Annals of Archaeology

Volume 3, Issue 2, 2020, PP 1-14

ISSN 2639-3662

Patterns of Multi Linear Evolution in Pottery Production

Yu.B. Tsetlin*
Institute of Archaeology of Russian Academy of Sciences, Moscow, Russia
*Corresponding Author: Yu.B. Tsetlin, Institute of Archaeology of Russian Academy of Sciences,
Moscow, Russia.

ABSTRACT
The article deals with main patterns of evolution of different sides of pottery production which is regarded as
specially organized functioning system having concrete inner structure and certain connections with the outer
world. The systemic nature of pottery is determined by the systemic character of any human goal-directed
activity which is expressed in cultural traditions passed down to succeeding generations. The author regards
modern data on the development of vessel shapes, their decoration, main plastic raw material, pottery paste,
techniques of vessel construction, potter’s wheel functions, ways of pottery firing and devices for firing. The
development of these sides of pottery can be seen on three qualitatively different levels: macroevolution,
mesoevolution, and microevolution
Keywords: evolution, shape, decoration, technology, potter’s wheel, firing devices

INTRODUCTION and 9) terminology used by potters and pottery

users.
The article is dedicated to the issue of some
patterns of evolution in ancient pottery and its Such an access enables to formulate certain
production. It has become possible thanks to the properties of pottery as a special system. Firstly,
fundamental research by A.A. Bobrinsky in there are internal connections between components
whose works this problem became a subject of of the system which form its permanent structure.
special research (Bobrinsky 1978; 1991; 1993a; Obviously connections inside each of the three
1993b; 1997; 1999; 2006; Bobrinsky, Volkova, subsystems are stronger than between components
and Gey 1993; Bobrinsky and Vasilieva 1998; belonging to different subsystems. Secondly, there
Tsetlin 2010). It was partly developed in his are external connections: first three components of
followers’ works. (See, for example, Tsetlin the first subsystem have a consistent link with the
2002a; 2006; 2013; 2018a; Vasilieva 2009). natural environment which makes possible the
production and subsystems two and three (entirely)
Before turning to the issue of evolution of and component 4 of the first subsystem provide a
different sides of pottery production we have to strong link between pottery and a society of which
clarify what precisely this production is, what its potters are members.
inner structure is like and how it is connected
with other sides of social life. It’s known at the In such a way three types of links (inside the
moment that pottery production (both ancient and system, with the natural environment and the
modern) is a complicated specially organized society) are essential to successful functioning of
system with certain structure (Tsetlin 2005; the whole system of pottery production.
2012, 39-41) including three subsystems each of First we’ll try to find out what data we can rely
which consists of several components. on researching the evolution of pottery. Probably,
Subsystem1: The sphere of production unites 1) we can speak about three groups of data. Firstly,
raw material, 2) technology, 3) techniques and 4) it’s currently known chronological sequence of
finished products. different objects of pottery. Secondly, there are
Subsystem2: The sphere of social relations numerous ethnographic data on different sides of
includes 5) relations between potters, 6) relations pottery production. Evaluating these groups of
between potters and users and 7) relations data we are first of all obliged to note their
between pottery users. information incompleteness that is they don’t
give enough material for studying evolution of all
Subsystem3: The sphere of spiritual culture components and all aspects of the pottery syste
encompasses 8) customs and beliefs in pottery

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Patterns of Multi Linear Evolution in Pottery Production

