Book contents
- Frontmatter
- Contents
- List of Figures
- List of Figures
- Preface
- Acknowledgments
- PART I History and Potential
- PART II Practicalities: A Guide to Pottery Processing and Recording
- PART III Themes In Ceramic Studies
- 10 Making Pottery
- 11 Archaeology by Experiment
- 12 Craft Specialisation and Standardisation of Production
- 13 Pottery Fabrics
- 14 Form
- 15 Quantification
- 16 Chronology
- 17 Production and Distribution
- 18 Pottery and Function
- 19 Assemblages and Sites
- Conclusion: The Future of Pottery Studies
- Appendix 1 Suggested Recording Systems for Pottery from Archaeological Sites
- Appendix 2 Scientific Databases and Other Resources for Archaeometry
- Bibliography
- Index
12 - Craft Specialisation and Standardisation of Production
Published online by Cambridge University Press: 05 June 2014
- Frontmatter
- Contents
- List of Figures
- List of Figures
- Preface
- Acknowledgments
- PART I History and Potential
- PART II Practicalities: A Guide to Pottery Processing and Recording
- PART III Themes In Ceramic Studies
- 10 Making Pottery
- 11 Archaeology by Experiment
- 12 Craft Specialisation and Standardisation of Production
- 13 Pottery Fabrics
- 14 Form
- 15 Quantification
- 16 Chronology
- 17 Production and Distribution
- 18 Pottery and Function
- 19 Assemblages and Sites
- Conclusion: The Future of Pottery Studies
- Appendix 1 Suggested Recording Systems for Pottery from Archaeological Sites
- Appendix 2 Scientific Databases and Other Resources for Archaeometry
- Bibliography
- Index
Summary
Introduction
In discussing craft specialisation, we are looking for evidence for the organisation of the production of pottery in a social context and for ways in which this may have changed over time. A model or typology for the organisation of production is provided by van der Leeuw (1977), in the form of five stages (or ‘modes of production’) of increasing scale and intensity: household production, individual industry, household industry, village industry and large-scale industry. This is modified by Peacock (1982) for the study of Roman pottery, by the addition of a second dimension, representing the degree of official or élite participation, in the form of military/official production and estate production. Costin (1991, 8−9), followed by Costin and Hagstrum (1995, 620), develop this second dimension further by the idea of ‘attached’ and ‘independent’ types of specialists, each of which could operate at a range of scales. She also uses the concept of the degree of specialisation (the ratio of producers to consumers), and four aspects which can be used to characterise production – context, concentration, scale or constitution and intensity. These are important in breaking the link between scale and intensity of production, a model which has been criticised by others (e.g. Feinman 1999, who challenged the original model as too ‘monolithic’ by giving examples of high-intensity craft production at a domestic scale [96]).
- Type
- Chapter
- Information
- Pottery in Archaeology , pp. 144 - 149Publisher: Cambridge University PressPrint publication year: 2013
- 1
- Cited by