Search results

1

Problematyka konserwatorska mozaiki posadzkowej bazyliki bizantyńskiej w Chhim w Libanie

100%

Chmielewski K., Martusewicz J.

Ochrona Zabytków

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1997

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issue 3

217-221

EN

In July 1996, excavation work conducted by a Polish- -Lebanese-French archeological mission in Chhim, Lebanon, discovered in the local Byzantine basilica a floor mosaic from the end of the fifth century A. D. The mosaic, executed primarily in the opus tesselatum technique, involving multi- coloured stone blocks and a small number of glass counterparts, depicts zoomorphic, plant and a ornamental-geometric forms. The degree of damage, especially in the presbytery, required immediate conservation intervention. The cleaned fragments of the mosaic are situated in the presbytery and the main and south naves. The edges of the most devastated parts were secured. Loosely scattered blocks were collected. In many places, the conservators reinforced the weakened adhesion of the blocks to the layer of the mortar. The whole of the uncovered mosaic was protected against atmospheric impact until the following excavation season. Plans are made for a complete, on-the-spot conservation of the mosaic. Projects foresee, among others, the uncovering and cleaning of the remaining fragments, insulation work which would dry the walls of the basilica, the impregnation of the mortar layer, the reinforcement of the adhesion of the loose blocks, the regluing of those which fell out, the supplementation of extensive gaps with suitably chosen colour mortar, and the protection of the outer surface of the mosaic by means of a special layer. The completion of the conservation of the entire mosaic is to be followed by the erection of special roofing and the adaptation of the whole area of the excavation site to the needs of tourism.

2

Ceramiczne materiały neolityczne ze stanowiska IA w Strzyżowie, pow. hrubieszowski

75%

Kulesza A.

Wiadomości Archeologiczne

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2008

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vol. LX

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issue 60

197-224

EN

The settlement at Strzyżów site IA, distr. Hrubieszów (eastern Poland) lies on the middle terrace of the Bug R. in the zone of low hills of Grzęda Horodelska (Fig. 1). The area was excavated in 1935–1937 and 1939 by Zofia Podkowińska of the Warsaw University. Archaeological material recovered from 151 assorted features recorded in an area of ca 3145 m2 (Fig. 2) is now in the State Archaeological Museum in Warsaw (PMA II/7685). Owing to the character of the analysed set (ca 70% sherds less than 5 cm in size), loss of the site documentation (partly reconstructed after WWII by Zofia Podkowińska) and the mixing of the finds during numerous relocations in storage, analysis was limited to determining the culture attribution and technology. The examined assemblage includes Neolithic ceramics of Linear Band Pottery Culture, Malice Culture, Lublin-Volhynian Culture, Funnel Beaker Culture, Globular Amphorae Culture and Tripolye Culture. Nine technological groups were distinguished (cf S. Kadrow 1991, table 6). Linear Band Pottery Culture: 17 sherds (Fig. 3); ceramic paste – type C1 and G1. The most frequent decorative element is the engraved line, in various arrangements. Chronological attribution: the ‘musical note’ phase of Linear Band Pottery Culture. Malice Culture: 22 sherds (Fig. 4); mostly ceramic paste type C1. Reassembled forms include ia, a biconical beaker (Fig. 4a.k), bowl (Fig. 4c) and a necked beaker of broad proportions with a row of oval pits on the body (Fig. 4b). Typical ornaments include pricking, notching of the lip and bosses. Chronological attribution: phase Ia and phase IIa of S. Kadrow (1996). Lublin-Volhynian Culture: 1354 sherds; mostly ceramic paste type C1 and B1. Dominant forms: ‘semi-barrel’ pots, S-profiled pots, bowls, cups and amphorae, more rarely, hollow-footed vessels, tulip-shaped, miniature vessels (Fig. 5–8). The prevailing decorative motif are small bosses, handles (Fig. 7b.c), ‘waved’ (Fig. 7j.l.m), and notched lip (Fig. 7g, 8a.c), very infrequently, applied cordons (Fig. 8e), and in one specimen, white painting (Fig. 8k). Chronological attribution: early (Fig. 8k) and late (Fig. 7g, 8a.c) phases of Lublin-Volhynian Culture. Funnel Beaker Culture: 86 sherds (Fig. 10, 11); mostly ceramic paste type C1 and B1. Forms include assorted beakers. The most frequent decorative elements include impressed, engrave linear designs and cordons; other techniques are more rare (eg, cord marking, incisions, stamping, comb impressions). Chronological atrribution: phase BR I–II 3770/3710–3340/3180 BC cal. (cf J. Kruk, S. Milisauskas 1983, p. 310). Associated with this phase are elbow handles, corded ornament (Fig. 11n), stamp impressions under the lip (Fig. 10b.h, 11c.e.f.h.j), well defined neck-body transition, cordons (Fig. 10g, 11k.o), ‘furrow stitch’ (Fig. 11m). Globular Amphorae Culture: 130 sherds (Fig. 12, 13); mostly ceramic paste type D1 and E1. Vessel forms include the amphora (Fig. 13a) and presumably, the beaker (Fig. 13b). The most common form of ornament is various cord impressed designs and stamp impressions. Chronological attribution: corresponds to phase IIa–IIIa in Kujawy (M. Szmyt 1996, p. 238). Tripolye Culture: 2 sherds (Fig. 14). The analysed assemblage also included a clay object which most probably should be linked with the Lengyel-Polgar Cycle (Fig. 15a). The multi-culture site IA should be linked chiefly with Lublin-Volhynian Culture (over 83% of the analysed pottery assemblage). In comparison to the nearby site of the same culture (Strzyżów, site ID) differences were noted in the frequency of vessel types (Table 8) and ceramic paste used in their making (Table 9).