m. We have to use random and in large part vessels were preceded by rather wide spread flat-
fragmentary facts from different periods received bottomed stone and wooden vessels (Tsetlin
from different regions of the globe and on this 2012, 262-267). Secondly, growing variety of
basis try to reconstruct the line of evolution of human needs led to broader production line of
some sides and objects of pottery. That alone vessels with different functions. In particular,
makes such a reconstruction largely speculative. rather limited variety of Neolithic vessel shapes
in the forest zone of Eastern Europe compared to
The lines of evolution in pottery are currently
vessels of the Hassuna culture in northern
being researched with varying degrees of detail
Mesopotamia can be accounted for both less
for the following sides of it:
diversified needs and extensive use in the forest
 evolution of vessel shapes zone of vessels made of other material (water
bags, wicker containers etc.) along with clay
 evolution of decoration
vessels. Thirdly, growing variety of human needs
 evolution of main plastic raw material was met as well thanks to the development of
natural structure of shapes and changes in general
 evolution of pottery paste proportionality of vessels. This can be seen on the
 evolution of vessel construction techniques one hand in dissemination along with simple in
their natural structure 3-4- part shapes of more
 evolution of potter’s wheel functions complex 5-6-7- part vessel shapes, and on the
 evolution of ways of pottery firing other hand in distribution of vessels which differ
in their general proportionality: bowl-like (or
 evolution of technical devices for firing low), pot-like (or medium), jug-like (or high)
RESULTS shapes and a lot of intermediate forms (Tsetlin
2018b). Finally, fourthly, cultural contacts and
The Evolution of Vessel Shapes mixing population groups with different
It is obvious that clay vessels appeared in human traditions in this sphere had a major impact on a
society to meet certain needs of people. In some growing variety of vessel shapes (Bobrinsky
cases they were the needs which were previously 1999, 53-56; 2018b).
met with vessels made of other materials (stone, Besides these factors some changes in certain
wood, bark, shells, pumpkins, skins, manure peculiarities of shapes were influenced by
etc.), in others some new human needs (for random fluctuations inevitable in the process of
example, for fire cooking), which nonclay vessels reproduction and connected with
vessels could meet only to a limited extent. physiologic characteristics of potters’ labour.
The exceptional variety of clay vessel shapes Generalization of all factors set out above reveals
appeared as a result of a number of factors. that main patterns of the evolution of clay vessel
Firstly, the shape of clay vessels was influenced shapes can be examined at three levels.
by the shape of their nonclay prototypes. For At the level of macroevolution of clay vessel
instance, in the Middle East flat-bottomed clay shapes it is possible to highlight 4 stages (Fig. 1):

Fig1. Macroevolution stages of clay vessels’ shape

Stage1: Imitation of finished natural containers (Fig. 2)

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Fig2. Patterns of natural capacities and their imitations made of clay: a – gourd, b – clay vessel (Holmes, 1883b,
p. 446, fig. 464: a, b); c, d – shells, e, f – clay vessels (Holmes, 1883a, p. 384, fig. 375; 1883b, p. 447, fig. 465a,
b; p. 454, fig. 475: a, b)
Stage2: Imitation of artificial stone, wooden and wicker containers (Fig. 3)

Fig3. Patterns of artificial nonclay capacities and their imitations made of clay: a – stone vessel, b – clay vessel
(Holmes, 1883b, p. 448, fig. 466); c – horn spoon, d – clay spoon (Holmes, 1883b, p. 448, fig. 468); e – wicker
vessel, f – clay vessel (Holmes, 1883b, p. 449, fig. 470, 471); g – wooden tray, h – clay tray (Holmes, 1883b, p.
448, fig. 467: a, b)
Stage3: Imitation of artificial clay vessels (Fig. 4)

Fig4. A set of Chernyakhov clay vessels’ imitations, the numbers indicate a sequence of the imitations (Bobrinsky,
2018. P. 87. Tabl. VIII; P. 105. Tabl. XIII; P. 115. Tabl. XVI)
Stage4: Imitation of metal and glass vessels (Fig. 5)

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Patterns of Multi Linear Evolution in Pottery Production

Fig5. Chernyakhov clay vessels’ imitations of glass and metal vessels (Bobrinsky, 2018a. P. 91. Tabl. IX; P. 102.
Tabl. XII; P. 109. Tabl. XIV; P.115. Tabl. XVI)

Fig6. Differentiation of vessel shapes by their general proportionality

Fig7. Differentiation of vessel shapes by their natural structure (L - lip, Ch - check, N - neck, Sh - shoulder, F -
forearm, B - body, Bb - body base)
The macroevolution level which exists in two b) development of their natural structure, i.e.
processes: differentiation and universalization of broader production line (Fig. 7), c) dimensional
vessel shapes. Differentiation of vessel shapes characteristics of vessels. All these trends are
occurs in a) their general proportionality (Fig. 6), related to vessels’ specialization according to

