medieval context
275
28.
ALBERTO GARCÍA PORRAS | MANUEL JESÚS LINARES LOSA
MOISÉS ALONSO VALLADARES | LAURA MARTÍN RAMOS
De castillo fronterizo nazarí a fortaleza castellana. Los materiales cerámicos del
entorno de la torre del homenaje del castillo de moclín (granada)
279
PILAR LAFUENTE IBÁÑEZ
Cerámica mudéjar sevillana hallada en la excavación del solar nº 16 de la calle cervantes
de coria del río (sevilla, españa). Los materiales del pozo b
285
30.
SARA ALMEIDA | SUSANA TEMUDO
Cerâmica do século XIII, no contexto do Bairro Judaico de Coimbra (Portugal)
291
31.
TÂNIA MANUEL CASIMIRO | TELMO SILVA | DÁRIO NEVES | CAROLINA SANTOS*
Cerâmicas Medievais da Rua da Corredoura (Évora)
298
32.
ALBERTO LÓPEZ MULLOR
La cerámica del mas montgròs, el brull (barcelona), siglos xi-xv
303
33.
ANTÓNIO MANUEL S. P. SILVA | MANUELA C. S. RIBEIRO
Cerâmicas medievais (sécs. Ix-xii) do castelo de arouca (n. Portugal)
310
34.
M. CARMEN RIU DE MARTÍN
Ladrilleros barceloneses de la primera mitad del siglo xv
318
35.
ALEXANDRA GASPAR | ANA GOMES
Cerâmicas pintadas a branco do século xv/xvi encontradas no castelo de s. Jorge, lisboa,
portugal
326
LUÍS SERRÃO GIL
Entre tachos e panelas: cerâmica medieval do silo do castelo de Porto de Mós
333
29.
36.
37.
MARIA RAFFAELLA CATALDO
Ceramica rivestita dal castello di Circello (Benevento)
340
38.
GONÇALO LOPES | JOSÉ RUI SANTOS
Cerâmicas islâmicas da natatio das termas romanas de Évora
346
39.
MARIA JOSÉ GONÇALVES
Contributo para o estudo dos utensílios do quotidiano de um Arrabalde islâmico de
Silves: a cerâmica decorada a verde e manganês
353
TEMA: 2
CERÂMICA E ALIMENTAÇÃO
POTTERY AND FOOD
40.
JOANITA VROOM
The archaeology of consumption in the eastern Mediterranean: A ceramic perspective
359
41.
F. CANTINI | S. G. BUONINCONTRI | B. FATIGHENTI
Ceramica e alimentazione nel Medio Valdarno inferiore medievale: il caso di San Genesio
(San Miniato-Pi)
368
42.
JAQUELINA COVANEIRO | SANDRA CAVACO
Entre tachos e panelas: a evolução das formas de cozinha (Tavira)
377
43.
JUAN ZOZAYA
Cacharros, fuegos, comidas, servicios, escrituras…
387
44.
TÂNIA MANUEL CASIMIRO | LUÍS DE BARROS
De quem são estas ollas? Comer, beber, armazenar Em Almada no século XIII
392
TEMA: 3
O MEDITERRÂNEO E O ATLÂNTICO
THE MEDITERRANEAN AND THE ATLANTIC
ANTÓNIO MANUEL S. P. SILVA | PEDRO PEREIRA | TERESA P. CARVALHO
Conjuntos cerâmicos do Castelo de Crestuma (Vila Nova de Gaia, N. Portugal). primeiros
elementos para uma sequência longa (sécs. Iv-xi)
401
JORGE DE JUAN ARES | YASMINA CÁCERES GUTIÉRREZ | MARÍA DEL CRISTO GONZÁLEZ
MARRERO | MIGUEL ÁNGEL HERVÁS HERRERA | JORGE ONRUBIA PINTADO
Objetos para un espacio y un tiempo de frontera: el material cerámico de fum asaca en
sbuya, provincia de sidi ifni, marruecos (ss. Xv-xvi)
420
HUGO BLAKE | MICHAEL J. HUGHES
The mediterranean and the atlantic archaeometrical research on the provenance of
‘mediterranean maiolica’ and italian pottery found in great britain
432
48.
HENRI AMOURIC | GUERGANA GUIONOVA | LUCY VALLAURI
Céramiques aux îlles d’Amérique. la part de la Méditerranée (XVIIe-XIXe s.)
440
49.
RODRIGO BANHA DA SILVA | ADRIAAN DE MAN
Palácio dos Condes de Penafiel: a significant late antique context from Lisbon
455
50.