3

Stanisław Gąsienica Sobczak (1884–1942), „odgrzebywacz i promotor oryginalnej ceramiki polskiej”

75%

Kostuch B.

Artifex Novus

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2021

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issue 5

20-41

EN

Stanisław Gąsienica Sobczak (1884–1942), a sculptor educated at the Fine Arts Academy in Cracow and at École Nationale des Beaux Arts in Paris came from Zakopane highlander family. He was the pioneer of ceramics in the Podhale region. Since the second half of 1920s’ he created ceramic sculptures, figures and vessels which were displayed at numerous exhibitions. Most of his work was traditional in nature. Folk design and regional themes became his main sources of inspiration. Even after WW II, when Wojciech Łukaszczyk took over Sobczak’s ceramic studio, these tendencies remained important.

PL

Stanisław Gąsienica Sobczak (1884–1942), artysta rzeźbiarz wykształcony na Akademii Sztuk Pięknych w Krakowie i w École Nationale des Beaux Arts w Paryżu, pochodził z góralskiej rodziny z Zakopanego. Był pionierem twórczości ceramicznej na Podhalu. Od drugiej połowy lat 20 XX w. tworzył ceramiczne rzeźby, figury i naczynia, i pokazywał je na licznych wystawach. Większość jego prac miała tradycyjny charakter. Artysta z reguły nawiązywał do ludowego wzornictwa i regionalnej tematyki. Te tendencje uznano za ważne także po zakończeniu II wojny światowej, gdy pracownię Sobczaka objął Wojciech Łukaszczyk.

4

Badania archeometryczne ceramiki z wczesnej epoki żelaza ze Starego Kraju na Ziemi Lubuskiej

63%

Agua F., Conde J. F., García-Heras M., Kobylińska U., Kobyliński Z.

Wiadomości Archeologiczne

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2017

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vol. LXVIII

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issue 68

147-178

EN

Early Iron Age settlement of the Polish “Old Country region is a relatively well documented period from recent archaeological fieldworks. Functionally distinct sites, such as strongholds, ceremonial places and cemeteries have been found, covering the chronology between the sixth and the fifth century BC. The results of an archaeometric study undertaken with the aim of approaching the production technology and providing some insights into the probable local or non-local provenance of the main pottery types found in such sites are here reported. Selected pottery samples and modern raw clays from three coeval and functionally distinct sites (the stronghold of Starosiedle, the ceremonial place of Kozów, and the cemetery of Sękowice) were characterized by different techniques, such as thin-section petrography, X-ray diffraction (xrd), scanning electron microscopy (sem) and X-ray fluorescence (xrf) spectrometry. Resulting data indicated the sharing of a single technological tradition among the three sites with no particular specialization concerning the functionality of each site. This tradition is characterized by the general use of non-calcareous illitic clays, which showed a high presence of kaolinitic clay minerals in the case of Starosiedle pottery and a high content of chlorite clay minerals in the case of pottery from Kozów. All the pottery types were fired under predominantly reducing conditions at relatively low temperatures between 700 and 750 °C.