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their functions. The process of universalization different from the previous one during the life-
becomes apparent in gradual blurring of cultural time of one generation these accidental
and ethnocultural distinctions between different (unconscious for the master) differences
groups of population. gradually accumulate. That’s why vessels made
by a master at an advanced age when his skills
The mesoevolution level. Here the development
are more stable differ markedly from those made
of vessel shapes is influenced by various cultural
in his younger days (Bobrinsky 1991a, 17-20;
contacts. Two main types of such contacts are
2018a, 54-59). This is the modified image that he
known. The first of them - it’s when a local potter
passes on as a model to his apprentice that is to
reproduces usually on order a vessel new for him
the potter of the next generation. Then this
as a rule more complex and prestigious from
process is repeated leading to growing distinction
another culture. In this case there appear so called
between vessel shapes made by different
imitative vessels which have syncretical
generations of potters.
character. The second type is connected with the
mixing of bearers of different traditions in The Evolution of Pottery Decoration
shaping vessels as a result of potters’ migration
Decoration on clay vessels is preceded by a long
to a different cultural environment. In the process
history of its development on other material objects.
either the relationship of dominance and
It doesn’t mean that all types of decoration were
recessivity arise between local potters and the
formed outside pottery; some of them emerged
newcomers as a result of which recessive
inside of it.
(subject) traditions are progressively eliminated
either partially or fully or both groups of potters When the process of making a vessel is completed
gradually occupy different production niches i.e. its surface can be in two states: technologically non-
for instance some of them specialize in cookware relief and technologically decorated. In the first
and others in tableware. case the vessel has a smooth surface without any
noticeable relief and is a “potential field” for
The level of microevolution is manifested in
making decoration borrowed from other spheres of
progressive change of vessel shapes during life-
culture. In the second case at the stage of shaping a
time of a single potter or 2-3 generations of
vessel and mechanical treatment of its surface it
potters connected by the “teacher-apprentice”
undergoes coarse smoothing and beating with a
type of relationship. At this level so called ageing
relief paddle etc.
image mechanism acts. It is manifested in the
fact that making traditional shapes any potter has In such a way at the level of macroevolution two
always his previous vessel as a mental model. main stages are known in the development of
But since every consecutive vessel is slightly pottery decoration in the history of pottery (Fig. 8):

Fig8. Macroevolution stages of pottery decoration

Stage1a: pre-decoration – a flat natural condition Stage2: actual decoration – implies special
of the vessel surface (“without decoration” state) creation of a new outlook of the vessel surface. At
least two stages can be distinguished here: the
Stage1b: protodecoration – a relief technologically
earlier when people become aware of semantic
decorated state of the vessel surface (example)
significance of decoration and the later when this

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Patterns of Multi Linear Evolution in Pottery Production

knowledge is getting lost and decoration gains The Evolution of Main Plastic Raw Material
esthetic importance.
The use of natural plastic raw material for
At the level of mesoevolution the development making vessels is based on a long acquaintance
of pottery decoration occurs through mixing of with its properties in the aceramic period. The
traditions of different ethnocultural groups silty raw material of complex composition
including imitation of pottery models from (valley silts and mountain silts) turned out to be
other cultures. There is a dramatic increase in the most suitable since it helped to dry vessels
decoration variety in this period which then without cracking and even allowed low-
under the influence of dominant traditions gives temperature thermal treatment of vessels. Then
way to gradual formation of a new cultural potters’ attitude towards plastic raw material
homogeneity. Therefore at this level the gradually changed under the influence of better
evolution of decoration has a pulsating knowledge of properties of different natural
character (Tsetlin 1991, 115). clays and their desire to meet growing
consumer demand with their products.
The level of microevolution of decoration so far
can be spotted for the period previous to There are four main stages of evolution of main
handicraft production when it reflects mixing of plastic raw material in the history of pottery
these traditions between different lineage (Fig. 9):
groups within single ethnocultural collective
(Volkova 2017).

Fig9.The evolution of main plastic raw material

Stage 1: the use of different silty raw material different kinds of clay was gained in the process
without tempers (this is true mostly for the of multiple mixing of bearers of different
aceramic period and initial stages of protopottery traditions in pottery making. It led to gradual
production); decline in the proportion of tempers in pottery
paste (this corresponds to the period of neo-
Stage 2: the use of artificial plastic raw material
pottery simple production);
of a complex composition: clay+temper (mineral
or organic). Potters who made vessels of silty Stage 4: is characterized by the widespread use
raw material when migrating to places without of a special mixture of different natural clays and
usual silts started using clay raw material adding nonclay materials. Such a raw material was
components which before were readily available widely used for making white clay pottery first
in silts. In such a way an artificial version of highly artistic and later for every day use
finished natural raw material was made (it is (porcelain, faience and others).
mostly true for the period of archaeopottery
Summarizing the above information it is possible
production);
to determine at the level of macroevolution a
Stage 3: production of vessels from natural clay common pattern for changes of different types of
without tempers. A lot of experience in work with main plastic raw material in the history of