MARCO LIBERATO | HELENA SANTOS
Circulação de materiais setentrionais na Santarém medieval
461
51.
MIGUEL BUSTO ZAPICO | JOSÉ AVELINO GUTIÉRREZ GONZÁLEZ | ROGELIO ESTRADA
GARCÍA
Las lozas de la casa carbajal solís, punto de encuentro entre el mediterráneo y el norte
de europa
466
ARMANDO SABROSA† | INÊS PINTO COELHO | JACINTA BUGALHÃO
As porcelanas da Sé da Cidade Velha, Ilha de Santiago, Cabo Verde
473
45.
46.
47.
52.
TEMA: 4
EVOLUÇÃO E TRANSFERÊNCIA DAS TÉCNICAS
EVOLUTION AND TRANSFER OF TECHNIQUES
JOAN NEGRE PÉREZ
Producciones cerámicas en el distrito de ţurţūša entre la antigüedad tardía y el
mundo islámico (siglos vi-xii)
483
KONSTANTINOS T. RAPTIS
Brick and tile producing workshops in the outskirts of thessaloniki from fifth to
fifteenth century: a study of the firing technology that has been diachronically
applied in the ceramic workshops of a large byzantine urban center
493
LÍDIA FERNANDES | JOÃO COROADO | MARCO CALADO | CHIARA COSTANTINO
Ocupação medieval islâmica no Museu de Lisboa -Teatro Romano de Lisboa: O caso do
aproveitamento do post scaenium no decurso do século XII
509
56.
ROSALIND A WADE HADDON
What was cooking in Aleppo in the twelfth and thirteenth centuries?
519
57.
IBRAHIM SHADDOUD
Production de poterie chez les Nizarites de Syrie : l’atelier de Massyaf (milieu XIIepremier tiers du XIVe siècle)
525
SERGIO ESCRIBANO-RUIZ | JOSE LUIS SOLAUN BUSTINZA
La introducción y normalización de la cerámica vidriada en el Cantábrico Oriental a
la luz del registro cerámico de Vitoria-Gasteiz (siglos XII-XV)
534
JAUME COLL CONESA | JOSEP PÉREZ CAMPS | MARTA CAROSCIO | JUDIT MOLERA
TRINITAT PRADELL | GLORIA MOLINA
Arqueología, arqueometría y cadenas operativas de la cerámica de Manises localizada
en el solar Fábricas nº 1 (Barri d’Obradors, Manises, campaña 2011)
549
60.
JACQUES THIRIOT | DAVID OLLIVIER | VÉRONIQUE RINALDUCCI
Fouiller les encyclopédistes : transfert de modèles aux Antilles françaises
560
61.
ELENA SALINAS | JUAN ZOZAYA
Pechina: el antecedente de las cerámicas vidriadas islámicas en al-andalus
573
62.
GUERGANA GUIONOVA | ROCCO RANTE
Aperçu sur la production des ateliers de Paykend, Oasis de Bukhara, Ouzbékistan
577
63.
KRINO P. KONSTANTINIDOU | KONSTANTINOS T. RAPTIS
Archaeological evidence of an ELEVENtH-century kiln with rods in Thessaloniki
589
64.
LAURA APARICIO SÁNCHEZ
El alfar cordobés de Ollerías y sus producciones (siglos XII-XIII)
596
65.
SERGEY BOCHAROV | ANDREY MASLOWSKIY
The Eastern Crimean Centers of Glaze Pottery Production in 13th and 14th centuries
604
66.
JAUME COLL CONESA | CLODOALDO ROLDÁN GARCÍA
Composición del pigmento de cobalto y cronología de la azulejería medieval de Manises
(Valencia) conservada en el Museo Nacional de Cerámica
608
JULIA BELTRÁN DE HEREDIA BERCERO | CLAUDIO CAPELLI | ROBERTA DI FEBO
MARISOL MADRID I FERNÁNDEZ | ROBERTA DI FEBO | JAUME BUXEDA I GARRIGÓS
Imitaciones de ceràmicas à taches noires en barcelona en el s. Xviii. Datos arqueológicos
y arqueométricos
613
ANNA RIDOVICS | BERNADETT BAJNÓCZI | GÉZA NAGY | MÁRIA TÓTH
The transfer of the tin-glazed faience technology by hutterite anabaptists to eastcentral europe during 16th and 17th centuries
619
53.
54.
55.
58.
59.
67.
68.