5

Osada kultury późnej ceramiki wstęgowej ze stanowiska 22 w Rakowcu, gm. Kwidzyn, woj. pomorskie

63%

Kurzyk K., Kwapiński A., Ruta A.

Pomorania Antiqua

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2019

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vol. Tom XXVIII

s. 183-195

EN

Site 22 in Rakowiec has been discovered in 2003 during rescue excavation on the route of the gas pipeline from Kwidzyn to Gardeja. The site is located on a small hill at moraine upland on clay soils with small stoniness (fig. 1). During the research 2 basinshaped features (features 3 and 5 – fig. 3; 5), 224 fragments of pottery, 1 fragment of stone saddle quern and 3 handstones related to Late Band Pottery culture (post-LBK) have been found. Potsherds recovered from the site are most probably homogeneous and come from single phase. The analysis of pottery ornamentation and technological features has shown that we can synchronize site witch the Brześć-Kujawski group (phases II b-III of post-LBK by Czerniak 1994), most likely with the late phase. Artefacts from the feature 5 as well as shape and dimensions of the pit are analogues to cellars from post-LBK long houses usually discovered inside or near the houses (Czerniak 2005; Grygiel 2009). No traces of post-LBK long houses have been found at the site. It may be a result of significant site destruction and the absence of preserved foundation ditches as well as insufficient area of excavation (width up to approx. 7 m). On the other hand the discovered features can be associated with a small settlement, with a different type of buildings without the classic post-LBK “long houses”. To answer this question we need some more field research on a wider area.

6

Późnośredniowieczna ceramika naczyniowa z gródka stożkowatego w Giecznie, gm. Zgierz, pow. zgierski, woj. łódzkie

63%

Nierychlewska A., Sikora J.

Acta Universitatis Lodziensis. Folia Archaeologica

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2018

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issue 33

113-151

EN

A Late medieval motte-and-bailey timber castle in Gieczno was recognized by an analysis of the LiDAR derived Digital Terrain Model in 2014. The stronghold’s remnants are situated in the Moszczenica River valley, on a small hillock – most probably the residual terrace. It is preserved as a small mound, elevated no more then 1,5 m above the surrounding floodplain in the bottom of the valley. The mound has dimensions of 31 x 33 m and an area of about 890 m2. It is surrounded by a moat, about 8 to 10 m wide, and an adjacent low rampart not exceeding the height of 0.5 in relation to the bottom of the moat. The course of the rampart is interrupted in the south-eastern part. Another small, oval hillock with dimensions of approximately 23.4 x 37.9 m is noticeable there. This find should be interpreted as remains of a motte and bailey castle with an economic area which supplemented the mound. In 2015, a field investigation was run by Jerzy Sikora from the Institute of Archaeology of University of Łódź. During two weeks of field work, two trenches were explored: Trench 1 (with dimensions of 1,5 x 35 m) cut the mound from its center to the South through the moat and the outer rampart in order to obtain a cross section of the feature. Trench 2 (with dimensions of 12 x 1,5 m) was situated on the hillock (supposedly – motte) with the aim to recognize its stratigraphy. During the excavation, a collection of Late Medieval potsherds was obtain (1472 pieces) together with a small number of metal finds, bones, slag pieces and a carved wooden artefact – a part of the Late Medieval furniture piece. An analysis of the collection helped to establish its chronology to the 14th and first half of 15th centuries. The collection was distinguished by a significant number of potsherds made with the use of traditional methods and a relatively low amount of potsherds fired in a reducing (oxidizing) atmosphere. This indicates ties with the local, rural workshops rather than with the advanced manufacturing known in towns. The excavations of the Gieczno stronghold revealed two phases of the feature: • Phase I – the timber ringwork, protected with a small inner rampart, a palisade, a moat and an outer rampart can be dated by the radiocarbon analysis supported by an analysis of the finds to the 1st quarter of the14th century.

