Sgraffito wares

We report on the interpretation of a late medieval Eastern Mediterranean glazed ceramic vessel with sgraffito decoration depicting a sailing ship. The artefact represents a chance find that was recovered outside the excavation area of the Ropotamo underwater archaeological excavations on the Southern Bulgarian Black Sea Coast in 2017. Fragments of late medieval sgraffito-decorated ceramics with depictions of sailing ships are rare. Complete examples can be considered exceptional. The Ropotamo artefact is of particular interest due to the freehand execution of its decoration, which suggests some understanding of contemporary ship proportions and seafaring practices on behalf of the artisan. The specimen is analyzed against similar artefacts and discussed in the context of maritime graffiti from the Black Sea and Eastern Mediterranean regions. The aim is to establish its potential for studying archaeological ceramics and evaluate the extent to which the decoration reflects aspects of Eastern Mediterranean maritime culture of the late Byzantine and early post-Byzantine periods. More research is required to appreciate the full potential of the Ropotamo artefact. A hypothesis for origin, dating and significance has been proposed. However, due to a shortage of published parallels, it may be subject to further refinements in the future in case more stratified similis are identified.

BYZANTINE GLAZED POTTERY IN BITHYNIA AND MYSIA: ACCORDİNG TO RECENT FINDINGS

Abstract
This study is aimed to evaluate the trade and distribution of the Byzantine glazed pottery groups in the neighboring Ancient Bithynia and Mysia, in the southern Marmara, Turkey. Within this context, Çobankale and Zindankapı have been selected as two main research areas according to some important new findings. Çobankale, which is located in Altınova District of Yalova at present and thought to have been built in the 11th century and has been inhabited until the 14th century. A great number of Byzantine Glazed Pottery has been found in the excavation, which is carried out by Assoc.Dr. Selçuk Seçkin from Mimar Sinan Fine Arts University, Faculty of Letters, Art History Department. The second group data which have been obtained from the excavation of Zindankapı under the direction of Bursa Archeology Museum in Bursa which is one of the five main gates of the ancient city of Prusa. In addition to these areas, the findings from Survey of Nilüfer District in Bursa by Prof.Dr. Mustafa Şahin and the findings from the excavation of Apollonia ad Rhyndacum in Bursa which is managed by the partnership with Bursa archeology Museum and Prof.Dr.Derya Şahin. After the pottery finds from these selected areas are compared with each other and the other settlements of Bithynia and Mysia, it has been seen that the distribution and amount of Byzantine glazed pottery groups in both regions could be increased. To date, as far as we know, another important point is the pottery trade in this region, because no data on ceramic production has not found during the research in Çobankale and Zindankapı or inner circle. Consequently, the classification of the Byzantine pottery groups used in these areas could be considered as demand points. Also, evaluation of pottery production centers in the areas have been discussed in this study. The majority of the pottery examined in this paper point to Nicaea, one of the most important production centers of this region.

The sgraffito pottery production flourished in the Byzantine Empire during the late 11th and 12th centuries. During this period, the Bulgarian territories were occupied by the Empire, which facilitated the penetration and wide distribution of Sgraffito Wares. The South Bulgarian lands had always been a buffer zone and a way of transmission for Byzantine culture, goods, and influence. Sgraffito vessels are discovered not only in Bulgarian medieval towns and fortresses but also in small villages, convents, and seasonal settlements. The sgraffito plates found in them find exact parallels in Byzantine centres like Corinth, Athens, Sparta, Pergamon and, of course, the capital of Constantinople. Furthermore, some of the specimens have no analogue, and there is indirect evidence that somewhere in today’s South Bulgaria, there used to be local sgraffito production centres. This work will present and review all of the published materials from the territory of today’s Bulgaria, as well as some unpublished sgraffito pottery from South Bulgaria’s museums.

This paper reports on the preliminary results of the ongoing research on Medieval and Renaissance ceramic corpus from a cistern placed under the Incontri-Viti Palace in Volterra, Italy. The potteries found in the cistern are dated between 14 th and 16 th centuries; this period is marked by the transition between the late Middle-Ages and the Renaissance, and it is characterized by the introduction of technological and stylistic innovations in glazed ceramic productions. The work is part of a wider research program which involves the study of Volterra from the Late Antiquity to the Early Modern Age, through the detailed characterization of ceramic finds. Among samples from Incontri-Viti Palace, thirty-three fragments were selected for this investigation based on shape and decoration, including Maiolica and Graffita (or Sgraffito) productions. Micro-Raman and X-ray fluorescence analysis were carried out on both glaze and body, providing-for the first time-the non-invasive and non-destructive characterization of Maiolica and Graffita productions from Volterra. The investigation allowed the discrimination among studied productions based on glaze components and colouring agents, identifying one main compositional group credibly linked to local workshops. The analysis of ceramic paste enabled differentiating Italo Moresca among Maiolica productions for the higher tenor of Ca, which is a marker of the technological innovation optimised for obtaining a creamy coloured paste.

