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Information about the lifestyles of ancient cultures, their daily activities, religious beliefs, close or long distance trade relations, or cultural interactions come from their products. Ancient material productions can be briefly mentioned by examples such as stone tools, pottery, and secular or religious buildings. Thanks to excavations or socio...
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Hasanlu archaeological joint project in partnership with Iranian-American archaeologist is the one of the rare long-term archaeological projects carried out in northwest of Iran. In the process of this project (1957-1978), the layers from the Neolithic period to the historical period have been excavated. The Seventh period of Hasanlu Tepe is contem...
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Utilizing the multiple evidence of genetics, archaeology, iconography, graphemics and philology, this paper discovers two foreign elements Niu and Yang from the Fertile Crescent, in the Shang oracle inscriptions; as well as articulates the dispersal across Europe of the Halaf culture motif pair bucrania and mouflons. These discoveries provide a clue to investigate the relations of several pictograph type writing systems of the Bronze Age Old World. The connection among the Shang graph pair Niu and Yang, the European late Neolithic and Bronze Age abstract motif bucrania, and the Halaf pottery motif pair bucrania and mouflons is disclosed by the shared contents of their meaning: taurine cattle and sheep/goats from the Fertile Crescent. The second prototype of the Halaf motif pair, the back view of the whole body is distinguished from the head view by comparing the motifs with animal images and according to their placement in the evolutionary process. Owing to the same form, the same degree of abstraction, and the same characteristic feature (a pair of huge and curved horns), the Shang graph pair falls in the clusters of those abstract variants of the Halaf motif pair. This coincides with that the Shang graph pair stay outside the category of all the other four-legged animals’ Shang oracle graphs, not only because of the different view types, but also the Shang graph pair’s more abstract form implying their more ancient times.
Bu çalışma, zooarkeolojik ve etnoarkeolojik veriler kullanarak Erken Neolitik Çağ'dan Kalkolitik, Tunç ve Demir Çağ’a dek Anadolu'daki tilkilerin rollerini araştırmaktadır. Anadolu'daki 31 farklı yerleşimden toplanan zooarkeolojik verilerle, tilki-insan ilişkilerinin gelişim süreci incelenmiştir. Bunlarla birlikte çalışmada, tilkilerin beslenme, kürk, sembolizm ve ritüel gibi çeşitli yönleri ele alınmıştır. Ayrıca Anadolu’da ve günümüz avcı-toplayıcı topluluklarının etnografik verileri kullanılarak, tilki-insan ilişkilerinin bilinmeyen yönlerine dair etnoarkeolojik bir değerlendirme yapılmıştır. Elde edilen bulgulara göre; avcılık-toplayıcılık dönemlerinde tilkilerin küçük memeli hayvan avcılığının beslenme ekonomisinde önemli bir rol oynadığı, Neolitik Çağ'ın gelişimiyle birlikte ise kürk, sembolizm, ritüel gibi pek çok amaçla kullanıldığı anlaşılmaktadır. Neolitik Çağ sonra tilkilerin kullanımındaki çeşitliliğin azaldığı ve daha çok pastoral grupların tilkileri beslenme ve sembolik amaçlarla kullandıkları ortaya çıkmıştır. Tunç Çağ boyunca devletleşme süreciyle paralel olarak, sadece edebi metinlerde tilkiler hakkında kayıtlar bulunmuştur. Ancak, edebi metinlerde yansıtılmayan ilişkilerin arka planı hakkında yeterli veri olmamasına rağmen, Anadolu'da arkeolojik dönemler boyunca tilkilerle insanlar arasındaki ilişkilerin pastoralist topluluklar tarafından sürdürüldüğü anlaşılmaktadır.
Utilizing the multiple evidence of genetics, archaeology, iconography, graphemics and philology, this paper discovers two foreign elements Niu and Yang from the Fertile Crescent, in the Shang oracle inscriptions. This discovery provides a clue to investigate the relations of several pictograph type writing systems of the Bronze Age old world. The connection of the Shang graph pair Niu and Yang with the Halaf culture motif pair bucrania and mouflons is disclosed by the shared contents of their meaning: taurine cattle and sheep/goats from the Fertile Crescent. The second prototype of the Halaf motif pair, the back view of the whole body is distinguished from the head view by comparing the motifs with animal images and according to their placement in the evolution. Owing to the same forms, the same degree of abstraction, and the same diagnostic feature, a pair of huge and curved horns, the Shang graph pair falls in the clusters of those abstract variants of the Halaf motif pair, which coincide with that the Shang graph pair stay outside the category of all the other four-legged animals’ Shang oracle graphs, not only because of the different view types, but also the more abstract forms implying their more ancient times.
On the whole, foxes are rarely represented in the symbolic and ritualistic Pre-Pottery Neolithic (PPN) world of the Upper Mesopotamian basin and are even scarcer in both art and textual sources in later periods. The exception to this generalisation are the numerous depictions of fox at the PPN site of Göbekli Tepe, where they are among the most commonly represented mammals. This contribution summarises biological information on the four fox species found in the Upper Mesopotamian region, the red fox (Vulpes vulpes), Blanford’s fox (Vulpes cana), the corsac fox (Vulpes corsac) and Rüppell’s fox (Vulpes rueppellii). This is followed by diachronic analyses of the importance of foxes for the prehistoric societies in Upper Mesopotamia based on archaeozoological bone finds, and of representations of foxes in the imagery and in written sources from the wider region. Foxes are found most frequently during the PPNA and early PPNB both archaeozoologically and iconographically, suggesting they held some symbolic importance at this time. From the Middle PPNB onwards, the occurrence of fox diminishes, alongside other small mammals, perhaps in relation to the rise of stock-keeping. Finally, in the archaeozoological record there is a suggestion of a re-occurrence in interest in the hunting of fox from the Bronze Age onwards.
In developed countries, studies have shown that pottery as a form of visual culture encourage self-expression and prepare inmates for release and employment. However, existing studies have failed to investigate pottery in women prisons in Kenya as an effective tool for self- expression and a means to self-reliant. The study aim was to examine pottery as a tool for expression and community reintegration in women prisons in Kenya. The study areas were Lang’ata and Kisii women prisons with a population of 34 respondents. Purposive sampling technique was used to sample 4 illustrators and 30 inmates. The study utilized questionnaire, interview and observation guide to collect data. This study was guided by Vygotsky’s Art and Creativity theory. Descriptive research design guided the study. Using descriptive statistics under the qualitative and quantitative research designs, the study revealed that participants valued the process of creating pottery as a form of expression with age, education and prison confinement being some of the areas that contributed to effective application of images in pottery. The study recommended improvement of facilities in pottery section, retrain of illustrators and encouragement of inmates to intensify on the use of imagery in pottery for self-expression in preparation for successful reintegration.
Pottery marked the advent of the agricultural revolution, transition to sedentary life, and a new era of intellectual development. Man used pottery to communicate important ideas in symbolic form. This article presents examples of ancient art, in particular, zoomorphic and anthropomorphic images on pottery. The research featured ceramic vessels found at the archaeological sites of Halaf culture in Syria. The research objective was to interpret their meaning using various descriptive and analytical methods. The author believes that the ancient potter used animal images out of reverence or fear. Animal images on pottery point at the close interaction between people, animals, and nature.