PL

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7

Ceramika z najnowszych badań zamku krzyżackiego w Toruniu O naczyniach i wiktuałach z krzyżackiej kuchni

63%

Lubowicka A. M.

Rocznik Toruński

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2011

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issue 38

127-155

8

Termiczne naczynie ceramiczne z badań na kwartale XXVI w Stargardzie

63%

Wojciechowska I.

Materiały Zachodniopomorskie

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2021

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vol. 17

67-77

EN

The article examines an open-work chafing dish that was discovered in Stargard during trial excavations in 2017. The form and the production technique indicate that the vessel was made in central Germany at the end of the 17th century or at the beginning of the 18th century.

PL

Artykuł poświęcony jest odkrytemu w 2017 roku – podczas badań sondażowych w Stargardzie – ażurowemu naczyniu termicznemu. Forma i technika wykonania wskazują, że pojemnik ten wyprodukowany został w środkowych Niemczech w końcu XVII lub na początku XVIII wieku.

9

Wczesnośredniowieczna ceramika naczyniowa z Wyspy Solnej w Kołobrzegu. Badania w 2014 roku

63%

Piasecki A., Pogodziński P. M.

Materiały Zachodniopomorskie

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2017

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vol. 13

71-136

EN

The article presents the study of early medieval pottery found during excavations conducted in 2014 on Salt Island (Polish name: Wyspa Solna) in Kołobrzeg.

10

Znalezisko zespołu ceramiki późnośredniowiecznej z Polanowa w powiecie koszalińskim

63%

Strzelczyk J. L.

Materiały Zachodniopomorskie

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2019

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vol. 15

405-413

EN

The article presents an assemblage of the late medieval pottery from Polanów, a small city in Koszalin commune, found during development work between Mokra and Zamkowa Streets.

11

Nieznane cmentarzysko ludności kultury łużyckiej z Kępki Szlacheckiej, pow. włocławski

63%

Purowski T.

Wiadomości Archeologiczne

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2022

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vol. LXXIII

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issue 73

241-244

EN

In the 1950s, cremation graves of the Lusatian Culture were discovered by chance at Kępka Szlachecka. The archaeological site is located on a hill surrounded to the south and west by Kępskie Lake and to the east by the River Lubieńka (Fig. 1, 3, 4). Two small earthen vessels and few fragments of cremated human bones have survived to this day in the hands of private owners. It is known that at least one more, larger, vessel – a cinerary urn, now lost – complemented the assemblage. The preserved pottery consists of:1. A small amphora, decorated at the base of the neck with a horizontal groove (Fig. 2:a–c); 2. A small cup or mug (Fig. 2:d–f). The dimensions of the artefacts suggest that they served as accessory vessels. The dating of the pottery falls within a broad chronological range extending from Bronze Age IV to Hallstatt D. The cemetery at Kępka Szlachecka has not been previously mentioned in the literature. A map of the Archaeological Polish Record shows five archaeological sites located to the north of Kępskie Lake (Fig. 3), but only one of them (no. 4) yielded three pottery sherds that may date to the time of the development of the Lusatian Culture.