TEMA: 5
CERÂMICA E COMÉRCIO
CERAMICS AND TRADING
YASEMIN BAGCI VROOM
A New Look on Medieval Ceramics from the Old Gözlükule Excavations: A Preliminary
Presentation
627
EVELINA TODOROVA
Policy and trade in the northern periphery of the eastern mediterranean: amphora
evidence from present-day bulgaria (7th–14th centuries)
637
71.
ISABEL CRISTINA FERNANDES | CLAIRE DÉLÉRY | SUSANA GÓMEZ | MARIA JOSÉ
GONÇALVES | ISABEL INÁCIO | CONSTANÇA DOS SANTOS | CATARINA COELHO
MARCO LIBERATO | ANA SOFIA GOMES | JACINTA BUGALHÃO | HELENA CATARINO
SANDRA CAVACO | JAQUELINA COVANEIRO
O comércio da corda seca no gharb al-andalus
649
72.
CLAUDIO FILIPPO MANGIARACINA
La Sicilia islamica: produzione, circolazione e consumo di ceramica (IX-pieno XI secolo)
667
73.
GUERGANA GUIONOVA
Céramique d’importation du XIVe au XVIIe s. en Bulgarie
681
74.
INÉS Mª CENTENO CEA | ÁNGEL L. PALOMINO LÁZARO | MANUEL MORATINOS GARCÍA
Mª J. NEGREDO GARCÍA | J.E. SANTAMARÍA GONZÁLEZ
Cerámica de cocina rugosa de pastas claras/campurriana versus cerámica granítica/
zamorana. Patrones de distribución y expansión en época bajomedieval y en la transición
a la edad moderna en el norte de castilla y león
692
VASSILEIOS D. KOROSIS
Consumption and importation of ceramics in a fairly unknown site of late Roman
Greece. A case study from Megara, Attica, Greece
701
76.
NATALIA GUINKUT | VICTOR LEBEDINSKI | JULIA PRONINA
Medieval amphorae from shipwrecks near Chersones Taurica
707
77.
VICTOR FILIPE | MARCO CALADO | SANDRA GUERRA | ANTÓNIO VALONGO
JOÃO LEÓNIDAS | ROMÃO RAMOS | MARGARIDA ROCHA | JACINTA COSTA | NATALIA GINKUT
A cerâmica de importação no arrabalde ocidental de luxbuna (lisboa). Dados preliminares
da intervenção realizada no hotel de santa justa
711
SYLVIE YONA WAKSMAN
Late medieval pottery production in South Western Crimea: laboratory investigations
of ceramics from Cembalo (region of Sebastopol / Chersonesos)*
719
RAFFAELLA CARTA
La ceramica italiana indicatore del commercio tra il mediterraneo occidentale e
l’atlantico (secoli xv-xvii)
724
JULIA BELTRÁN DE HEREDIA BERCERO | NÚRIA MIRÓ I ALAIX
Barcelona y el comercio interior de cerámica en el siglo xvii y principios del xviii:
vilafranca del penedés (barcelona), teruel, villafeliche y muel (zaragoza), valencia,
talavera de la reina (toledo), sevilla y portugal
729
69.
70.
75.
78.
79.
80.
TEMA: 6
NOVAS DESCOBERTAS
NEW DISCOVERIES
81.
RICARDO COSTEIRA DA SILVA
Medieval pottery from the forum of aeminium (Coimbra, Portugal) : a proposal of
chrono-typological evolution
739
82.
ABDALLAH FILI
Le décor de la céramique de Fès à l’époque mérinide, typologie et statistiques
750
83.
SOPHIE GILOTTE | YASMINA CÁCERES GUTIÉRREZ | JORGE DE JUAN ARES
Un ajuar de época almorávide procedente de Albalat (Cáceres, Extremadura)
763
84.
MARCO LIBERATO
A pintura a branco na Santarém medieval. Séculos XI a XVI
777
85.
THIERRY JULLIEN | MOHAMED KBIRI ALAOUI | VIRGINIE BRIDOUX | ABDELFATTAH
ICHKHAKH | EMELINE GRISONI | CÉLINE BRUN | SÉVERINE LECLERCQ | HICHAM
HASSINI | HALIMA NAJI
Les céramiques mérinides de kouass (asilah-briech, maroc)
792
ELVANA METALLA
La céramique médiévale en Albanie : relations entre les productions byzantines
et italiennes
807
ANDRÉ TEIXEIRA | AZZEDDINE KARRA | PATRÍCIA CARVALHO
La céramique médiévale d’Azemmour (Maroc) : données préliminaires sur des vestiges de
production potière
819
88.
EBRU FATMA FINDIK
Medieval Glazed Ceramics from Myra and New Results
831
89.
