This study focuses on a major issue in Near Eastern prehistoric archaeology: the rise of the Halaf culture, ca. 5900 - 5400 cal. BC. The book presents in a detailed, quantified and lavishly illustrated manner the ceramics excavated by the National Museum of Antiquities Leiden at Tell Sabi Abyad, northern Syria. Concentrating on the 1996 - 2000 campaigns, the book also synthesizes much earlier work in order to come to a comprehensive overview. Tell Sabi Abyad thus far remains the only archaeological site in the Near East where the shift from a Pre-Halaf to an Early Halaf cultural assemblage can be followed within a continuous, meticulously stratified sequence. This shift occured during a short-lived transitional stage, radiocarbon dated at 6100-5900 cal. BC, In terms of the ceramics, this transition is characterized by the gradual replacement of plain Coarse Ware by intricately painted Fine Wares, and by numerous innovations in ceramic technology, morphology and decorative style. More than merely a pottery report, the book offers a lively discussion of past and present views on the origins of the Halaf culture. It also places the excavated ceramics in the broader socio-economic and symbolic context of Late Neolithic societies in northern Syria. Using the concepts of feasting and emulation, the study aims to gain insight in patterns of rapid ceramic innovation and change. The book is of interest not only to specialists of prehistoric pottery but to a wider archaeological audience as well.

This book is the first major study of Lydian material culture at Gordion and also the first published monograph on Lydian painted pottery from any site excavation. Richly illustrated, it provides a comprehensive definition and analysis of Lydian ceramics based on stylistic, archaeological, and textual evidence, while thoroughly documenting the material's stratigraphic contexts. The book situates the ceramic corpus within its broader Anatolian cultural context and offers insights into the impact of Lydian cultural interfaces at Gordion. The Lydian pottery found at Gordion was largely produced at centers other than Sardis, the Lydian royal capital, although Sardian imports are also well attested and began to influence Gordion's material culture as early as the 7th century BCE, if not before. Following the demise of the Lydian kingdom, a more limited repertoire of Lydian ceramics demonstrably continued in use at Gordion into the Achaemenid Persian period in the late 6th and 5th centuries BCE. The material was excavated by Professor Rodney Young's team between 1950 and 1973 and is fully presented here for the first time. Ongoing research in the decades following Young's excavations has led to a more refined understanding of Gordion's archaeological contexts and chronology, and, consequently, we are now able to view the Lydian ceramic corpus within a more secure stratigraphic framework than would have been the case if the material had been published shortly after the excavations.

How remarkable changes in ancient Greek pottery reveal the transformation of classical Greek culture Why did soldiers stop fighting, athletes stop competing, and lovers stop having graphic sex in classical Greek art? The scenes depicted on Athenian pottery of the mid-fifth century BC are very different from those of the late sixth century. Did Greek potters have a different world to see—or did they come to see the world differently? In this lavishly illustrated and engagingly written book, Robin Osborne argues that these remarkable changes are the best evidence for the shifting nature of classical Greek culture. Osborne examines the thousands of surviving Athenian red-figure pots painted between 520 and 440 BC and describes the changing depictions of soldiers and athletes, drinking parties and religious occasions, sexual relations, and scenes of daily life. He shows that it was not changes in each activity that determined how the world was shown, but changes in values and aesthetics. By demonstrating that changes in artistic style involve choices about what aspects of the world we decide to represent as well as how to represent them, this book rewrites the history of Greek art. By showing that Greeks came to see the world differently over the span of less than a century, it reassesses the history of classical Greece and of Athenian democracy. And by questioning whether art reflects or produces social and political change, it provokes a fresh examination of the role of images in an ever-evolving world.

The intent of this volume is to break through the boundaries usually imposed by the study of 2nd millennium BC pottery production in Anatolia. 12 papers of leading specialists working on relevant material offer, for the first time, the possibility of a deeper understanding of the phenomenon of painted pottery in the 2nd millennium BC.

The pottery of Mohenjo-dara, one of the two major urban centers of the Indus Valley civilization (2500-2000 B.C.) is described and documented. The authors survey Harappan ceramic technology and style, and develop an important and unique approach to vessel form analysis and terminology. Included is Leslie Alcock's account of the pottery from the 1950 excavations by Sir Mortimer Wheeler. University Museum Monograph, 53