PL

W latach 50. XX wieku w Kępce Szlacheckiej zostały przypadkowo znalezione groby ciałopalne ludności kultury łużyckiej. Stanowisko archeologiczne położone jest na wzniesieniu otoczonym od południa i zachodu Jeziorem Kępskim, zaś od wschodu – rzeką Lubieńką (Ryc. 1; 4). Obecnie niewielka część odkrytych przedmiotów znajduje się w rękach prywatnych. Do dziś przetrwały dwa nieduże naczynia gliniane oraz pojedyncze fragmenty przepalonych kości ludzkich. Wiadomo, że zbiór uzupełniała przynajmniej większa popielnica, która zaginęła. Zachowana ceramika to: 1. Mała amfora, zdobiona u nasady szyjki poziomo rytą bruzdą (Ryc. 2:a-c). 2. Niewielki czerpak lub kubek (Ryc. 2:d-f). Opisane przedmioty są pozostałością po zniszczonym grobie ciałopalnym ludności kultury łużyckiej. Wymiary naczyń glinianych wskazują, że w przeszłości pełniły funkcję przystawek. Ceramikę można datować w szerokim przedziale chronologicznym, od IV okresu epoki brązu do podokresu Hallstatt D. Nekropola z Kępki Szlacheckiej nie była do tej pory znana w literaturze. Na mapie AZP na północ od Jeziora Kępskiego zlokalizowanych jest 5 stanowisk archeologicznych (ryc. 3), ale tylko na jednym (nr 4) znaleziono 3 fragmenty ceramiki, które być może pochodzą z czasu rozwoju kultury łużyckiej.

12

Użytkowe znaczenie ochry w społecznościach z okresu kultur Natufijskiej oraz PPNA na terenach bliskowschodnich

63%

Kościuk J.

Acta Archaeologica Lodziensia

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2017

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vol. 63

79-84

PL

Ochra, składająca się z tlenków lub wodorotlenków żelaza, stanowi nietoksyczny i stabilny chemicznie minerał, mający wiele zastosowań. Przede wszystkim jest łączona z zastosowaniem sakralnym, jako, że występuje w pochówkach z okresów kultur Natufijskiej i Neolitu Preceramicznego na terenach Bliskiego Wschodu. Jednak dokładna analiza kontekstów archeologicznych, w jakich odnaleziono pigment, wskazuje również na jej użytkowe znaczenie. Ze względu na jej właściwości antyseptyczne i wysuszające, miała zastosowanie w medycynie, ale również przy wyprawianiu skór. Jej ślady odkryto także w lepiszczach, utrzymujących segmenty kamienne w oprawach kościanych lub drewnianych. Dalsze teorie są budowane natomiast na podstawie analogii etnograficznych.

EN

Ochre, consisting of iron oxides or hydroxides, is an non-toxic and chemically stable mineral, that could be used in many ways. Firstly, it is connected to sacral context, as it occurred in many graves from Natufian and Pre-Pottery Neolithic cultures on the terrain of Near East. But exact analysis of the phenomenon indicate, that the ochre was also common in usage contexts. Because of its antiseptic and drying features, it was used in medicine and during the processing of hides. Ochre has also been traced in mastics, used to fit a segment tool into wooden or bone handles. Further theories are based on ethnographic analogies.

13

Kultura pucharów lejkowatych na obszarze dawnych Prus Wschodnich (w świetle źródeł ceramicznych)

63%

Kukawka S., Małecka-Kukawka J.

