Developments in Ceramic Materials Research
Developments in Ceramic Materials Research
Developments in Ceramic Materials Research
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Postclassic Maya <strong>Ceramic</strong> Advances 7<br />
because these levels of classification convey <strong>in</strong>formation about geographical location, time<br />
period, decoration, and function (Rice 1982:50). Three paste-based (as opposed to slip-based)<br />
wares had been identified <strong>in</strong> previous studies of these materials: Snail-Inclusion, Vitzil<br />
Orange-Red, and Clemencia Cream (Chase 1983; Rice 1979). These dist<strong>in</strong>ctive wares were<br />
used <strong>in</strong> produc<strong>in</strong>g the five slipped Postclassic ceramic groups that were used <strong>in</strong> the analysis of<br />
technological styles: Paxcamán, Fulano, and Trapeche <strong>in</strong> Snail-Inclusion Paste ware,<br />
August<strong>in</strong>e <strong>in</strong> Vitzil Orange-Red Paste ware, and Topoxté <strong>in</strong> Clemencia Cream Paste ware<br />
(Table 1). 1 As part of the classification procedure, <strong>in</strong>formation was recorded concern<strong>in</strong>g slip<br />
color, thickness, and degree of firecloud<strong>in</strong>g, decorative programs, and comb<strong>in</strong>ation of motifs.<br />
While the type-variety system is the primary method for pottery classification <strong>in</strong><br />
Mesoamerica, there are many assumptions and problems with this k<strong>in</strong>d of classification. First,<br />
pottery types do not necessarily correspond to different cultural affiliations, potter’s<br />
knowledge, potter’s capacity, or accidents of production (Shepard 1956:317). Second, many<br />
archaeologists magnify slight differences and unnecessarily def<strong>in</strong>e new pottery types (Ball<br />
1982; Forsyth 1989; Rice 1976). This is a result of archaeologists not adher<strong>in</strong>g to the orig<strong>in</strong>al<br />
classification rules. F<strong>in</strong>ally, a strict use of the type-variety system often leads to<br />
misclassification of sherds that come from the same vessel. Because of differences <strong>in</strong> fir<strong>in</strong>g<br />
over the surface or a vessel, uneven erosion patterns due to deposition or placement of<br />
decoration or slip on a vessel, sherds from the same vessel may appear as two dist<strong>in</strong>ct types<br />
(Demarest 1986). While there are limitations to this descriptive methodology, it is the<br />
commonly-used schema by which Mesoamerican archaeologists discuss ceramics and as long<br />
as the researcher understands these limitations, type-variety analysis of a ceramic sample can<br />
be fruitful.<br />
M<strong>in</strong>eralogical Analysis—Petrographic Analysis<br />
In order to further <strong>in</strong>vestigate the possibility of different manufactur<strong>in</strong>g recipes that may<br />
contribute to technological and stylistic group<strong>in</strong>gs that reflect Postclassic Maya sociopolitical<br />
identity, I exam<strong>in</strong>ed 278 sherds from the different pottery wares that were excavated from<br />
Ch’ich’, Ixlú, Zacpetén, and Tipuj. I non-randomly chose samples from the larger 551 data set<br />
to ensure that paste variability visible to the unaided eye was represented. Petrographic<br />
analysis allowed me to identify m<strong>in</strong>erals that were present <strong>in</strong> the clay pastes of different<br />
vessels. Petrography allows analysis of many clay materials and <strong>in</strong>clusions at one time. One<br />
1 A stratified random sample of 551 sherds was selected to represent the diversity present <strong>in</strong> the total sample to be<br />
used <strong>in</strong> the subsequent analyses. After conduct<strong>in</strong>g the typological analysis, I determ<strong>in</strong>ed the variability present<br />
(pottery pastes, decorative, and excavated structures represented) and selected a smaller proportional<br />
allocation with the goal of select<strong>in</strong>g 50 decorated sherds from each ceramic group and archaeological site. In<br />
cases where 50 decorated sherds were not available, I selected monochrome slipped sherds by stratified<br />
random sampl<strong>in</strong>g. First, I placed all decorated sherds from one site on a table grouped accord<strong>in</strong>g to the<br />
identification number of the structure from which they were recovered. Second, I ascerta<strong>in</strong>ed the number of<br />
pottery types and varieties represented at each structure. The number of sherds per type and variety and<br />
structure determ<strong>in</strong>ed the number to be randomly selected and the number selected varied depend<strong>in</strong>g on the<br />
structure, so that build<strong>in</strong>gs with more decorated types were sampled more often. Third, each lot number was<br />
recorded on a piece of paper and the numbers were placed <strong>in</strong> a conta<strong>in</strong>er accord<strong>in</strong>g to the structure, type, and<br />
variety. The predeterm<strong>in</strong>ed number of sherds to be selected for each structure determ<strong>in</strong>ed how many lot<br />
numbers were drawn for <strong>in</strong>clusion <strong>in</strong> the sample.