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Artifact Collectors and Professional Archaeology

Saturday July 5, 2008

Should artifact collectors be encouraged to report their discoveries?

Recently, amateur archaeologist Tony Baker has teamed up with the Paleoindian Database of the Americas to encourage artifact collectors to report information about their Paleoindian points for scientific research. In a piece on his website called Dear Arrowhead Hunter, Tony talks about the project in some detail.

The Archaeological Past

There's a rarely recalled fact in the history of archaeological science: in the late 19th century, most of the practicing archaeologists in the world were amateurs. They were doctors and farmers and German professors, well-educated people who were interested in the natural and cultural world and in their spare time explored their neighborhoods and found--and sometimes excavated--archaeological sites in their areas.

These regular amateur archaeologists carefully recorded their discoveries and wrote scholarly articles for such scholarly publications as the American Naturalist and the American Antiquarian; the annual reports of the Smithsonian Institution regularly accepted contributions from amateurs. Quite simply, professional archaeologists were then quite few and far between. And so, much of the early archaeological research of the North American continent is owed to the imput of such persons.

Collectors vs. Professionals

But these days--not so much. Although there are a few strong and interested amateur archaeologists, it's really difficult for anybody outside the profession to keep up with the science any more, and scientific excavation is far more precise than it was 150 years ago or more. And, there is a real chasm between the casual artifact collecting community and professional archaeologists, based on suspicion of one another's motives. Some archaeologists feel the collecting community are destroying archaeological sites; some of the collecting community feel that archaeologists have no right to tell them what they can do on private property.

Both of those suspicions are true. You'd think that would be an impasse. But, the information that a collector could bring to the archaeological record is valuable; all it takes is teaching the collector community to collect that additional information.

Collaboration Initiatives

The oldest established initiative bringing the collector to the archaeological table is the Portable Antiquities Scheme, a voluntary scheme to record archaeological objects found by members of the public in England and Wales, and based at the British Museum. The United States has been slow to follow up, but amateur archaeologist Tony Baker began working with the Paleoindian Database of the Americas, to bring in collector information about Paleoindian points.

Personally, I think this is a very hopeful sign for the future. You may feel differently!

Lustreware: Investigating an Ancient Alchemy

Tuesday July 1, 2008

The decorative ceramic style known as lustreware is a shiny metallic visual effect that flickers back and forth when light is played on it.

Alternate description.
Small cup. Earthenware with polychromic lustre decoration painted over opaque glaze, 9th century. From Iraq. Accession OA 6700. Richelieu wing of the Louvre Museum, Department of Islamic Art, room 2, case 5
Photo Credit: Marie-Lan Nguyen
Lustreware was invented by a small guild of Islamic ceramicists living in the Iraqi towns of Baghdad and Basra in the 8th century AD. They used copper, silver, and lead to make the gold lights flicker on the pot surface. Naturally, they thought they were alchemists.

The history of lustreware's invention is a fascinating one of industrial espionage, nano-sized chemistry, and innovation. The recipes were mind-bogglingly complex, involving two stages of kiln firing, as well as the inclusion of copper, silver, and lead in a specific combination of paints and glazes.

Traditional Pottery Making in Bahrain
Potters prepare to close a kiln February 20, 2003 in A'ali, Bahrain. A'ali is a traditional pottery village that features numerous workshops that have been selling their distinct crafts for hundreds of years.
Photo Credit: Spencer Platt / Getty Images

In a recent set of papers appearing in the Journal of Archaeological Science, researcher Trinitat Pradell of the Universitat Politecnica de Catalunya in Spain, and several of her colleagues investigated the science behind the alchemy of lustreware. They discovered that the production of the shiny metallic gold of the Islamic potters was the result of a happy accident coupled with centuries of experimentation. Naturally, this study makes for an interesting photo essay.

The photo essay Islamic Lustreware: Origins and Techniques begins with the history of lustreware, including how there came to be Chinese craftsmen in Baghdad in the 8th century. It also discusses how cracked glazes and kaolin-clay envy gave Islamic potters the push towards the arcane chemistry that made lustreware possible. It includes some photos of pots, a glimpse of what a traditional Islamic kiln looks like as well as the experimental kiln used by Pradell and colleagues, and, most importantly, a list of museums where you can go visit lustrewares in person.

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