Ancient Sagalassos - Pride of Pisidia

The answer, of course, is a lifelike head of the famous emperor Hadrian, part of a nearly 5 meter high statue of the ruler, found at Sagalassos in 2007 and for several months the centerpiece of the British Museum's recent Hadrian Exhibition. Set high in the rocky Toros Mountains in South Turkey, 100 kilometers north of Antalya and 40 kilometers southwest of Isparta, the remains of the ancient town of Sagalassos have survived the region's unforgiving climate and not infrequent earthquakes remarkably well. According to Arrian, the Roman-era biographer of Alexander the Great, the soldiers of Sagalassos were "the boldest warriors of a warlike tribe," and continued, "The Pisidians are all fine soldiers, but the Sagalassians were conspicuous even among a nation of fighters." These words were written as a response to the great difficulties the mighty Alexander and his seasoned veterans faced when attempting to capture the town in 333 B.C.

When you visit Sagalassos, you have to wonder why Alexander bothered with the subjugation (for despite their heroics, the Pisidian defenders were eventually overcome) of this seemingly remote and obscure mountain town. The answer lies in its location. Controlling the crucial road linking the prosperous cities on the Mediterranean coast to the major trade artery running west-east across Anatolia (the Persian Royal Road) Alexander could not afford to leave his supply routes open to the depredations of marauding Pisidians.

Despite its capture, with Alexander himself leading the uphill assault, Sagalassos prospered under the rule of his successors. The inhabitants gradually adopted Greek language and culture, a process known as Hellenization. The town fared equally well in the Roman period. Emperor Augustus made it a free city, and added to its population by settling retired legionary soldiers there. After much reorganization, it became part of the province of Galatia. Many superbly crafted public buildings were erected and the town grew and prospered. Unfortunately it seems that the good citizens of Sagalassos were forced to abandon their beautiful town in the seventh century following Arab incursions and a devastating earthquake.

What is really surprising about Sagalassos is how little-known it is, given the grand scale on which it was built, the quality of its remains and its imposing mountain location. In 1706, a French traveler, Paul Lucas, became the first Westerner to see the ruins of this remote site, and reported back in amazement to his sponsor, Louis XIV. In the 19th century, William Hamilton declared the area to be the best preserved he had ever come across.

Remote and difficult to access, it wasn't until the 1980s that a British-Belgian team of archaeologists began to give Sagalassos the attention it deserved. In 1990, the site began to be excavated in a major way by the Catholic University of Leuven, Belgium. Since then, a team of hardworking and enthusiastic archaeologists, led by Marc Waelkens, have returned to this magnificent mountain site each summer. In 2002, Waelkens' efforts were recognized when he was awarded the Medallion for Outstanding Service, the most prestigious award Turkey can give to foreigners. The excavations are about far more than merely uncovering impressive buildings and artifacts (including the magnificent statue of Hadrian) for the delectation of casual visitors, and the multi-disciplinary team specializes in everything from structural geology and tectonics to the urbanization and Romanization of Asia Minor under the Flavian emperors.

Due to the hard work of the Belgians, we know that Sagalassos' prosperity was based on the production and export of grapes and olives, and a fine-quality pottery known as Sagalassos red slipware. This, plus its control of one of the major trade routes between the Mediterranean and central Anatolia, enabled its inhabitants to build the lavish monuments you can see today.

Clearly,within your Turkey vacation, Sagalassos is simply a must-see. So, what exactly is there to see? A good place to start is the theater dating from the second century, to the northeast of the town. The seats of the semi-circular auditorium are well-preserved, and afford wonderful views across the fertile valley below, the ongoing excavations of the site to the Southwest, and the magnificent backdrop of the over 2,200-meter-high Akdag (White Mountain in Turkish). Below it, the Doric Fountain House, partially cut from the natural slope of the hillside, is remarkable. The actual spring supplying the fountain house with water in ancient times was reused by the Belgian team in their reconstruction of the building, using only original materials, between 1990 and 1992, filling the troughs with crystal-clear water -- just as they were in Roman times.