SERGEY BOCHAROV | ANDREY MASLOWSKIY | AIRAT SITDIKOV
The Kashi pottery in the Western Regions of Golden Horde
840
90.
ÉLVIO DUARTE MARTINS SOUSA | FERNANDO CASTRO
Novos dados químicos de formas de pão-de açúcar produzidas em Portugal:
séculos XV a XVI
846
ALEXANDRA GASPAR | ANA GOMES
Cerâmicas comuns da Antiguidade Tardia provenientes do Claustro da Sé de
Lisboa – Portugal
851
Mª TERESA XIMÉNEZ DE EMBÚN SÁNCHEZ
Tipos y contextos cerámicos en el yacimiento emiral del Cabezo Pardo (San Isidro,
Alicante). Una breve reflexión sobre la cultura material en el SE Peninsular
861
93.
CRISTINA GONZALEZ
Quinta da Granja 1: cerâmica emiral de um povoado da Estremadura
866
94.
DÉBORA MARCELA KISS
La cerámica del Tossal del Moro (Benilloba, Alacant). Primeros resultados del estudio
de los fondos depositados en el Centre d´Estudis Contestans
875
CRISTINA GARCIA | PATRÍCIA DORES | CATARINA OLIVEIRA | MIGUEL GODINHO
Tipologia e funcionalidade nas cerâmicas da casa i do bairro islâmico do poço antigo
em cacela-a-velha
882
96.
MANUEL RETUERCE VELASCO | MANUEL MELERO SERRANO
Azulejos almohades vidriados a molde de calatrava la vieja (1195-1212)
887
97.
ANA CRISTINA RAMOS | MIGUEL SERRA
Novos dados sobre halqal-zawiya (Lagos, Portugal)
893
98.
KAREN ÁLVARO | M. DOLORES LÓPEZ | ESTHER TRAVÉ
Una nueva contribución al estudio de la loza barcelonesa decorada en verde
y manganeso
900
99.
CARLOS BOAVIDA
Medieval pottery from the castle of Castelo Branco (Portugal)
906
100.
FRANCISCO MELERO GARCÍA
Pottery of the nasrid period of cártama (málaga)
912
86.
87.
91.
92.
95.
101.
CONSTANÇA GUIMARÃES DOS SANTOS | ELISA ALBUQUERQUE
A Capela de São Pedro da Capinha através dos materiais: a cerâmica medieval
917
102.
RICARDO COSTEIRA DA SILVA
“Traços mouriscos” na cerâmica do século XV do antigo Paço Episcopal de Coimbra
(Museu Nacional de Machado de Castro)
924
103.
IRYNA TESLENKO
Crimean Local Glazed Pottery of the 15th century
928
104.
MARIA JOSÉ GONÇALVES
Cerâmica em Corda Seca de um Arrabalde Islâmico de Silves: contributo para o seu estudo
934
TEMA: 1
AS CERÂMICAS NO SEU CONTEXTO
POTTERY WITHIN ITS CONTEXT
Vanessa FILIPE
ISLAMIC POTTERY FROM THE ÉVORA MUNICIPAL MUSEUM
Abstract: The study of Évora Municipality Museum ceramic wares focus a complex network of actions and influences comprising technical and
aesthetic choices, transmission of knowledge and innovation, economics and other social forces, use and function, and cultural significance. This article
provides some of the fundamental data necessary for reconstructing the day to day life on Évora´s islamic city.
Resumo: A análise do espólio cerâmico exumado no arqueossítio do Museu Municipal de Évora abrange a complexa rede de acções e influências
compreendendo as escolhas técnicas e estéticas, tal como o seu desenvolvimento e veículos de transmissão, os motivos sócio-económicos, usos e funções e
permeabilidade cultural. Este artigo fornece alguns dados fundamentais para reconstruir a vida quotidiana na cidade Islâmica do Évora.
MĀDINA YĀBURA
The archaeological research that has been developed
concerning the city of Évora (Portugal) has unveiled the
fundamental importance of its roman origin. The succeeding
occupations such as the islamic presence weren’t the main
emphasis of archaeological investigation until recently,
but nowadays this area of investigation brings a better
understanding of this town in the complex economiccultural relations within the wide territory of al- Andalus.
The integration of Évora into the range of islamic influence
was led by ’Abd al -’Azīz between 714 and 716 (fig.1). During
the first two centuries the city was forgotten by the writers.
Fig.1 Évora City Plan (8th-10th century)
Considering this scarcity of sources we have to deduce that
this was due to the political and social instability lived in the
Kūra of Beja.