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pottery: from the use of finished natural raw Initial complex artificial pottery pastes
material with complex composition (silts) to the (clay+temper) appeared as a result of imitation of
use of artificial complex raw material complex natural pottery pastes - valley and
(clay+temper), then again to the use of ordinary mountain silts (see above, and also Tsetlin 2013).
natural raw material (clay) and finally again to Here two lines of the development can be
complex artificial raw material (mixture of identified: from “valley silts” to pottery pastes
different clays or clays with nonclay materials). “clay+organic temper” and from “mountain silts”
Patterns of the development of potters’ views on (or “rough sandy loams”) to pottery pastes
plastic material at the level of mesoevolution will “clay+mineral temper”. Further development of
be considered below in the section about pottery pastes is connected with changes, firstly,
evolution of pottery pastes, and patterns of in qualitative composition of tempers, secondly,
changes in plastic raw material at the level of in their concentration. In general, we can speak
macroevolution if there any remain entirely about 4 consecutive stages of development in the
unexplored so far. history of pottery paste (Fig. 10):
The Evolution of Complex Pottery Pastes

Fig10. The evolution of pottery pastes

Stage 1: Pottery paste consists only of natural Stage 4: Its beginning is connected with the
silt; completion of descending order in the
development of pottery pastes, when vessels are
Stage 2a: Pottery paste “Clay + Organic”
only made of clay (one or several natural clays)
changes in descending order: share of organic
without tempers.
temper is reduced from 2-1:1 to complete
absence; The above 4 stages characterize evolutionary
changes in the composition of pottery pastes at
Stage 2b: Pottery paste “Clay + Mineral temper”
the macrolevel.
also changes in descending order: share of
mineral temper reduces from 1:1 to complete The mesoevolution of pottery pastes in the history
absence; of pottery reflects more individual changes in
their composition. The most important here is the
Stage 3: Pottery paste “Clay + Organic + Mineral
process of self-organization of the composition
temper” reflects a mixed state as a result of
of pottery paste (quantitatively) as a result of
contacts between bearers of tradition of stages 2a
gradual reduction of share of tempers at stages
and 2b. Here the descending order can be seen
2a, 2б and 3 (from their high concentration to
too: share of both types of tempers reduces from
complete absence), as already mentioned above.
1:1 to complete absence.

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Patterns of Multi Linear Evolution in Pottery Production

The microevolution of pottery pastes was a result The Evolution of Vessel Construction
of mixing at the qualitative level of different Techniques
traditions in blending pottery pastes at Stage 2a
The starting point for the development of
(use of different types of organic tempers), 2b
techniques of vessel construction was a “lump”
(use of different types of mineral tempers) and 3
of pottery paste from which either by pressing or
(use of organic and mineral tempers). In this case
beating entire so monolithic from the bottom to
the evolution has two trends. The first of them is
wall seed-body was made, i.e. the whole vessel of
the divergence related to the fact that first both
a small size. To make bigger vessels obviously
traditions lose their stability and then each of
arose the need to complete the seed-body by
them becomes stable again because it is
building up the walls with separate portions of
preserved in making vessels with different
pottery paste (patches, rolls and bands).
functions. The second trend is the self-
organization when dominant traditions gradually In the history of pottery the following stages in
gain stability again due to assimilation the development of techniques of vessel
(eradication) of recessive traditions. Evolution of construction are identified (Fig. 11):
traditions at the microlevel covers a period from
one to three years (Bobrinsky 1978, 243).

Fig11. The evolution of vessel construction techniques

Stage 1: the vessel construction from a single clarify the status of such a technique as “ring kind
lump of pottery paste by pressing with fingers or of pottery making with clay bands”, since in
beating with paddle. many cases there is confusion and
misunderstanding connected with the definition
Stage 2: the entire vessel construction by patch
of its role. First of all it should be noted that this
building using a mould. At this stage there are
technique cannot be used as the only one for
three phases: 2a – the use of lumpy patch
construction of the whole vessel. It is only used
building, 2b – of slope patch building with short
as an additional one at 1, 2, 3a (and even 4) stages
coils and 2c – horizontal patch building also with
of the evolution mostly for increasing the
short coils. These phases of the evolution inside
capacity of a vessel. Even when the ring kind of
the second stage are stimulated most likely by
building with bands is used for making seed-
growing production of larger and larger vessels.
body as a hollow cylinder or cone it requires an
Stage 3a: the ring building with coils. Before additional technique or element for making the
characterizing the next stage in the development vessel’s bottom.
of techniques of vessels construction we should

