ࡱ> 02/b jbjb{x{x $"~;08     , R     4"H4|"   hR 0 $,d,Ceramics Response Paper There has long been a struggle between the arts and sciences, as to which one is better at discovering the truth. Quite appropriately, it takes a combination of the two approaches to reach full understanding of a culture that made use of both. Fueling and driving each other, art and science have combined their efforts in the interdisciplinary field of archaeology. Methods ranging from traditional typology, experimental archaeology, and archaeometry strive to answer questions of provenance, production technique, and physical composition. By establishing links between the technical data and its social context, the archaeologist is able to identify the significance of scientific information and support socio-anthropological theories with evidence. Three projects researching ceramic production will be assessed to evaluate the scholars success at generating these links and creating a picture of the society as a whole. First looking at M. Udas (2005) almost purely scientific analysis of pigments used in ancient Egypt, one can appreciate the extensive analysis and efforts that taken to discern the chemical composition and crystal structure of them, however one cannot glean from the study the importance of these facts. X-ray fluorescence (XRF), particle induced X-ray emission (PIXE), and X-ray diffraction (XRD) were used to study tens of samples in an attempt to use the pigments as yardsticks of beautyand to estimate ancient technologies ability to prepare them artificially. There was no explanation of why the Egyptians chose these particular pigments or why one chemical composition might be chosen over another, in particular the multiple shades of Egyptian and Amarna blue. Looking back upon his original reasons for characterizing the pigments, Uda fails to establish a standard upon which to judge their beauty and neglects to gauge the overall ancient Egyptians techniques of pigment production. Examining a more integrated approach, Wisseman (1994) brings together traditional and technical methods to understand the Attic red and balck figure vase-painting of the sixth to the forth centuries B.C. The wares have been typologically classified to show the diversity of ancient Greek vessels used and distributed within the Mediterranean region (Sparkes 1991). Experimental archaeology has demonstrated how complex shapes were constructed in sections and joined together when the clay was half-dry (Gisela Richter 1923, Joseph Veach Noble 1988) and how Greek potters used a precise, three-stage firing process, involving oxidation and reduction techniques to achieve the characteristic red and black colors (Cook 1972). Archaeometrists have verified the three-stage firing process (Noble 1988) in addition to proposing that potters carefully chose specific clays and controlled the additions of potassium and iron oxide to lower the melting temperature and attain the desired glossiness (Kingery 1991). By pulling from a range of disciplines to supplement her own commentary and observations, Wisseman has provided a much more holistic picture of the production process. Whereas Wisseman used an inductive approach to make generalizations from several facts, M. Waelkens and J. Poblome (1997) take a deductive approach to identify the clay raw materials used for ceramics in Sagalassos. Clays of three localities were sampled and tested using XRD, granalometry, differential thermal analysis (DTA) to ascertain if the chemical properties of the samples matched that of the ceramics. Experimental archaeology was then used to further understand the physical properties of the materials, in particular firing temperatures and behavior. Two groups of fired products were distinguished, proving that the potters of Sagalassos drew