It was not until the first years of the 10th century that the first
noticeable document related to the islamic city of Évora was
written. It is a description of the attack on Évora by Ordoño
II, king of León, dated August of 913, which is well known
to scholars and which came to light thanks to Ibn Hayyān
in Muqtabis V and by an unknown chronicler of Abd alRahmān III al-Nasir.
Notwithstanding the lack of detail, the parchment manages
to signal an evident weakness – the immerse state of this city
COMUNICAÇÃO
85
Fig.2 Évora City plan (10th-12th century)
– and further indicates the roman urban elements that are
still in use; the presence of an ‘āmil in the city which shows
a concern about political-administrative, social and culture
aspects; the fear of the Berber intrusion, aristocracy escape,
demographic quantification, etc.
rebuilt the city walls and joined the muladí cause appointing
his friend al-Surunbāqi to be the town government. This
insertion of Évora into the kingdom of Badajoz has a
strategically point of view considering the location of the city
in the andalus road network.
Évora’s geopolitical context in 914 is also referred on the
historical chronicle. Ibn Marwān took advantage of the
situation putting this city under the influence of Badajoz. He
With the disintegration of local autonomies, Évora was now
under the power of the Umayyad Caliph ‘Abd al-Rahmān
III. According to the caliph’s political, ideological and urban
86
AS CERÂMICAS NO SEU CONTEXTO - POTTERY WITHIN ITS CONTEXT
entrepreneurship, the symbolic impact of a city wall directly
related to the political figures responsible for its construction
would be considered a weakness in his political action. We
believe that this was the reason why this event (914) was
turned into an ideological mark by the caliph government,
as well as the building of a new aljama mosque according
to the caliphate politics of controling the urban centres and
building monumental buildings that symbolized his total
control over the cities (fig.2).
The disintegration of the Caliph unity by the year 1012,
results on a transition to a new political-administrative type,
the Taifa - reigns.
The Badajoz Taifa wasthestablished as one of the most
powerful reigns of the 11 century. The Aftacid principality
comprehended the northwest military district extending
their authority to Coimbra, Santarem, Lisbon, Sintra, Évora,
Alcacer do Sal and Beja.
Since the 10th century Évora maintained a socio-political
contact with Badajoz and became the second more
important city in the Aftacid reign. This economic growth
took advantage of Évora’s place and its economic ease with
Badajoz. Évora is now a central site in the most important
trade route of the reign between Badajoz and two port
cities; Lisbon and Alcácer do Sal. The interest on the ports
prosperity and its importance in the maritime domain of the
main trade routes influences the economic way to East-West.
Fig.3 The islamic household complex
During the Almoravid period Évora was politically controlled
by Sidrāy Ibn Wazīr, a warlord. His path in the Almoravid
military hierarchy conferred him rank and control over a
strategic territory.
The territorial disintegration caused the emergence of
a mystique sufí, Ibn Qasī, who in 1144 founded the
first independent anti-Almoravid reign in Mértola. In
the beginning Ibn Wazīr adhered to Ibn Qasī muridine
The statute change in the 11th century that made Évora the
second most important city in the Badajoz’s Taifa, led to the
city’s control over an economic area that included Alcácer
do Sal as its dependent. It is important to remember that
Muhammad b.’ Abd Allāh, al – Muzaffar “(…) left there
his son al-Mansûr” (Rei, 2005: 24), choosing his first-born
son to govern Évora among all the cities in the reign. The
death of his father led the “lord” of Évora to the throne. This
caused a rebellion in his brother Umar b. Muhammad al –
Mutawakkil because of his intentions in the Aftacid reign.
Muhammad al – Mutawakkil took the position as Évora’s
governor aiming to be the king of all the Badajoz’s territories.
The fight between these two brothers for the throne started
a new era in Évora´s history. We think that the city tended
to individualize as an autonomous political space during
three or four years as al-Mansûr was the king in Badajoz.
As evidence for this there are coins with the name al–
Mutawakkil and a cultural splendor confirmed by the court
where poets, musicians and artists pleased their lord.
Al-Mansūr’s premature death coincides with al-Mutawakkil’s
wishes. His power is legitimized as king of Aftacid taifa and
all the territory was unified.
The political deterioration and the military debility among
the Taifa reigns benefited the Christian progress and it was
the leitmotiv to the rise of another political order in the
Gharb in 1086: the Almoravid.
Fig.4 Unglazed Ceramics
COMUNICAÇÃO
movement, but then his wishes of power led them to a
conflict that resulted in the independence of a new state,
with Évora as the capital. Different cities (Beja, Silves and
Mértola) which belonged to Ibn Qasī, were then absorbed
and gave place to a big reign.