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Stage 4: the spiral building with coils. The very composite body and again to a monolithic vessel’s
principle of spiral building is most clearly seen body but already at a more advanced level of
while constructing from the bottom to wall seed- development.
body when such a building happens in a natural
The mesoevolution in technology of vessels
way. Then this principle is preserved even when
construction is connected with a lasting mixing of
the length of coil is not enough to turn it around
traditions which covers stages of shaping, making
the perimeter of the vessel’s walls. Here next coil
hollow body and seed-body of a vessel. According
is stuck to the end of the first one which covers
to A.A.Bobrinsky (1978, 243-244) the 4th,5th and 6th
next spiral turn etc.
stages of the mixing correspond to it which takes
Stage 5: the transition to this stage happens in from one to 5-6 generations of potters. As a result
pottery at the moment when potter’s wheel was of mixing bearers of different traditions in vessel
used for throwing clay for the first time. Here construction first we can see homogeneous
sculptural moulding of a vessel (using methods traditions in methods of shaping a vessel, then of
typical for stages 1-4) is combined with eventual hollow body construction and finally of a seed-
partial throwing of such a semi-finished item on body. However such a long process of mixing
potter’s wheel. The share of throwing gradually between two groups of bearers of different
grows throughout the stage. traditions doesn’t happen often in practice.
Stage 6 entails making the whole vessel by The microevolution of technology of vessel
throwing it on potter’s wheel from a single lump of construction is also connected with mixing of
clay. bearers of different traditions. Variations of such
manifestations are abundant. For example,
In such a way at the level of macroevolution we
combined use of spiral patch building and ring
witness a logical transition from making a
building technique from clay bands led to spiral-
monolithic vessel from a single lump of pottery
zone patch pottery making in which bands were not
paste to a composite vessel made of several
monolithic but composed of different patches of
structural elements (patches, coils, bands), and
clay (Bobrinsky 1978, 159-160), and mixed bearers
from this one to another composite vessel but
of traditions of ring building technique with bands
already partly thrown on potter’s wheel and further
and spiral building technique with coils (depending
to a vessel completely thrown on potter’s wheel
on who was the bearer of the dominant tradition)
from a single lump of clay.
could lead either to the formation of spiral building
In such a way common patterns of evolution in technique with bands (Tsetlin 2017, 225) or to the
technology of vessel construction consist in the ring building technique with coils.
transition from a monolithic vessel’s body to a

Fig12. The evolution of potter’s wheel functions

The Evolution of Potter’s Wheel Functions (Bobrinsky1993b). Main function of the potter’s
wheel is shaping a vessel with the help of
First potter’s wheels appeared as a result of
centered rotation of clay in the same plane. From
transition from uncentrical to centrical plates
this point the development of potter’s wheel

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Patterns of Multi Linear Evolution in Pottery Production

functions depends on how fully the possibilities evolution of potter’s wheel functions consists in
of such a rotation are used in the process of gradual increased duration of the wheel’s rotation
making a vessel (Fig. 12). in the process of vessel making thanks to reduced
friction in supporting and sliding bearings of the
A.A. Bobrinsky divided the whole process of
wheel.
evolution of potter’s wheel functions into 7
consecutive stages (1978, 26-66): For the stage DWF-1 this factor doesn’t play any
role, the wheel each time doesn’t even come full
DWF (development of wheel functions)-1: the
circle, it just rotates through certain angle, i.e. the
vessel is fully hand-made and the wheel is used
vessel turns to the potter with the side which is to
only as a turn- table;
be treated at the moment.
DWF-2: the vessel is fully hand-made and the
At the stage DWF-2 ,firstly, the direction of
wheel is used only for smoothing its surface;
smoothing of the vessel’s surface gradually
DWF-3: the vessel is fully hand-made and the changes from vertical to diagonal and further to
wheel is used only for smoothing its surface and horizontal, secondly, the surface of the vessel
profiling its upper part; subject to smoothing gradually becomes larger. At
DWF-4: the vessel is fully hand-made and the that the vessel at least several times rotates around
wheel is used only for giving it certain form; its axis and in doing so the impact of the potter on
clay is minimal.
DWF-5: the seed-body and hollow body of the
vessel are hand-made and the wheel is used for Stages DWF-3 and DWF-4 require much stronger
partial throwing of the hollow body; impact on clay necessary for profiling the vessel
and giving it its final contour. Since intensified
DWF-6: the seed-body of the vessel is hand-made impact on clay hinders the duration of rotation it
and all other manipulations connected with its becomes necessary to increase the weight of the
manufacturing are carried out thanks to spinning wheel and to reduce friction in its bearings.
potter’s wheel;
This trend continues to be active at stages DWF-5-
DWF-7: the vessel is fully made on potter’s wheel 7 when intensity and scope of the potter’s impact on
by throwing from a single lump of clay. clay to make a vessel increases considerably: from
In such a way the common pattern in the evolution hollow body to seed-body and finally to the whole
of potter’s wheel functions consists in gradual vessel. Further increase of wheel’s weight and
expanding scope of wheeled pottery making and reduced friction in its bearings provide the duration
reduction of hand type of it. The mechanism of of rotation which is necessary for throwing a vessel
from a single lump of clay.