Among the Late Byzantine sgraffito ceramics with monograms that are found across Bulgaria but also in a broader area, particular interest provoke the vessels with monograms of the Palaiologoi, which are engraved underglaze and occupy central place in the decoration scheme. The already proposed suggestions that the signs of the Byzantine ruling dynasty indicate ownership or represent marks of imperial pottery workshops have not been confirmed by the available data. The aforementioned bowls and cups most probably were products of trade, delivered by the Venetian and Genoese sailors, аnd the monograms have played a similar role as the names of different saints, that decorate samples of the same sgraffito pottery category (Elaborate Incised Ware) – to secure the blessing of the meal and to invoke divine protection.

T he article presents one group of Islamic vases in the Col- lection of the Byzantine and Christian Museum, which are dated to the fourteenth and fifteenth centuries. The most impressive piece is the bowl inv. no. BXM 23450 (Figs 1 and 2), which was formerly in the possession of the Armenian collector Dikran Kelekian. Decorating the bottom of the bowl, on a coat of white slip, are rotating fish painted in white as if in relief. The bowl belongs to a category of ce- ramics of Sultanaban type, a name linked with the homony- mous city in Persia. Modern research attributes Sultanabad ware to workshops in Kashan, during the period of domina- tion of the Mongol Ilhanid rulers, who in the mid-thirteenth century conquered territories in Iran, Asia Minor and Iraq. The Iranian vases were traded in the markets of Egypt and Syria during the period of domination by Mamluk officials and had a considerable influence on local ceramic produc- tion, mainly of the first half of the fourteenth century, which was in vogue. The diffusion of the style of Iranian ceramics is exemplified by three sherds donated by Antonis Benakis to the Byzantine and Christian Museum, and which are possi- bly products of Egyptian workshops. They belong to the technique of painted pottery with deep blue and black deco- ration under a transparent glaze, in the Panel Style (with ra- diate panels on the bottom), and are dated in the fourteenth century (Figs 3 and 4).
In the period of the military oligarchy of Mamluk officials
(1250-1517), large quantities of ceramics with incised or sgraffito decoration, alluding to creations in metalwork, were produced in Egypt. Fragments of sgraffito vases have been found in abundance in excavations at Fustat, which are represented in the Byzantine Museum and are dated to the fourteenth century. Predominant in the decoration of Mam- luk sgraffito vases are inscriptions (Figs 6, 8, 9 and 10), fre- quently combined with emblems-coats of arms (Fig. 10), while pictorial decoration is rather restricted. It should be noted that in the insignia of high-rank and low-rank officials, as also in the inscriptions with honorary titles, the strict or- ganization of the Mamluk State and the court’s insistence on social order and hierarchy are expressed. In the fifteenth- century Egyptian workshops, production of sgraffito vases gradually waned and was finally abandoned, whereas, on the contrary, the production of ceramics with under-glaze deep blue or black painted designs continued, examples of which are preserved in the Museum (Figs 15 and 16). Vases with the signatures of the Egyptian potters Gazal (Figs 16-18) and possibly the well-known Gaibi are included in the Museum’s collection (Figs 19 and 20). Obvious in this group is the influence of Chinese porcelain painted in cobalt blue, of the Yuan (1279-1368) and Ming (1368-1644) dynasties, which was imported to the Islamic world. Ceramics of this type en- joyed wide dissemination throughout the Mediterranean Basin.

One decade after F. D’Angelo and E. D’Amico surveys (presented at the 9th AIECM2, S. Gelichi ed.), this paper returns to the topic of imported Middle Byzantine Glazed Tableware in Sicily (12-13th cc.). It offers an updated and comprehensive overview of the samples recorded on the island (among which Sgraffito Ware, Aegean Painted Ware, Zeuxippus II, and GWW IV to mention some), with specific focus on Sgraffito Ware. Although numbers are still low (less than 40 samples altogether), taken as a whole the finds available (now from urban, rural, coastal, and inland rural settlements) offer a valuable insight into the connections, economic and otherwise, which still bonded Byzantium to Sicily, at that time, the Mediterranean cornerstone of the Norman and Hohenstaufen Kingdoms.