from the northwest Canakli plain for lower firing clays or from the southeast Canakli plain and potters quarter for higher firing ones. The combination of various methods effectively provides a more complete view of ceramic production in Sagalassos. Though the epic battle between arts and sciences will most likely continue to rage on, it is important to remember that idle knowledge serves no purpose and that one lives in a three-dimensional universe. It is insufficient to analyze only one aspect of an entire culture as in the case of M. Udas purely technical examination of ancient Egyptian pigments. On the other hand, the two cases of Wisseman and Poblome show that different approaches can be effective simply by drawing upon multiple disciplines. Ultimately, interaction rather than isolation should be the paradigm as archaeology continues to move forward if one seeks full comprehension of an intervolved past.  Uda, M. 2005 Characterization of Pigments Used in Ancient Egypt. In M. Uda et. al (eds), X-rays for Archaeology, Springer: Dordrecht, 3-26.  Uda, M. 2005 Characterization of Pigments Used in Ancient Egypt. In M. Uda et. al (eds), X-rays for Archaeology, Springer: Dordrecht, 1.  Wisseman, S. 1994 From Pots to People: Ceramic Production in the Ancient Mediterranean. In Wisseman, Sarah U. and Wendell S. Williams (eds) Ancient Technologies and Archaeological Materials. Gordon and Breach Science Publishers, USA, etc. pgs. 17-40.  Poblome, J. et al. 1997. The Clay Raw Materials of Sagalassos Red Slip Ware: a Chronological Evaluation. In Waelkens, M. and J. Poblome (eds). Sagalassos IV: Report on the Survey and Excavation Campaigns of 1994 and 1995. pgs. 507-518.  CONTACT _Con-3B8907741 \c \s \l Kristie Chin 2/19/10  ~   ǻh h mHnHujh Uh h CJ_H h h CJjh h 0JCJUjh 0JUh  E{|}~  d`gd $da$gd ~":p / =!"#$%<@< NormalCJaJmH sH tH DA@D Default Paragraph FontRi@R  Table Normal4 l4a (k@(No List6@6  Footnote Text@&@@  Footnote ReferenceH*4@4 Header  !4 @"4  Footer  ! "!z!z!z<E {|}~ 0@P0@P0@P0|0|0|0@P0@P0|0@P0@P0@P0@PA ?0@ 0@ `A?E ~ @0!@0!@0!@0!@0!0A?0A?0A?0A?0A?:::::="/=^38  M U   \ h '.`hmt~UXad # "%/~NY[]_X$tw::::::::::@}}У}}Q,"A @UnknownGTimes New Roman5Symbol3 Arial qhd#M D (#>4dw @ ;There is a tension or balance between the arts and sciences Kristie Chin Kristie Chin Oh+'0  4@ ` l x'<There is a tension or balance between the arts and sciencesKristie ChinNormalKristie Chin35Microsoft Word 11.5.6@L@B@HpMG,PICT"b HHb bHHy ybb    so{ww^g9Rg9VcRNso{wo{wo{g9kZkZ^kZkZV  o{wo{o{7c^kZVNs^cZZ^ZZF1Z^cVZ^kZ  EkZwwwwwwwwww=kZR^kZF1VZkZZVcR^^VVNskZ^cV^R^g9VZ^Vg9R^VZZVVZZcVVc^ZwVZg9ZVNsZRZV^o{Z   Awwwwo{wwwsw?R^g9RkZJRZo{ZcR^kZNscJR^g9kZ^JRg9VZ^VZZkZZZ^VRkZco{g9NsV^ZVNsNskZRNsVg9RVZkZJR^g9VV  [wwswwwwswwwswwo{wwAVZZRVcR^NsZkZ^VcRkZ^kZRVZ^kZZNsVZNscZkZVc^Z^kZ^JRVg9NskZVZ^^Z^ZkZRZJRg9^^kZNscVVZ   Qwwwwwwwwsswww'Z^kZNsc^VJRZJR^kZwNsg9VVZZcVVc^RVkZ^cZNskZRNs^Zg9R^kZkZRg9ZNsJR^Nsg9^kZRZkZNsVZ  UswswwwwwwswwwwkZVRZkZVkZJRV^ZRcg9Vg9^g9RZ$kZVco{VckZRNskZg9kZVR^ZVNsg9g9ZZRcg9w^kZZ^^NsRVg9VkZ  -wwwwsw?VkZJRV^ZRcg9wVVZVkZcRVJRNskZ^Zg9ZZo{Rg9ZVVZVZkZ^^Zg9RVZZkZZkZZkZ^VVc^wZkZZZ^RRV   Mwwwwo{wwwwwwwwARcRVV^^wVVZZRg9ZZVkZcZNsRZZo{^ZVVc^Zg9VRkZRo{VckZNsVZR^g9VZ^Vg9R^g9^JRVo{cNsZVg9V  QwwwwwwwwswsssAVVZo{NsZZcNskZcZVRkZg9wJR^VkZJRV^RZcRg9o{ZVRRNso{Z^V^kZg9JR^RcV^o{cVc^ZkZZco{JRg9o{kZZ   =swwwwwwwkZwNskZZkZNsNs^ZVZZ^Z/kZNsZco{ZRVg9RRZZkZZZcVkZJR^ZkZVZVwZR^kZR^Vc^kZRkZ^^ZkZZVcNs  =wwwwwwwww?kZ^Z^VJRZVcc^kZB^cZRZ^c^ZVVw^kZR^VZZ^ZZ^NsZ^kZNs^VRJR^ZcRZNskZZZ^cc^ZZVg9   1wwwwswwww4c^V^kZF1Vcg9R^Z^kZNsVZVVZckZ^JRNscVZZg9^kZ^ZkZJR^Zco{Rg9VZVVNsZkZ^  Uo{wwwwwwwwo{skZwwsws  ՜.+,0 `hpx  'D w <There is a tension or balance between the arts and sciences Title  !"#$%&()*+,-.1Root Entry F\WG31TableWordDocument$"SummaryInformation(DocumentSummaryInformation8'CompObjX FMicrosoft Word DocumentNB6WWord.Document.8