Évora had a short life as capital because the potentate
submitted to a new Maghreb dynasty, the Almohad.
However, Ibn Wazīr did not leave the administrative
framework of this region. He assumed himself as a
representative of the Almohad sovereignty but his power was
confined to Évora and Beja area. Later on he was appointed
governor of Silves and devoid of any power in Évora, which
was finally handed to the Almohad Mu’nis Ibn Yahyā al‘Arabī in 1151.
87
rim (Gomes e Gomes, 2003:44), of which piece fig.4- c is
an example; and the short necked cooking pots with everted
rim (Gomes e Gomes, 2003:44), that we can see in item
fig.4 - e. Also connected to this aspect, mugs’ fig.4 – f, g, h
shape and function also represents an inheritance of ancient
pottery making traditions. The small size and the connection
to the individual consumption of liquids are clearly relatable
to the habits of the Visigoth civilization (Alba e Gutiérrez,
2008:589).
The bowls retrieved during the excavation fig.4 i and j
also convey information related to the eating habits of the
Visigoth society. Their small size gives us data about the
individualization of food at the table, reflecting cultural
and social attitudes that were different from the islamic
civilization, as we will see later in the text.
The political instability felt in the Gharb al-Andaluz and
the rising pressure by the Portuguese reign from the north
led to the Christian conquer of Évora in 1165 by Geraldo
Sem Pavor (No Fear). This was also part of a tactic plan to
conquer all the military places around Badajoz.
These functional items display what we can call a simple
decoration, since only one bowl (fig.4 - k) displays fingershaped decoration over the rim, which reflects a sober
decorative grammar of Visigoth origin (Alba e Gutiérrez,
2008:589).
ARCHAEOLOGICAL SETTING
As far as dating these assemblages is concerned, typological
analyses of similar styles and shapes from Silves (Gomes,
1995; Gomes e Gomes, 2003) and Mérida (Alba e Feijoo,
2001; Alba e Feijoo, 2001ª; Alba e Gutiérrez, 2008) support
a reasonable chronological data regarding the 6th to 9th
century’s. These ceramics constitute the most extraordinary
examples of these historical periods in Évora. In reality, until
now, the archaeological documentation just underlines it
with stone examples from the Visigothic period. On the
other hand, we deal with a gap of references to those periods
which needs an adequate historical and cultural explanation.
This archaeological intervention took place in the area of
the Évora Municipal Museum in 1996 and 1997 and was
headed by Arkhaios Company, in association with Theodor
Haushild and Félix Teichner. It unveilled important data
about the occupation of the historic center.
Regarding the Islamic occupation, it was possible to identify
two constructive moments. The first one had an unreadable
plant consisting only of the chronological report through the
pottery evidences related with the early islamic period. The
second constructive moment is related with the centuries
right before the Christian conquer of Évora in 1165. There,
the identified elements reflect three houses included in a
housing complex: the Islamic neighborhood (fig.3) (Filipe,
2013: 923-929). The characterization and interpretation of
the archaeological material was vital to understand the site’s
organization. Around 115 ceramic fragments were identified
and will be shown below.
CERAMIC´S INTERPRETATION
The oldest ceramic productions correspond to unglazed
ceramics reflecting a shoddy production; many “no plastic
parts”, ceramic paste baked in a reduction atmosphere and
shaped in a slow potter’s wheel.
The preserved pieces consist mostly of closed containers used
to cook, such as cooking pots (fig.4 – a, b, c, d, e), and to
serve liquids at the table, like mugs (fig.4 – f, g, h).
In this perspective, the survival of late roman shapes reflects
the continuity of local shapes during the first period of islamic
settling in Évora. These include the “S” shaped cooking pots
with marked necks (Alba e Gutiérrez, 2008:586) such as items
fig.4 – i, j, and k ; the high necked pots with slightly everted
The material remains in study give us multiple observation
possibilities. Firstly, the technological features mentioned
above such as the under-refined ceramic pastes, shaped in
a slow potter’s wheel and baked in low temperatures, are
evidence of a local or regional production.
The survival of productive processes and the continuity of
the Visigoth objects’ shapes and functions are indicative of
an economy that was based in self-sufficiency, a feature that
was probably related to the political, social and economic
instability lived during the first centuries of islamic settling
in the territory, in the 8th and 9th centuries.
The presence of materials with a local cultural background
indicate the acceptance by the muslim conquerors of certain
shapes that represented the functional and aesthetic needs of
the local society. We can say that Islam’s cultural impact in
Évora was different than in other cities, like Silves, where the
consumption of containers based on the local tradition was
accompanied by artifacts imported from the Middle East
(Gomes, 2002:511).
