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Lamps from the temenos of Allat in Palmyra

100%
Krogulska†, Maria
Polish Archaeology in the Mediterranean
|
2019
|
vol. 28(1)
385-422
EN
Excavation in the temenos of Allat in Palmyra in the 1970s uncovered a deposit of clay lamps with a few vessels and coins. Inside the cella, the lamps were clustered in two groups, a few examples were found also in the temenos outside the cella. All in all, there were 191 complete and fragmentary lamps, the bulk of them made locally in Palmyra. The assemblage reveals two trends in oil lamp production: wheel-made lamps with different numbers of nozzles and imitation of imported lamps moulded from archetypes. The assemblage from the temenos is of 4th century date, but many of the moulded lamps copy Greek and Roman types from the 3rd century, with Antioch-on-the-Orontes being a highly probable source of inspiration for Palmyrean lampmakers. Special in this context are rectangular multi-nozzled lamps with relief decoration, in one case menorahs framing a scallop shell and a figural fieze, most likely a Dionysiac thiasos.
2
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Preface

84%
Zych I., Chrzanovski L.
Polish Archaeology in the Mediterranean
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2019
|
vol. 28(1)
9-13
EN
Preface to a special collection volume on lamp studies gathering together material from new and old finds from Spain in the west to the Eastern Mediterranean and even India, mainly from the Hellenistic through Byzantine times.
3
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Ushebtis of the Third Intermediate Period from the Chapel of Hatshepsut in the Queen’s temple at Deir el-Bahari

84%
Makowska A.
Polish Archaeology in the Mediterranean
|
2015
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vol. 24(2)
137-160
EN
A collection of 619 whole and fragmentary ushebti figurines dating from the Third Intermediate Period was recovered between 2004 and 2007 by the Polish team excavating in the Chapel of Hatshepsut, an integral part of the Queen Pharaoh’s mortuary temple in Deir el-Bahari. The figurines include objects of faience, clay and painted clay, all relatively small and roughly modelled. They represent a category of objects that is seldom published separately. The paper presents a typology of the ushebtis based primarily on the material from which they were produced, discussing their chronology and find contexts as well.
4
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(Re)Konstrukcja¹ rzymskiego pieca do wytopu szkła

67%
Krzyżanowska M.
Studia Lednickie
|
2014
|
vol. 13
161-175
EN
The aim of the paper is to discuss an experiment concerning the (re)construction, structure and use of a Roman glass furnace. In the course of the designing of the experiment, a scheme proposed by Coles was used. e (re)construction was based on three categories of sources: archaeological (a find of a furnace from Hambach Forst), iconographic (olive lamps with depictions of furnaces), as well as earlier experiments of this kind. e feature in question was a two-level cupola furnace. For its construction, specially prepared roofing tiles, sandstone and clay with an admixture of sand and hay were used. Oak and birch wood was used to heat the furnace. Temperature values in the furnace were measured with a pyrometer in four spots. The following conclusions were drawn: it was not possible to achieve the required temperature in the furnace due to a too small opening in the fire-grate and the use of fresh and unseasoned wood. Furthermore, errors were made in the course of the construction of the furnace. These were: an improperly built part of the fire chamber wall and too flat arcs above the openings in the furnace. The validity of these conclusions was checked; the opening in the fire-grate was enlarged; seasoned oak and birch wood was used, and the cracks were fixed and filled up. No accurate temperature measurements were taken in the course of the second "ring. However, in all probability a sufficiently high temperature was achieved, as glass cullet in the furnace melted.
5
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Transformacja XVIII-wiecznej metody transferu obrazu graficznego na ceramikę w nowoczesne technologie w warunkach warsztatu graficznego. Metody transferu grafiki na ceramikę

42%
Cieślińska-Kawecka A., Kerner K. F.
inAW Journal – Multidisciplinary Academic magazine
|
2020
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vol. 1
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issue 1
EN
The article deals with the implementation of an 18th-century method of transferring graphic images onto ceramic substrates based on a contemporary graphic art workshop. Popularised in the 18th and 19th centuries in England, the technique called transferware used engraving matrices, and the decoration was transferred onto ceramics using tissue paper and subsequently fired in a two-stage process. An important element in the implementation of the new method of transferring graphics onto ceramics is the development of recipes for contemporary low-toxic or non-toxic ceramic paints in the basic colour range - vitreous and underglaze ceramic pigments. The pigments created and tested, due to the range of physical parameters studied, can be spectroscopically studied objects. The process of implementation of the transfer also describes the study of the image carriers, from intaglio to relief printing matrices, the development of recipes for the composition of graphic-ceramic paints, firing methods, methods of image application, and the papers used. Preliminary experience shows that not only the transfer of graphics - an image from a graphic matrix onto ceramics is possible, but also it produces interesting artistic effects without the use of toxic solvents. Recreating old methods of transferring graphics onto ceramics in combination with new technologies is an innovative idea. The method of transferring the matrix onto ceramics creates an innovative workshop and allows an interdisciplinary studio to operate within the structure of artistic printmaking. The aim of implementing the new method of technology is to use it for artistic solutions.
PL
Artykuł dotyczy wdrożenia XVIII- wiecznej metody transferu grafiki na podłoża ceramiczne w oparciu o współczesny warsztat graficzny. Technika nazywana transferware, spopularyzowana w XVIII i XIX wieku w Anglii, wykorzystywała matryce rytownicze, a dekoracja była przenoszona na ceramikę za pomocą bibuły i wypalana w dwustopniowym procesie. Ważnym elementem wdrażania nowej metody transferu grafiki na ceramikę jest opracowanie receptur współczesnych małotoksycznych lub nietoksycznych farb ceramicznych w podstawowej gamie kolorystycznej – pigmenty ceramiczne naszkliwne oraz podszkliwne. Tworzone i testowane barwniki, ze względu na zakres parametrów fizycznych badanego zjawiska, mogą być obiektami badanymi spektroskopowo. Proces wdrażania transferu opisuje także badanie nośników obrazu, począwszy od matryc wklęsłodrukowych po wypukłodrukowe, opracowanie receptur składu farb graficzno-ceramicznych, metod wypału, sposobów nanoszenia obrazu, użytych papierów. Wstępne doświadczenia pokazują, że transfer grafiki – obrazu z matrycy graficznej na ceramikę jest nie tylko możliwy, ale daje ciekawe efekty artystyczne bez stosowania toksycznych rozpuszczalników. Odtworzenie starych metod transferu grafiki na ceramikę w połączeniu z nowymi technologiami jest nowatorskim założeniem. Metoda transferu matrycy na ceramikę tworzy innowacyjny warsztat oraz pozwala na działanie interdyscyplinarnej pracowni w strukturze grafiki artystycznej. Celem wdrożenia nowej metody techniki jest wykorzystanie jej do rozwiązań artystycznych.
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