Fig13. The evolution of pottery firing techniques

In such a way the evolution of potter’s wheel of heavy types and on the other hand in the use of
functions is achieved by steadiness and duration of special lubricant for wooden parts of bearings, in
its rotation in one plane. In various places this can substitution of wooden bearings by metal ones and
be seen on the one hand in expansion of foot- finally in transition to electric pottery wheels. The
wheels with a massive lower disc and hand-wheels development of potter’s wheel functions

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corresponds to the macrolevel of the evolution of residual plasticity, incomplete firing of pottery with
this phenomenon in the history of pottery. a distinct or blurred colour boundary between
surface layers and the middle part of the core.
The Evolution of Pottery Firing Techniques
Stage 5 is characterized by a slow rise of
The objective of heat treatment (firing) of a
temperature over 650°C, long soaking and slow
vessel has always been to make it hard and
cooling of vessels. Pottery is fully fired.
waterproof. There are 6 main stages in the
development of heat treatment of clay vessels in Stage 6 reflects two or multi-stage firing of
the history of pottery (Fig. 13): vessels made of white clay (porcelain, faience) or
vessels with glazing at a temperature up to 1400-
Stage 1 is connected with a short exposure of a
1500°C.
vessel (not more than an hour) to very low
temperatures not more than 450-470°C. In fact such First two stages of heat treatment characterize
a treatment can not be called firing but a thermal unformed condition, stage 3 - partly-formed and
drying of vessels. Vessels retain their residual stages 4-6 fully-formed notions of ancient potters
plasticity almost in full after such drying. This stage about pottery firing as a special technological
has been hypothetically reconstructed based on a procedure. The stages described above reflect the
number of vessels with considerable residual macrolevel of the evolution in methods of firing
plasticity combined with a thin light in color (fully clay vessels.
fired) layer from the side of outer surface which as
In such a way the development of ancient potters’
a rule appears in the vessel in the process of cooking
notions about the heat treatment of vessels is
on fire.
reflected in gradual mastering and increasing use
Stage 2 is characterized by heat impact at the same of red-hot temperatures of clay on the one hand
maximum temperatures but unlike stage 1 this and length of thermal impact on vessels fired on
treatment was much longer (from several to 24 the other hand.
hours). Vessels completely lose residual plasticity
The Evolution of Pottery Firing Devices
and are suitable for cooking liquid food on fire.
There are 4 classes of such special thermo
Stage 3 (transitional) implies heating the vessel to
technical devices in the history of pottery:
a temperature of 560-650°С during 1-1,5 hour. The
bonfires, ovens, stoves and kilns. The process of
firing atmosphere is semi-reducing. Vessels
evolution of each of these devices can be divided
completely lose residual plasticity. The middle part
into several stages (Fig. 13). In this article I
of the core is dark as a rule, both surfaces are lighter
summarize information on stages of the
in color.
development of these thermo technical devices.
Stage 4 is connected with a quick rise in (More detailed information can be found in the
temperature over 650°C, soaking at the maximum following works: Bobrinsky 1991b, 93-134;
temperature 10-20 minutes and eventual rapid or Bobrinsky, Volkova, and Gey 1993; Tsetlin
slow cooling of vessels. It is characterized by zero 2002b).