Therefore, the muslim artistic influences were rather late
in arriving to Évora. The political, military and social
environment of Beja at the time determined the presence
88
Fig.5 Unglazed Ceramics
AS CERÂMICAS NO SEU CONTEXTO - POTTERY WITHIN ITS CONTEXT
COMUNICAÇÃO
of arabic military armies, natural promoters of the muslim
culture, which contributed to this cultural and artistic
“delay” and motivated Évora’s society to be autonomous and
to own their production means.
The consequence of this was that the political and/or
military forces present in Évora probably used and adopted
the local material culture and art set, allowing the existing
material and aesthetic orders to survive. This phenomenon
inserts Évora in a reality with an indigenous basis, where
the local consumption of a seemingly homogeneous
production suggests that the trade and diffusion of the
ceramic productions and made through regional circuits.
This argument finds proof in the self-sufficient late-roman
cultural inheritance that we mentioned before.
89
The creative process that led to the implementation of Islamic
shapes, functions and icons in Évora’s ceramic clearly took
place in the 10th century. The collection in study reflects
an evolution and/or change in the shape of the object. This
phenomenon is indicative of the process of islamization
and acculturation of the indigenous communities, that are
now demanding that the potter adapt the common wear
container to the islamic taste.
Motivated by social and cultural principles, the response to
the market’s demands stimulates the production of more
delicate and varied ceramic shapes that are also bigger and
more adequate to the new eating habits.
The ceramic objects from the emiral period demonstrate
some individual acts during the meals, but the 10th century
Fig.6 - Glazed Pottery: “Corda Seca Parcial”, “Corda Seca Total” and “Verde e Manganês”
90
AS CERÂMICAS NO SEU CONTEXTO - POTTERY WITHIN ITS CONTEXT
table ware translates a well-established change to the habit of
taking foods directly from collective containers put on the
table (Macias e Torres, 1998:57-58).
The decoration of the ceramic pieces and the diversity of
decorative motifs also points to the introduction of new
aesthetic and cultural patterns.
By the 11th century, the characteristic islamic technical
and stylistic contributions are already an integral part of the
ceramic repertoire. This reality created broad time gaps that
now allow for the chronological identification of ceramic
items, especially when the site’s stratigraphy doesn’t provide
an answer for some difficulties, as it happens in this case.
Therefore, in order to make a more coherent interpretation
of the ceramic set in study, we will develop our reflection
based on two historical periods: the caliphate and the taifas
period.
Based on this, we can ascertain that the diversity in the 10th
and 11th centuries unglazed ware means that there are more
pieces from this period than any other. The different shapes
that existed are represented by different types of bowls (fig.5
- a); mugs (fig.5 – b to h); pitchers (fig.5 - i); bottles (fig.5
- j); cooking pots (fig.5 -k to s); frying pans (fig.5 - t) and
water pots (fig.5 - u, v).
Several assembling techniques usually accredited to the 10th
and 11th centuries point to a development in the islamic
pottery making activity, such as the use of a fast potter’s
wheel, the presence of several types of baking and the use
of different coatings on the pieces. At the same time, we no
longer find ceramic assembled in slow potter’s wheels, but we
observe the presence of pieces baked in three different types
of environment. The pieces baked in oxidant atmosphere
prevail in our set (14 fragments), followed by those baked
in reduction atmosphere and cooled down in oxidant
atmosphere (6 fragments) and those baked and cooled down
in oxidant atmosphere (3 fragments). As for the surface
coatings, there are some examples of beige or red glaze in
some items from this period, a coating technique which we
didn’t find in pieces from previous time periods.
There is no doubt that the production strategy suggests a
more elaborate preparation and baking of the pieces, which
represents a clear evolution in the 10th and 11th centuries
productions, especially when compared to the few known
techniques from the previous two centuries.
Highly common on domestic unglazed ceramics were the
originality of the decorative motifs such as signs and symbols
of the islamic world painted in white, red or black on the
surface of the vessels (Grabar, 2000:87). Those decorative
techniques derived from those produced in the 8th and 9th
century and are not an innovation from the Caliphate or
Taifas periods (Goméz Martinez, 2004:554 e 563).
Évora´s unglazed wares from the 10th and 11th century have
been shown to change in design or form over the time with a
variety of interesting cultural and technical similarities with
influences from the wider Islamic world.
Fig.7 Islamic Pottery in a Christian Realm
Is thereany evidence pointing to the provenance of unglazed
wares? This research question leads towards a better
understanding of Évora as a city; its culture, economy,
perhaps even a local industry. There is significant indirect
evidence of a local production in the shape, the clay and
technology of unglazed sherds discovered at the site.