Pomorania Antiqua

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2022

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vol. Tom XXXI

7–39

EN

According to Konrad Jażdżewski (1936), almost all of East Prussia was the farthest north-eastern area of the TRB. The article verified the published information about the pottery of this culture. Seven sites were unambiguously verified negative. The text and Figure 1 show 12 potential sites for which no illustrations of pottery have been found in the literature (Fig. 1 and text: 1-12) as well as 17 positively verified sites (Fig. 1 and text: 13-29). There are five sites associated with the permanent settlement of the TRB, which can be described as settlements (Fig. 1 and text: 18-22) and a swamp deposit (Fig. 1 and text: 28). It is possible that the alleged grave should be added to this group (Fig. 1 and text: 11). In five cases, TRB pottery can be considered as imported in a foreign, sub-Neolithic cultural environment of the Zedmar culture or Narva/Pit-Comb Ware culture (Fig. 1 and text: 23-27; site 27 located outside East Prussia - in Latvia). All sites associated with the TRB settlement form a small enclave in the east of Prussia (north-western part of the Iława Lake District and Żuławy Wiślane). Most of the sites included in this article are also concentrated there. The results significantly verify the extent of the TRB settlement proposed by K. Jażdżewski (1936), which is still often referred to by archaeologists (including, unfortunately, also Polish). This enclave is undoubtedly connected with the farthest north-eastern big centre of the TRB in the Chełmno Land (Adamczak, Kukawka, Małecka-Kukawka 2018). From here, the transmission of settlement to the north was carried out through the right-bank part of the Vistula River’s urstromtal and the adjacent western part of the Iława Lake District. In the Chełmno Land, the TRB can be divided into two main phases (stages of development) - the older one (around 4200/4100-3700/3600 BC) and the younger one (around 3700/3600-2900/2800 BC) with a transitional stage (around 3700-3600 BC) (Kukawka 2010). All settlements from East Prussia are in the older phase and in the transitional phase (around 3900/3800-3600 BC). The imports of the TRB pottery in the sub-Neolithic environment most likely also fall within this period. Apart from one fragment of pottery (site 17 – Bernburg type amphora), no late TRB materials were found. It can be suggested that the settlement of this culture disappears during the younger phase. A similar remark can be made concerning the imports of the TRB pottery on sub-Neolithic sites. This is consistent with the observations from the Chełmno Land, in the east of which settlement in the younger phase is disappearing, or at least significantly weakening (Adamczak, Kukawka, Małecka-Kukawka 2018). The aforementioned Bernburg type amphora is not related to the eastern group of the TRB and can probably be treated as a distant import in the Globular Amphora culture or the Corded Ware culture environment. Pottery with sub-Neolithic features also appeared on sites defined as TRB settlements. It is not related to the Zedmar culture, but to the broadly understood Narva/Pit-Comb Ware culture circle. This is also analogous to the observations from the Chełmno Land or, more broadly, the north-eastern part of the eastern part of the TRB (Kukawka 2010). The mutual relations of the ‘two worlds’ took place mainly along the Vistula Lagoon and further from Żuławy Wiślane through the Lower Vistula Valley to the Toruń Basin (Kukawka, Małecka-Kukawka, Adamczak in press). It should also be noted that the enclave of TRB settlement located in the western part of East Prussia does not go beyond the zone of post-linear sites of cultures of the Danube circle (Bigos 2014; Kurzyk, Kwapiński, Ruta 2019; Rybicka, Wysocki 2003). This is different from the views concerning the northern and western TRB groups. There, the emergence of this culture is treated as a stage of neolithization of new areas, previously exploited by hunter-gatherer groups. The lack of interest of archaeologists in the neolithization of the former East Prussia means that the state of the TRB recognition in this area will not change significantly in the coming years.

14

Wybrane wystawy Muzeum Miejskiego w Wadowicach w 2019 r.

63%

Wyrobiec P.

Wadoviana. Przegląd historyczno-kulturalny

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2019

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issue 22

153-156

XX

Relacja z wystaw organizowanych w Muzeum Miejskim w 2019 r.

15

NATURALNE MATERIAŁY JAKO JEDEN Z ASPEKTÓW EKOLOGICZNEGO PROJEKTOWANIA WNĘTRZ

51%

Król-Dobrowodzka U.

Przestrzeń, Ekonomia, Społeczeństwo

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2018

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issue 14/II

59-79

EN

The article discusses the problem of natural, traditional materials, as an important component of sustainable, ecological interior design. The threats, but also opportunities resulting from globalization and related processes are presented in the context of contemporary design. Local raw materials, that have been used in furnishing rooms for centuries, have built their identity. However, globalization and a number of processes connected with it caused, on the one hand, a move away from this tradition, and on the other hand, identification of the problem and opposing trends, emphasizing the return to the use of native solutions. Since not every natural or local material is ecological, criteria for assessing the materials from an ecological point of view have also been defined. Examined were the following groups of materials: wood, stone, wood-based materials, (such as Cork, paper, cardboard) and other materials of vegetable origin (like bamboo and other grass, wicker, rattan, palm leaves, coconut, etc.), ceramics (such as brick, ceramic tiles, traditional cotto, etc.), natural plasters based on lime or gypsum, fabrics of natural origin (such as wool, cotton, flax, silk, etc.), glass, and metals. These materials, while respecting ecological standard in the process of their production and treatment, used in a modern form, give a new quality in modern interiors, are friendly to the environment and the user. Therefore, the examples of their innovative application in interior design were presented. The article shows that the return to traditional, local materials, while maintaining modern standards and using the most advanced technologies are one of the important ways of ecological design