Even more impressive than the Doric Fountain House is the Antonine Nymphaeum, built during the reign of Emperor Marcus Aurelius (A.D. 161-180). Facing the higher of the ancient city's twin agorae (market places), it is an impressive 28 meters long, composed of an elaborate façade with richly decorated pediments, intricately carved Corinthian capitals and a central semi-circular niche where a 4.5-meter-high cascade plunged into the basin below. Above this is a finely preserved Hellenistic heroon (a temple to a demigod or deified hero) with its beautifully worked frieze of dancing girls. In addition to these fine buildings are a 3,000-seat Odeon, a monumental Roman baths complex (originally standing three stories high) and a council room. The Neon-Library, named after its benefactor, Flavius Neon, has been dated to A.D. 120. Its rectangular niches once held a vast array of written documents, but of most interest to today's visitors is a later addition

Particularly in spring, the site and its environs are of great interest to botanists and birdwatchers. The main background vegetation for the site, which is just above the tree line, is Jerusalem sage, which flowers with yellow rosettes in late May. At this time the hillsides are covered with a variety of flowering plants as well, including aubrietia, various muscari, star of Bethlehem and types of purple vetch.

At the entrance to the site, a former guardian has planted walnut and fruit trees, and these host migrating warblers. You can sometimes see birds of prey, especially honey and long-legged buzzards over the site, çukar (a kind of partridge) and kestrels on the approach road. But the real delights in spring are the small passerines, each marking out his territory with birdsong. Corn bunting and black-headed bunting (with bright yellow chests) are the most vocal, but stonechat, rock sparrow, goldfinch and linnet are frequently seen and heard.

Sagalassos is undoubtedly off the beaten track -- certainly more so than in classical times. If you want to see a large, remarkably well-preserved and skillfully reconstructed classical site in a dramatic mountain environment (avoiding the hordes of tourists at coastal sites like Ephesus and Pergamum) Sagalassos is the place to choose. In spring, the hills are carpeted in wildflowers and birdsong rings across the peaks and valleys. For me the best season is winter, when the grey limestone seats of the theater are thrown into vivid relief by ribbons of drifting snow and Akdag rears its icy head above the market places, temples, bath houses and streets of this remarkable place.

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Fingertip facts How to get there:

Antalya is the largest nearby city. Turkish Airlines, Onur Air, Atlas Jet and Pegasus operate frequent daily flights from 0stanbul. There are also plentiful connections from Ankara. SunExpress connects Antalya directly to 0zmir.

There are plenty of rental car outlets in Antalya at the airport or, for a cheaper price, from Fevzi Çakmak Caddesi or Kaleiçi, both in the city center. Allow a couple of hours for the drive, heading north towards 0sparta and taking the signed (Burdur, Aglasun and Sagalassos) left, 15 kilometers south of Isparta, for the village of Aglasun, seven kilometers below the site.

Alternatively, minibuses run to Aglasun from Isparta's dolmus garage, but you'll have to take a cab from there to reach Sagalassos ruins.

Kerem Aldar

Not for Museums Only: More than 65 Quality Ancient Artifacts and Antiquities Available to Collectors in New Color Catalogue from Fragments of Time, Inc.

MEDFIELD, MA June 23, 2004 -- Fragments of Time, Inc., (http://www.fragmentsoftime.com) a leading international dealer in museum-quality ancient art, today announced availability of Art from the Ancient World XXXI, a full-color and authoritatively researched catalogue highlighting more than 65 provenanced ancient objects from its inventory.



For more than 10 years, company founder John Ambrose, who had previously spent 15 years as a private collector in Europe and the USA, has been one of the few American antiquities dealers publishing quarterly, fully researched and illustrated, fixed-price catalogues dedicated to fine antiquities. Fragments of Time enjoys an international reputation for quality antiquities, scholarly expertise, competitive prices, and unrivalled service.



In addition to a variety of classical Greek, Roman, Hellenistic and Italic objects, Catalogue XXXI also includes a selection of antiquities from the Near East, Holyland, Cyprus and Byzantium.



The cover of Catalogue XXXI features a large and important Athenian red-figure lekythos, circa 480-470 BC, depicting a beautifully composed youthful female standing in a domestic setting that includes ancient furniture, weaving implements, and baskets containing fruit or flowers. The vase also has a 130-year documented provenance and has been extensively published. It was also exhibited in the mid 1940s at the London Royal Academy of Arts.



โ€œFine Attic red-figure pottery continues to be one of the most desirable areas for collectors of classical antiquities but demand sharply outstrips supply,โ€ said Ambrose. โ€œObjects, such as this lekythos, with long pedigree histories and well executed scenes are a superb addition to any serious collection.โ€



The catalogue features a variety of superb classical Greek objects including a fine Athenian drinking cup with a Dionysiac procession (ex-French 19th century collection), a wonderful standing Greek Kore in terracotta (ex-California collection), and a pristine molded Athenian โ€œHead Vaseโ€ circa 475-450 BC (ex-Canadian collection).



