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

The systematic treatment of the special finds has brought before us not only
each of the four culture epochs of Anau in its objects of daily use; but it has also
shown us the gradual evolution from the more primitive to the more perfect stages
of knowledge and taste among the people of Anau. The greatest value naturally
lies in the recognition of a continuous progress within the three epochs of the
copper or bronze (?) age, which is shown principally through the custom of child
burial common to all three epochs. This progress of evolution is revealed most
clearly by the pottery, in its three active factors—form, technique, and decoration.
Although during the development of the northern kurgan the technique was
restricted to hand-work, yet the vessels of both the older epochs I and II are excel-
lent ceramic productions in regard to burning, preparation of clay, and modeling;
and it is a striking fact that, in respect to technique among the different groups,
it is the oldest one (plate 22) which stands preeminent. The fact that the need
of decoration and the desire for color was greatest in the oldest epoch (I) may
be looked upon as a sign of primitive taste. Nevertheless, the perfecting of a
thoroughly uniform style of painting depended, as we have seen, on two very
simple ground motifs—the erect triangle and the oblique band of parallel lines.
In contrast with this, the fund of forms in the vessels is relatively insignificant.
Both are changed in epoch II. Solid color gains the upper hand, monochrome
technique in red and gray predominating. Painting, on the other hand, loses
in importance; but its style, in so far as we can see, depends upon the traditional
patterns handed down from the older time and advances a step forward in the
grouping of them. At the same time, the polychrome painted bowls must pass
for importation. On the other hand, the series of forms of the red and gray
monochrome ware is richer than in the pottery of the older epoch.
The introduction of the wheel technique, an acquisition of the youngest
copper period of culture III, produced a complete revolution in the making of pot-
tery. It is true that in isolated cases very characteristic forms of vessels are
retained, such as the bowls with high feet; but in general the new technique pro-
duced new forms and developed them further. This evolution of ceramic forms
will appear much more clearly if future investigations produce the necessary
material. The connecting link between cultures II and III, as regards form, tech-
nique, and ornamentation, seems to be the gray ware. In this the incised orna-
mentation, which occurred only in isolated instances on the gray monochrome ware
of the older culture (plate 9, figs. 2 and 3), is continued, but forms in the newer
culture a style of decoration in which the wavy line plays an important part.
However, the pottery of light-colored clay, which during the middle copper
epoch occupied a subordinate position, now comes forward as the principal group.
In it technique is uppermost, confirming the observation made upon the appear-
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