Prior to firing, some surfaces are burnished using various levigated slips.
|
|
It is either levigated with or without infrared radiation or applied with hot roll waxing.
|
|
Then all dry samples of 10 seedlings in each barrel were levigated and mixed for ion measurements.
|
|
Levigated coral was formerly used in medicine as an antacid or absorbent, and is still occasionally employed as a dentifrice.
|
|
It is finely made of well levigated clay sufficiently fired to achieve a pink colour over which a red brick colour slip has been applied.
|
|
In this zone, there are several types of soil, such as: dark or red brown chernozem, washed or levigated chernozem (characteristic to steppe and silvo-steppe zones), regosols, and alluvial soils.
|
|
A metallic sound is produced by the fragments of grey ware when struck. Northern black polished ware is thin and perfect in treatment. The clay used is not so well levigated and well-baked as in the case of Grey Ware. It carries black and silver shades.
|
|
The ingredients of the dessert include fresh gorgon fruit, sweet rice flour, and sugar. The gorgon fruit is boiled, dried in the sun and levigated. The resulting product is mixed with sweet rice flour, sugar and water. This dough is kneaded, compressed into rectangular shapes, and steamed.
|
|
The figurines have big eyes, prominent nose, slit mouth and incised lines to mark hair. They are either red or of smoky colours and are made of fine levigated clay. The ears are separately made with heavy lump of clay shaped like ears with pendent and applied over it. The left one is missing.
|
|
This pottery was produced on inland Greece and throughout the Aegean islands. The fabrication technique used was fast-wheel, with fine well-levigated clay. The slip was of a light cream color to give the background to the exquisite decoration normally done in dark-brown color. Vessel types were small and closed flasks or “stirrup jars”.
|
|
The ceramic tradition of this region is similar to the one at Hastināpur from period II to IV. Thus, the archaeologists rightly compared the chronology and ceramic tradition of the area with that of Hastināpur. The most characteristic shape in grey ware is dish with convex sides and beaked edges. The pottery is thick in section having horizontal and vertical bands. The clay used was well- levigated.
|
|
Both the red and black colour use the same clay, differently levigated and fired. As the Greeks learnt to control this variation, the path to their distinctive three-phase firing technique opened. Some of the innovations included some new Mycenean influenced shapes, such as the belly-handled amphora, the neck handled amphora, the krater, and the lekythos. Attic artists redesigned these vessels using the fast wheel to increase the height and therefore the area available for decoration.
|
|
Use of the potters wheel became universal. The pottery associated with the Mauryan period consists of many types of ware. But the most highly developed technique is seen in a special type of pottery known as the Northern Black Polished Ware (NBP), which was the hallmark of the preceding and early Mauryan periods. The NBP ware is made of finely levigated alluvial clay, which when seen in section is usually of a grey and sometimes of a red hue.
|
|
More than 250 terracotta plaques have been discovered during the excavations from the collapsed debris of the stupa complex at the northwestern corner of the mound. Made of fine, levigated clay, often with a micaceous compound, the plaques are normally red in colour and rectangular in shape. These plaques were probably used to decorate the outer surface of the stupa as at Paharpur and Mainamati. The plaques are of different sizes, the most common size is 28 cm x 24 cm x 7 cm.
|
|
These inclusion were either added intentionally, or are the unintentional result of poorly levigated (i.e. a process of purifying clay by removal of natural, non-clay inclusions such as stones and plant materials) or unlevigated clay, and are characteristic of this coarse Neolithic pottery. Later Neolithic pottery tends to favor the use of different tempers, sand, gravel, small stones and sometimes grog (ground up pottery). Much Neolithic pottery is low-fired and did not attain temperatures far above 600°C, which is more or less the minimum required for creating pottery from low-fired clays.
|
|
Most sites have only a small quantity, but a few select sites suggest prolonged contacts with Egyptians and possibly even Egyptians residing in the southern Levant. Khirbet Kerak ware, in a museum in Tel Aviv Pottery of Early Bronze I in the north seems to presage that of Early Bronze II in terms of morphology and decoration (especially red painting and burnishing), although in the later period potters achieved similar types through very different technological approaches. Wheels seem to have come into use and new fabrics, better levigated (cleared of coarse materials) were made. So-called 'metallic ware' was introduced in this period.
|
|
1 of "Introduction;" Crowe, p. 11 others imply that it is a dismal shadow of the truly fine ceramics China was capable of producing.Kerr, p. 38. Rinaldi comes to a more even-handed conclusion, noting that it "forms a middle category between much heavier wares, often coarse, and definitely finer wares with well levigated clay and smooth glaze that does not shrink on the rim... " Thus looking at ceramic production in China at the time from a larger prospective, Kraak ware falls between the best examples and a typical provincial output, such as the contemporary Swatow ware, also made for export, but to South-East Asia and Japan.
|
|
The former, supposedly representing a less sophisticated and earlier occupation, was labeled PNA (Pottery Neolithic A); the latter was called PNB (Pottery Neolithic B). Many researchers now believe the difference to be one of function rather than evidence for chronological differences between these two groups, since examples of each are often found in contemporary contexts. Thus, PNB types are often designated as fine or luxury wares. The site of Munhatta, excavated by J. Perrot, has contributed a large series of ceramic assemblages dated to the Neolithic period. In one phase there are some extraordinarily sophisticated ceramic vessels of especially finely levigated, highly polished or burnished (polishing of almost dry, leather hard, surfaces of unfired clay to produce a smooth surface that becomes shiny when fired), black fabric.
|
|
Oinochoe from the Metropolitan Museum of Art (inv. 91.1.454) The first appearance of a ceramic type that can clearly be classified as bucchero occurred around 675 BCE at the coastal community of Caere (the modern-day Cerveteri), with somewhat later centers of production to be found at Veii and Tarquinia, both cities, like Caere, located in the southern part of the Etruscan heartland. Bucchero ware would seem to have been the natural sequel to the impasto pottery associated with the earlier Villanovan culture from which the Etruscan civilization, itself, had evolved. Etruscan pottery is distinguished from Villanovan impasto by the more sophisticated processing of the clays used which were finely levigated to remove the traces of grit common in the earlier pottery, by its being uniformly turned on a potter's wheel, by its carbonized black fabric in contrast to the brown or tan color found in impasto pottery.
|
|