Tijekom 1860-ih u hrvatskoj se arhitekturi historicizma počinju primjenjivati u obradi pročelja novi materijali. Umjesto do tada dominantnih žbukanih, odnosno štuko ukrasa, te povremeno korištenoga kamena, zahvaljujući arhitektu Franji Kleinu započinje upotreba ornamenata od terakote, najčešće industrijski proizvedenih. Proces uvođenja novih materijala dodatno će se ubrzati krajem 1870-ih i početkom 1880-ih godina kada se pod utjecajem teorija arhitekta Gottfrieda Sempera, a primarno nastojanjima Isidora Kršnjavoga, u arhitekturu Zagreba i kontinentalne Hrvatske uvodi princip da je „istinitost i pošteno izticanje materijala jedno […] od kardinalnih načelah praktične estetike“. Umjesto primjene lažnih „cementnih“ (odnosno betonskih) ornamenata zagrebački arhitekti započinju pročelja svojih građevina izvoditi od fasadne opeke i kamena, a povremeno im dijelove ornamentaliziraju i sgraffitom, koji tada postaje osobito popularnim u Europi. Arhitekti Ivan Plochberger, Kuno Waidmann, Herman Bollé, Matija Antolec i drugi ovu tehniku, raširenu u arhitekturi 15. i 16. stoljeća, primjenjuju ponajprije na neorenesansnim, no katkada i na neogotičkim građevinama. Iako je maleni broj pročelja s izvornom sgraffito ornamentikom sačuvan na osnovi starih fotografija i projekata ovim će se izlaganjem nastojati prikazati koliko ih je izvorno bilo te na koje su se uzore oslanjali zagrebački arhitekti.

Early Sgraffito Ware is a class of the Glazed Wares. This type of pottery appeared and evolved in the late 11th and through the whole 12th centuries and it is still found in sites from the very beginning of the 13th century. At first, it was typical just for the great Byzantine centers such as Constantinople, Corinth, Athena, etc. Soon this “luxury product” became popular even in the small towns and villages. At that time the Bulgarian Kingdom was a part of the great Byzantine Empire and there was no border between them. This fact made the wide distribution of Sgraffito Ware easier and these vessels became well spread in the land of today’s South Bulgaria. The Sgraffito Ware from the area is divided into 4 of the well-known classes in the science – Fine Sgraffito Ware, Painted Sgraffito Ware, Incised Sgraffito Ware and the so called Champlevée. There is also one local class, which is known to exist just in the land of Southeastern Bulgaria – the so called “Bulgarian” Sgraffito Ware.

Il caso studio presentato in questa sede esporrà le problematicità riscontrate nella ricostruzione della produzione ceramica a Pisa tra XV e XVI secolo laddove l’evoluzione degli studi e l’apertura di nuovi scavi stratigrafici nel centro urbano negli ultimi quindici anni hanno permesso l’acquisizione di nuove conoscenze e di individuare una discrasia nelle considerazioni tratte in passato. Solo attraverso l’integrazione di tutte le fonti passate e presenti (archeologiche, storiche, documentarie) è stato possibile ottenere una lettura corretta ed omogenea di vecchie e nuove informazioni, dimostrando come la smaltatura sia in uso a Pisa sino alla fine del XVI secolo e come la diversificazione delle classi ceramiche ingobbiate si sviluppi solo con gli inizi del Cinquecento.

The subject of the article is pottery as evidence of trade relations between the Abruzzi and Molise regions in Central Italy and other regions from the 15th to the beginning of 17th century. The authors present an interim report on some of the types of pottery found during archaeological excavations conducted in the Convent of Santa Maria delle Monache in the town of Isernia and from the Castle of Termoli in Molise; in particular they note the discovery in Isernia of many fragments of "compendiario" style maiolica from Castelli and monochrome and painted slipwares imitating maiolica from Anversa degli Abruzzi (L'Aquila) dating from the end of 15th to the beginning of 17th century. In Isernia also appears to have existed a local production of incised slipware and Renaissance maiolica with heraldic eagle to be referred to the queen Joan of Aragon.

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BULGARIAN MONUMENTAL SGRAFFITO DURING SOCIALISM AS CULTURAL HERITAGE

Dimo Ivanov


Annotation. This paper looks at Bulgarian monumental sgraffito as a historical and cultural value. An attempt was made to determine how much they are perceived as such on the basis of the attitude towards them.

Key words: Bulgaria, monumental art, sgraffito, art heritage

The paper examines several monumental sgraffito produces in South America in the last 10 years. Through a comparative analysis look similar artistic characteristics and attempt to find common stylistic traits.
Key words:
sgraffito,  South America, monumental art.