PL

W artykule przedstawiono zagadnienie stosowania naturalnych, tradycyjnych materiałów, jako ważnego składnika ekologicznego projektowania wnętrz. Ukazano zagrożenia, ale także szanse wynikające z globalizacji i procesów z nią związanych (w kontekście współczesnego projektowania). Lokalne surowce od wieków stosowane były w wyposażaniu pomieszczeń i budowały ich tożsamość. Jednakże globalizacja spowodowała – z jednej strony odejście od tej tradycji, a z drugiej – identyfikację problemu i nurty przeciwstawne, kładące nacisk na powrót do stosowania rodzimych rozwiązań. Ponieważ nie każdy naturalny czy lokalny materiał jest ekologiczny, określono także kryteria oceny materiałów z punktu widzenia ekologii. Przeanalizowane zostały następujące grupy materiałów: drewno, kamień, materiały drewnopochodne, (jak korek, papier, tektura) i inne materiały pochodzenia roślinnego (m.in. bambus oraz inne trawy, wiklina, rattan, liście palmowe, trawa morska, sizal, kokos, sznurek, itp.), ceramikę (jak cegła, płytki ceramiczne, tradycyjne cotto), naturalne tynki na bazie wapna gliny czy gipsu, tkaniny pochodzenia naturalnego (wełna, bawełna, len, jedwab, itp.), szkło, a także metale. Wymienione materiały, przy przestrzeganiu ekologicznych standardów w procesie ich pozyskiwania i przetwarzania, zastosowane we współczesnej formie, dają nową jakość w nowoczesnych wnętrzach, są przyjazne dla otoczenia i użytkownika. Dlatego przedstawione zostały też przykłady ich innowacyjnego zastosowania. W artykule wykazano, że powrót do tradycyjnych, lokalnych materiałów, przy zachowaniu współczesnych standardów i wykorzystaniu najnowszych technologii są jednym z istotnych sposobów projektowania ekologicznego.

16

Średniowieczna i nowożytna ceramika naczyniowa z badań ratowniczych przeprowadzonych w Ujściu w 2008 roku

51%

Zamelska-Monczak K.

Materiały Zachodniopomorskie

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2020

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vol. 16

135-190

EN

The article focuses on pottery vessels discovered during rescue excavation at Ujście, from layers of the former stronghold and city, dated to the period from the second half of the 10th century to the 16th century. The assemblage includes vessel fragments from early medieval period, partly formed as well as completely thrown on a potter’s wheel, and from the late medieval and early modern periods. This highly varied assemblage shows insight into pottery used by inhabitants of Ujście over several hundred years. The article, being only a preliminary analysis, also provides the impetus for the more detailed research on the pottery in the area located in the central River Noteć.

17

Rewitalizacja poprzemysłowego obszaru Zabłocia w Krakowie. Studium Centrum Szkła i Ceramiki

51%

Skorek A.

Problemy Rozwoju Miast

|

2013

|

issue 3

77-84

PL

W 2010 r. w siedzibie krakowskiego Oddziału Instytutu Ceramiki i Materiałów Budowlanych przy ul. Lipowej 3, na terenie dawnej huty szkła powstałej jeszcze przed II wojną światową rozpoczęto prace zmierzające do otwarcia w tym miejscu Centrum Szkła i Ceramiki. W skład Centrum wchodzić będzie galeria szkła i ceramiki, prezentująca prace współczesnych artystów, stała ekspozycja szkła zabytkowego i nowoczesnego oraz pokaz ręcznego formowania szkła. Ponadto Centrum prowadzić będzie prace badawcze nad materiałami do konserwacji zabytków oraz ich niewielką produkcję, a także zajęcia dydaktyczne dla uczniów i studentów. Działalność ta wpłynie na zwiększenie atrakcyjności poprzemysłowego krajobrazu Zabłocia.