Fig14. The evolution of pottery firing devices

Bonfires

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Patterns of Multi Linear Evolution in Pottery Production

Stage 1: the bonfire is built in a smooth Stage 1: a deep chamber for fuel combustion is
horizontal area directly on the ground. Vessels situated directly under the firing chamber where
are piled mixed with fuel and are covered with it vessels are piled. The chambers are separated by a
from all sides. horizontal partition with openings for transition of
hot gases. On the plan both chambers could be
Stage2: a platform of small wooden planks, stones
either circular (older tradition) or rectangular (later
and clay is previously made. The vessels fit for
tradition).
firing are stacked on the platform together with fuel.
Then the whole pile is covered with additional fuel. Stage 2: the fuel combustion chamber is at the
ground level, a small fuel channel leads to it which
Stage 3: mostly repeats stage 2, but after placing
is partly used for the same purpose. The firing
additional layer of fuel the whole pile is covered
chamber is situated above the fuel chamber.
with big fragments of old vessels forming a dome
with openings. Stage 3: the construction of this stage repeats the
previous one with the only difference. The fuel
Oven devices
channel which leads to fuel combustion chamber is
Stage 1a: is characterized by an oven dug into the much longer and is used for fuel burning.
ground with up to 1/3 of its diameter. The bottom
The stages of the development of firing devices in
of the oven is covered with a layer of ash, vessels
pottery described above characterize changes
fit for firing are piled over it which are later covered
happening at the microlevel of the evolution which
with a thin layer of ash. Then fuel is placed on top
cover all the history of this production.
and the sides of the pile.
Nevertheless these evolutionary lines didn’t exist
Stage1b: the oven is made above the ground. The in isolation but had strong reciprocal influence. It
firing area is limited by a wall of clay and stones could be seen in cultural contacts of bearers of
over the perimeter. Vessels together with fuel are different traditions in making firing devices
piled inside and covered with it from above. (mesolevel of the evolution). The fact of transition
Stage 2: the oven is made which is either dug into from temporary domes over bonfires and ovens to
permanent domes which become necessary
the ground or above the ground but it has a platform
on which vessels are piled together with fuel and structural element of stoves and kilns can serve as
covered with fuel from above. an example. Evolutionary changes of firing
devices at the microlevel (if only they existed)
Stage 3: repeats the construction from the previous haven’t been proved by any concrete data so far.
stage but in this case all layer of fuel is covered from
above by large sherds which form a dome. What are main trends of evolution in firing
devices? Firstly, the main evolutionary trend was
Stove devices undoubtedly ancient potters’ desire to facilitate the
The three inevitable differences appear in the control over the firing process. It is available to a
design of pottery stoves (in comparison with very limited extent in bonfire type of firing and to
ovens): firstly, a permanent covering over vessels the fullest extent in kiln firing. Secondly, one more
and fuel ( a dome with a special opening for indisputable trend was their desire to reduce the
increasing draft), secondly, a special fuel loading waste of thermal energy produced by fuel
device which also helps to keep it burning, thirdly, combustion. For this reason the devices had
a loading device for placing vessels fit for firing. special platforms for placing vessels and fuel and
This process can also be divided into three stages in covers first temporary and then permanent were
terms of time: made over them. Thirdly, to make the firing more
uniform and improve the appearance of the
Stage 1: the stove has a permanent dome and a produce the kilns were divided into two chambers.
combined loading device for both fuel and vessels. One of them served for fuel combustion and
Stage 2: at this stage a special platform for placing another for stacking vessels to be fired. As a result
fuel and vessels fit for firing is added to the the firing of vessels happened thanks to direct
permanent dome and the combined loading device. thermal energy impact without direct contact with
fuel.
Stage 3: all old structural elements are preserved,
but loading devices for fuel and vessels fit for firing CONCLUSION
are separated, usually they are made from different Summarizing the short analysis of some aspects
sides of the stove. of ancient pottery evolution in this article a
Updraft pottery kilns number of important moments should be noted.

12 Annals of Archaeology V3 ● I2 ● 2020

Patterns of Multi Linear Evolution in Pottery Production

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Citation: Yu.B. Tsetlin, “Patterns of Multi Linear Evolution in Pottery Production”, Annals of Archaeology,
3(2), 2020, pp. 1-14.
Copyright: © 2020 Yu.B. Tsetlin. This is an open-access article distributed under the terms of the Creative
Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium,
provided the original author and source are credited.

14 Annals of Archaeology V3 ● I2 ● 2020