However, the comparison of wares found at different
archaeological locations with pottery industries such as
Lisbon, Mértola, Silves and Badajoz, provides an initial step
in this direction (Bugalhão et alii, 2003; Goméz Martínez,
2004; Gomes, 2002, 2011; Valdés Fernandéz, 1985).
So it is not outside the bounds of reason to assume that
unglazed ware production would have easily fit into Évora’s
industrious, economic-minded society.
However, not all the unglazed ware would be produced
locally, as is exemplified by the bottle sherd M/97/776: 216,
with a red toned clay core suggestinga production from the
south of Portugal (Gómez Martinez, 2004: 667) or Lisbon
(Bugalhão et alii, 2003: 112), reporting the trade on a
medium scale.
The appearance of glazed pottery in Évora happened during
a time of significant political developments in Évora. First,
there was the rise of emphasised self-importance of the
Caliphate around the mid-10th century, followed by the
early 11th century appointment of Badajoz dinasty in Évora
(king of Évora al-Mutawakkil). It is not possible to come to
any firm conclusions about how pottery may have played a
role in this, but culture serves to articulate social belonging
91
COMUNICAÇÃO
and identification. The use of such ceramics and islamic
traditions may have served to reinforce the link between the
provincial cities and the more powerful centres of power.
that appreciated the aesthetic and uniqueness of Islamic art
and technique - as we can observe in the set assigned to the
12th and 13th century.
Glazed wares comprise a small proportion of ceramic
assemblages within the whole set during the Islamic period
in question, but can be found in large amounts in some
urban areas where active production or high consumption
existed, such as Lisbon, Silves and Mértola.
The oldest islamic pottery industries documented in Evora
were at Porta Nova,: “(...) a porta noua hu chamam as olarias
(…)” (Chancelarias, 1984:267) which properties and taxes
were levied by the Portuguese Crown. The same written
source also provides references to the Moorish craftsmen
installation in a shed outside of the lagoon and an oven
of tiles in the Chão Domingueiros. In the year 1392 the
Albergaria do Corpo de Deus had some houses “on the street
which runs from Saint Antoninho to the pottery to the new
door” (Moniz, 1967: 7).
Glazed bichrome ceramics identified on the site with clear
tones on the inside of the vessels indicate andalus provenances
such as Málaga, Sevilha e Almeria (Bernus-Taylor, 2000:63).
The glazed bichrome wares in green and brown were popular
colours for glazed tablewares in the 10th and 11th century,
sometimes displaying different shades on the inside and
outside of the vessel. The glazed shreds found on the site
unvail a probable provenance from La Puerta del Pilar in
Badajoz (Valdés Fernandéz, 1985), Córdoba, Madinat alZahra, and Valência (Gisbert, 2000).
These data are also demonstrative of a potter muslim tradition
that lingers in Évora until the reign of King Manuel (16th
century) (Barros, 2007: 65).
Glazed wares using the cuerda seca total or partial technique
point to provenances from Málaga, Almeria, Toledo, Múrcia
and Valência (Bernus-Taylor, 2000:63; Déléry, 2003:193194).
Lisboa, INIC/Centro de Estudos Históricos da UNL, 1984.,
Doc. [505], p.p. 267
Glazed ceramics are found at the site of Évora´s Museum
dating from at least the early 10th century to the late 12th
century. They provides further evidence for the strong
connections between Évora and the al-Andalus.
Trade routes criss-crossed this region, leading into Badajoz
from the east, across a large territory into the maritime
portsof Lisbon and Alcácer do Sal. Glazed pottery, having
risen to a certain prominence in Lisbon and Badajoz, where
it was produced within certain ‘accepted’ stylistic schools
and widely traded, was probably imported intomany inner
regions from Évora.
The originality and uniqueness of Islamic art will endure in
the medieval ceramic repertoire beyond the 12th and 13th
centuries.
After the Christian conquest in 1165, the city of Évora
became a christian strategic point in the centre of the
Almohad reign. exerting a regional economic predominance,
as the city’s economic activities developed and benefited not
only the Christian populations, which traditionally enjoyed
of all innovations in the Islamic world, but also favored
Muslims who made commercial transactions beyond
borders (Torres, 1992: 435). Évora became the main center
to where all the andalus arrived. The set in study includes
sherd of bottle (fig.7- a) 216 and a store esarthenware vessels
fig.7 - b, that the Portuguese were buying, probably using
the gold obtained from the spoils of war from the previous
years (Torres, 1992: 435).
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