国立情報学研究所 - ディジタル・シルクロード・プロジェクト
『東洋文庫所蔵』貴重書デジタルアーカイブ
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| 0263 |
Explorations in Turkestan : Expedition of 1904 : vol.1 |
| トルキスタンの調査 1904年 : vol.1 |
引用情報
OCR読み取り結果
Ornamentation is wholly lacking on these vessels of light-colored clay found
in the highest strata. No fragments were found, either with painting or with
incised patterns, which could be ranged according to their technique with pottery
of the group a.
(b) Hand-work.
The hand-made pottery of the upper strata of the South Kurgan, referred
to above as group 2, can not be associated with the wheel-made pottery, the
conditions of occurrence and technical characteristics forbidding this. Fragments
of this kind do not occur in all the upper layers of the upper digging, being confined
to the lower portion of the same, between the levels of +47 and +43 feet. They
also enter into deeper layers, between +43 feet and +37 feet 7 inches, mixing
there with the deposits of the older culture, though they are not so numerous
as higher up. Consequently, we must interpolate this pottery as an intermediate
group between the end of the older culture III and the full development of culture
IV. This isolation is also indicated by technical peculiarities.
Technique.—The clay is of a reddish-yellow or greenish tone, coarsely washed
and not hard-burnt.
Forms.—The forms are very simple. From the material in hand we can
recognize in the marginal pieces: (A) larger vessels (fig. 234); (B) smaller cups
(fig. 235); (C) flat covers with bow-shaped handles (fig. 236).
Ornament.—The vessels are either entirely covered with a light-red or carmine-
red color, or broad, horizontal, red stripes are painted on the margin over a
dirty yellow slip. Again, we find larger geometric patterns, all showing rough
and hasty execution. The patterns are trellis-filled triangles, or stripes forming
angles which are filled in with parallel lines or trellis pattern. The triangles stand
with their apices directed upwards, and are connected at the top by fine horizontal
lines (plate 35, figs. 8 and 9). The whole group points to a decline of the better
technique; for it is more comprehensible in connection with the older pottery
than with the younger, as evidenced by the greenish-white clay, the painting,
which recalls the motif of the older pottery, and lastly its occurrence in the same
layers in which even better fragments of light-colored and gray clay were found.
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11
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21
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31
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41
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51
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61
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74
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85
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95
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106
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117
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127
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137
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148
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158
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171
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183
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197
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210
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224
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237
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252
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259
261
263
264
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266
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280
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294
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308
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319
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329
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344
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357
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367
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377
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391
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401
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411
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418
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