Collectors of Greek South Italian pottery and terracottas will fine an array of objects including an extremely interesting and rare 4th Century BC skyphos with an owl with outstretched wings on one side and a seated sphinx in profile on the reverse. This vase is a striking and artistically powerful departure from the standard but still pleasing โ€œowl cupโ€ representative of the goddess Athena.



In addition to a selection of Roman pottery, lamps and bronzes, Catalogue XXXI features a small group of fine Roman glass objects, circa 1st-5th Century AD, including an attractive โ€œgrape flask,โ€ a near colorless glass cup, pale green shallow glass dish, and a group of miniature glass juglets that were worn as jewelry by the ancients.



Egyptian collectors will find a selection of fine scarabs โ€" each fully attributed and described. In addition, the catalogue features an inscribed steatite obelisk amulet inscribed for the โ€œcontroller of the wine production of Ra,โ€ and an inscribed Shabti for Padi-Aset, and a pair of papyrus scepter amulets, among others.



The Importance of Catalogues



โ€œWith the importance of provenance and proliferation of forgeries on the web, buying from a dealer who invests time, energy, money and reputation in producing first-rate scholarly catalogues on a regular basis remains one of best ways for collectors of all levels to help protect their investments,โ€ said Ambrose. โ€œUnlike the web, catalogues are permanent documents that firmly establish additional indisputable provenance for each object when a collector decides to sell down the road. Plus, catalogues are an awesome reference and learning tool for collectors of all levels.โ€



Fragments of Time quarterly catalogues are consistently rated among the best in the antiquities field and are used by collectors, scholars and museums as reference works. A complimentary catalogue is available upon request at www.fragmentsoftime.com or by calling (508) 359-0090. An annual subscription is just $15 in the continental US and is free to clients who make at least one purchase per year.



For more information visit http://www.fragmentsoftime.com

Stunning Raku Pottery Will Enhance Any Decor

Raku pottery has become a popular interior design accessory that is becoming more popular as a technique with professional potters and hobby pottery enthusiasts and more widely used to enhance any décor because of the mutant color qualities that blend with existing decorating schemes.

Raku pottery takes its origin in Japan, where the family of Japanese potters from the16th Kyoto created the style and distinctive characteristics of low temperature and interrupted firing, because their firing was wood-fueled kilns, since there was no propane at the time.

While some lore believes that “smoking” gave Raku the name and characteristics, that myth comes from the fact that the pottery was allowed to air-cool after the traditional fire started to die down, and the smoke formed the variant color details.

It has become popular again in the last twenty-five years as the Raku pottery techniques involve drawing red hot pots from a kiln and the subsequent “smoking” of the pottery is done in sawdust for the effect. In fact, Hamada, the famous Japanese potter, once said he wanted to wait until the end of his life to learn how to make Raku pottery, because it was the most important and difficult technique to master.

Raku pottery techniques are done in various ways and originally earthenware was used, although any clay body can be used in the process, because it is the glazing and firing technique that makes it distinct. Much of the characteristics of this pottery come from the glaze that is used and it will cool with a “cracking” appearance, also called crazing, that gives the pottery vibrant color contrasts, which are mutable, and may have strong simple shapes and random crazing.

Because of these characteristics, they make a stunning collection of elegant pottery that can fit a wide range of interior decors and have colors that mutate to harmonize with the surroundings of a room. Pleasing to the eye, calming to the spirit and bringing joy and harmony to your heart and life are part of the Raku tradition. Traditionally, Japanese used Raku for their Japanese tea parties for these reasons in ancient centuries.

Today, Raku pottery comes in a variety of finishes and patterns. Bright colors like lapis, aqua, persimmon, red, coffee, amethyst, egg plant gray or gun metal blue are examples. Finishes turn out with different patterns that vary with the color of glaze used. Pottery that is Raku inspired is often inspired by primitive ritual and ceremonial ceramics from around the world. Examples would be a fetish pot, volcano seed pots or volcano bowls.

These unique pottery shapes, colors and finishes can turn a room into an artistically pleasing palette that features the aesthetic and relaxing Zen-like traits that make this type of pottery more than just another vase. If you have never seen Raku pottery, then you will certainly recognize it for the unique glazing patterns, vibrant colors and unusual shapes it can have. It is these characteristics that have made it so popular in decorating today.