EN

In 2010, in the seat of the Institute of Ceramics and Buildings Materials, Division of Glass and Building Materials in Kraków, located at 3, Lipowa Street, in the former glassworks created before World War II, began works leading to the opening of the Glass and Ceramics Centre. The Centre will include: gallery of glass and ceramics, presenting contemporary Polish artists’ works, permanent exposition relating to the history and technology of glassmaking and also live demonstrations of glass being hand-moulded. Moreover the Centre will conduct research on materials for monuments’ restoration and produce some. Its educational and cultural activities will increase the attractiveness of postindustrial landscape of Zabłocie district.

18

Wyniki badań archeologicznych z epoki brązu, późnego okresu wpływów rzymskich i starszych faz wczesnego średniowiecza na nowo odkrytym stanowisku nr 62 (AZP 52-25/184) w Lusowie, gm. Tarnowo Podgórne, woj. wielkopolskie

51%

Banaszak P., Wawrzyniak P.

Studia Lednickie

|

2022

|

vol. 21

85-108

EN

The Lusowo 62 site was discovered accidentally while conducting construction works on the southeastern outskirts of Lusowo, Tarnowo Podgórne municipality. It occupies a fragment of a promontory which cuts into marshy valleys, drained by small nameless watercourses flowing into nearby Lake Lusowskie. The analysis of sources from the Archaeological Photograph of Poland resource showed that the area of this promontory and its bordering areas is heavily saturated with archaeological sites stretching along the aforementioned watercourses for about 1.5 kilometers, almost to the southeastern edge of the aforementioned Lusowskie Lake. The settlement from the Bronze Age and Late Iron Age dominates here. The newly discovered site was registered as Lusowo 62 (AZP 52-25/184). Rescue excavations carried out over a period of a week revealed 24 objects in the construction trench (mainly pits – including resource pits, a presumed dwelling or outbuilding, hearths and postholes), which were attributed to the settlements from the late Early Bronze Age phase, the population of the Lusatian culture (Bronze Age?), the Przeworsk culture from the late Roman influence period(?) and phase B of the early Middle Ages. Dating of individual objects was based on the ceramics. Particularly noteworthy was a small collection of early Bronze Age ceramic fragments in a post-Unetice style, including a vessel fragment with a distinctive plastic moulding placed on the transition of the neck to the belly, triangular in cross-section, with references to materials from Bruszczewo, site 5, Kościan county. However, the site is dominated by early medieval pottery, strongly resembling wares from the nearby tribal stronghold in Dąbrówka, site 2, Dopiewo municipality. Several forms characteristic of the Early Medieval Phase B were distinguished in the retrieved collection, primarily poorly profiled or bulbous pots. Until the 1990s, archaeological sites located in the southeastern part of Lusowo were relatively safe from the point of view of conservation. Vibrantly expanding housing development in the area in the last 25 years, however, has created a serious threat to the relics of the ancient settlement lying in the ‘archive of the earth’, including the monuments located within the newly discovered Lusowo 62 site, threatening to destroy them completely. The above problem also affects many other areas, especially suburban areas, extremely attractive to potential investors interested in acquiring and developing them. Without systemic solutions at the national level, the problem will grow exponentially to the detriment of all stakeholders, especially the remains of ancient settlement structures hidden underground.

19

Transformacja XVIII-wiecznej metody transferu obrazu graficznego na ceramikę w nowoczesne technologie w warunkach warsztatu graficznego. Metody transferu grafiki na ceramikę

23%

Cieślińska-Kawecka A., Kerner K. F.

inAW Journal – Multidisciplinary Academic magazine

|

2020

|

vol. 1

|

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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Wyniki badań archeologicznych z epoki brązu, późnego okresu wpływów rzymskich i starszych faz wczesnego średniowiecza na nowo odkrytym stanowisku nr 62 (AZP 52-25/184) w Lusowie, gm. Tarnowo Podgórne, woj. wielkopolskie

Transformacja XVIII-wiecznej metody transferu obrazu graficznego na ceramikę w nowoczesne technologie w warunkach warsztatu graficznego. Metody transferu grafiki na ceramikę