The different look you achieve by using Raku pottery, versus normal ceramic pottery with standard glazes is dramatic, as the Raku pottery has an almost ancient pottery look that gives it an old world character, yet has shapes that are unique, edge techniques that are free formed or different patterned and can become the focal point of any room, regardless of other decorating styles in a room. You can enhance any décor when you use this pottery to compliment your interior design.



Come see this stunning Raku Pottery and hundreds of other items at MadeInAmericaDecor.com offering only American made décor accents and accessories for home, garden and gifts.

Etruscan Art - An Ancient Art of Greek Archaic Origin and Pre-Roman End

Etruscan Art is the 'figurative art' of Etruria, which geographically stretched from some parts of North Italy further Salerno to the Tiber River. The art of Etruria spans over four key periods (ninth to second century BC), the Villanovan & Orientalizing Era (800-650 BC), the Archaic Era (650-500 BC), the Classical Era (500-300 BC), culminating finally in the Hellenistic Era (300-100 BC), by when it became extinct. In effect, the Etruscan Civilization flourished between about 800 and 300 BC.

Similar to most other ancient civilizations, the Etruscans were also preoccupied with the mysteries of death and afterlife, though in negative parlance. This firm belief of Etruria was portrayed through art and therefore, largely Etruscan Art is 'Funerary Art.' This art quite lacked the elaboration and the finesse of 'Monumental Art,' which is directed at ennobling or immortalizing a culture's historical events or civic ceremonies such as in the Greek and Roman Civilizations. Certain Greek Archaic and the eastern world artistry considerably inspired the art of Etruria. Though, Etruscan Art is said to in turn, have a significant influence over the Roman art & architecture, however, as not much is known about Etruscans, it is difficult to point out all the artistic details and the dimensions of impact.

Amidst the several expressions of Etruscan Art, the forts, buildings, temples, and tombs, yield an insight into the architectural evolution of ancient Etruria over time. Etruscans used stones for foundations and employed light materials, such as wood, rubble, and unbaked bricks, for the rest of the building. Etruscans were also one of the very few ancient civilizations, which laid out cities, availing grid plans, a technique imitated later by the Romans.

Most of the Etruscan artifacts were created in the purview of their requirement and utility in their personal lives, or for religious purposes. The sculptures and statues of this region carry Greek influence and exhibit similar excitement and energy. Etruscan life-size sculpting was done mostly with clay & terracotta, such as "Sacrophagus of the Spouses" (sixth century BC), "Apollo of Veii" (520-50 BCE). Some sculptures, like "Chimera of Arezzo," (400 BC), "Capitoline Wolf" (500-480 BC), "Brutus," and "The Orator" (second century BC) however, were crafted out of bronze metal.

Etruscan Art proliferated to painting too, which is considered more "Pre-Roman" in essence. Several masterpieces were excavated from various tombs & graves of Etruria, especially the "Tomb of Lioness" at Tarquinia. The murals depicted settings from everyday life, mythology, and the funeral rites. They even covered occasional events and portrayed people, banqueting & dancing in bright and typically animated colors. The wall frescoes were generally painted in the two-dimensional style and several 'Realistic' terra-cotta portraits were found in tombs, carved out of soft volcanic rocks. The metal works were evidenced from the bronze engravings for mirror frames. The Etruscans were also adept at their "Black Bucchero Pottery," which included relief decorations. In fact, Etruscans were the masters of potter's wheel.

Etruscan Art does not reverberate any primary drift in the history of art. Though, most of the artifacts excavated, lack any kind of creative innovation, they however, do demonstrate their own motivation & spirit, an attribute most ancient civilizations shared.

Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. It is a great site for art collectors to buy original art. Is is also a venue for artists to display and sell their art . Artists can join for free and their image upload is unlimited. Please visit the website at http://www.labedzki-art.com

ANCIENT EGYPTIAN CLOTHES

The ancient Egyptians made their own clothes from what their environment and nature gave them. Egypt has mostly a hot climate thus the use of clothes reflect material that is lightweight to suit this type of climate. The ancient Egyptians thus used clothes made of linen.
For reading more articles about ancient Egypt click on: www.kingtutshop.com
The ancient Egyptians both men and women wore linen clothes all throughout the hot weather. The men wore short skirts around their waists called kilts, while the women wore straight fitting dresses with straps on their shoulders. The wealthy men wore pleated kilts, and the older men wore a longer kilt. When doing hard work, men wore a loin cloth, and women wore a short skirt. Children usually ran around nude during the summer months.
HOW LINEN WAS MADE
Linen is a fabric made from plant fibers. The plant fiber comes from flax plants that grow abundantly along the banks of the Nile. The flax plants are plants having small leaves, blue flowers and stems about two feet tall. Flax was pulled out of the ground, not cut. This work was done mostly by men. Half-ripe flax stems made the best thread. If the stems were too ripe, they were used for mats and rope. Flax stems were soaked for several days then fibers were separated. Then the fibers were beaten until soft. The resulting fibers are then spun into thread. The thread is woven into linen fabric from which the garments are made. Most Egyptians wore garments made from linen. This type of fabric is light, airy, and allows freedom of movement, which are important characteristics because of the hot and sometimes humid climate of Egypt.
In Ancient Egypt, women were predominately in charge of textile manufacturing and garment making. Garment making was a household chore, but woman also worked for aristocrats in spinning and weaving shops. Every garment from the decorative dresses of queens and the elaborate, pleated kilts of the pharaohs to the simpler kilts and aprons of the common people were handmade by woman.
The tools involved in garment making include knives and needles, both of these needed to be molded, shaped or craved. In predynastic times, knives were made out of stone and the needles were made from bones. However, during the Old Kingdom, they were both made out of copper. Then, in the Middle Kingdom, bronze replaced the copper. Knives and needles were molded. Surprisingly, the eyes of needles were not bored. They were "scratched out with a hard, pointed instrument, probably a stone." With these tools and linen, garments were fashioned to suit the needs of the people based on climate and the social status.
. All men, from the tomb worker to the pharaoh, wore a kind of kilt or apron that varied in length over the years, from halfway above the knee, to halfway below it. It was tied at the front, folded in at the side, or in two knots at the hips. A sleeved, shirt-like garment also became fashionable. Men were always clean-shaven, they used razors made from bronze to shave their beards and heads. Women wore straight, ankle-length dresses that usually had straps that tied at the neck or behind the shoulders. Some dresses had short sleeves or women wore short robes tied over their shoulders. Later fashions show that the linen was folded in many tiny vertical pleats and fringes were put at the edges.

The wealthy people both men and women wore long see-through robes that were pleated. Noblemen would sometimes wear a long robe over his kilt, while the women wore long pleated dresses with a shawl. Some kings and queens wore decorative ceremonial clothing with feathers. Wealthy people wore sandals made of leather that had straps across the instep and between the first and second toes.
Most people went barefoot, but wore sandals on special occasions. The king wore very elaborately decorated sandals, and sometimes decorative gloves on his hands. The sandals were sometimes made of palm fiber or braided papyrus together with leather sandals.

Clothing styles were chosen for comfort in the hot, dry climate of Egypt, while in the winter, wraps and cloaks were worn.
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Women did not dress without washing (rich people had a tiled area for washing). After washing, they rubbed themselves with scented oil then they placed a large rectangle of linen over their heads, gathered the loose corners up and tied them in a knot below the chest. The usual toilet articles were tweezers, razor and comb.
Priests washed several times a day and they had to remove all body hair to be pure enough to approach the god. They could not wear leather sandals or wool clothing (considered unclean). They wore a leopard robe when serving the god Amun.

The Egyptians cared about their appearance a great deal. The women spent a lot of time bathing, rubbing oils and perfumes into their skin, and using their many cosmetic implements to apply make-up and style their wigs. Using a highly-polished bronze hand mirror, a woman would apply khol, a black dye kept in a jar or pot, to line her eyes and eyebrows, using an "brush" or "pencil" made of a reed. Men wore this eye make-up as well, which was not only a fashion but also protected against the eye infections which were common in Egypt. They would use a dye called henna to redden their nails and lips. Wigs were worn by men and women. Wigs were made from human hair or wool. They wore curled wigs for special occasions.

Egyptians adorned themselves with as much jewelry as they could afford. Wealthy people wore broad collars made of gold and precious stones liked together, which fastened at the back of the neck. Pairs of bracelets were worn around the wrist or high on the arm, above the elbow. Rings and anklets were also worn. Women wore large round earrings and put bands around their heads or held their hair in place with ivory and metal hair pins. Ordinary people wore necklaces made of brightly colored pottery beads.

Top Resources For Pottery and Glass Making Lesson Plans

If you search the web these days, you are almost guaranteed to find an extensive library of free lesson plans and project ideas for schools, occupational therapy, and craft centers. Collections of lesson plans, Power Point presentations, and technique sheets offer a very wide range of art topics, and give art teachers and occupational therapists a terrific place to begin creating educational lessons which combine art history with hands on activities in the classroom. Here are some examples of the lesson plans you may find today.

A lesson especially designed with younger students in mind starts with commercially-made flower pots which are cleaned by firing and then given to the children to decorate as their imaginations will. This lesson familiarizes students with basic ceramic theory and terms, and gives them hands-on experience in decorating pots with underglazes and velvets. Underglaze pencils and crayons can be applied to create individualistic designs; younger children can use sponge painting with liquid underglazes before placing their work on the ware cart to be fired in the kiln.

Another lesson which can involve students of all ages is Ceramic Tile Wall Murals. This is an art history lesson which traces the development of this art form from the first millennium B.C.E. to the present. Copiously illustrated with examples from ancient Persia, Babylonia, Greece, and China, the story continues through Renaissance Majolica tile-making; up to contemporary uses of tile wall murals in modern art and architecture. This Power Point Presentation concludes with instructions on how a group tile wall mural project can be used to bring school students, their parents, and faculty members together to create a delightful all school experience.

In addition to ceramics there are also lessons devoted to the history and how-to of fused, slumped, and cast glass. Warm glass techniques date back to the second millennium B.C.E. in Mesopotamia, and were considered the equal of gold and silver in ancient Greece and Rome. The era of blown glass objects d'art eclipsed the warm glass technique, but it has been revived and become a popular medium for contemporary artists. These lessons show how to use glass stringers, frits and confetti to create fused glass plates, shaped vessels, and jewelry.

Other popular lesson plans cover such topics as sculpture in both history and how-to; lithography and other print-making techniques; paper-making and paper sculpture; working in Chinese-style bronze; making Japanese-style tea bowls and garden lanterns; and making Mexican-style skulls for the Day of the Dead. There are also special lessons on dinosaurs, insects, life in a coral reef; and prehistoric cave art.

AMACO ceramics is not just the world leader in ceramic and glass-making supplies, but is also a major educational resource. Whether you need a throwing wheel or ware cart; clays, molds, and glazes; or glass stringers, frits, and glass kilns; look to AMACO for the widest selection in the world.

Ancient Ceramics, Bringing The Past To Life

For hundreds of year's ceramics have been created to express emotions, reflect the period and attitude, and provide functional uses. As ceramics have evolved over these centuries and Arts and Crafts have evolved over the past century, most of the techniques and materials used to create ceramic pieces have changed very little.

Less than a decade ago, ancient ceramics and modern Arts and Crafts materials came together to provide some insight into centuries old craftsmanship. The ancient ceramics had been excavated from a mid-16th century ship found off the coast of the Bahamas. The ceramics consisted of six indented pieces in the form of earthenware balls, or, probably more accurately, "blobs." In each of these "blobs" is the clear impression of either a fingertip or thumb tip. After careful cleaning by a conservation lab, distinct fingerprint lines were found preserved in the clay. The conservation team felt the impressions were exciting enough, but were interested in somehow producing positive images from these molds. If castings could be made from them, then essentially parts of the very people who created the ancient piece could be recreated. Unlike ancient ceramic pottery, beads or jewelry, having a stamp or initial of the maker, these findings had the actual finger prints of the very people who played a part in their creation.

The question was what material could be used to safely create accurate castings and not cause any damage to the ancient ceramics.

The first attempts utilized a silicone rubber paste, but it proved to be too sticky. A thin layer of the ceramic surface adhered to it, and a stain was left on the remainder. This would damage the prints and was unacceptable. A local forensics laboratory was visited, and they provided a test of a high resolution molding compound, but it was difficult to apply evenly and unfortunately also stained the ceramic.

The answer came in the form of a modern Arts and Crafts material, Polymer Clay. It recovered the slightest details with no distortion, or damage to the ceramic. The clay can be baked during the molding process, and it hardens permanently, making it sturdy and safe to handle. The results from the castings were stunning. They found that the positive images from the castings looked just like the tips of peoples' fingers, and prints on them are clearly visible. Most importantly, the images can now be examined and analyzed in their original form for clues about the people who left them.

It would seem unlikely that a modern Arts and Crafts material would help provide answers about ancient ceramic creators and techniques, but yes, Polymer Clay has many applications and now archaeological conservation can be added to that list.