Academic literature on the topic 'Styles céramiques'
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Journal articles on the topic "Styles céramiques":
Manen, Claire. "Structure et identité des styles céramiques du Néolithique ancien entre Rhône et Èbre." Gallia préhistoire 44, no. 1 (2002): 121–65. http://dx.doi.org/10.3406/galip.2002.2033.
Petrequin, Pierre. "I. Les lacs de Chalain et de Clairvaux : dynamique évolutive des styles céramiques et transferts de population." Gallia préhistoire 40, no. 1 (1998): 133–40. http://dx.doi.org/10.3406/galip.1998.2396.
Lefranc, Philippe. "Les relations entre les groupes rubanés d'Alsace et du bassin de la Seine : l’apport des styles céramiques." Bulletin de la Société préhistorique française 110, no. 3 (2013): 495–512. http://dx.doi.org/10.3406/bspf.2013.14293.
Georjon, Cathy, and Vanessa Léa. "Les styles céramiques du Néolithique moyen en Languedoc oriental : caractérisation et premières comparaisons avec la périodisation des industries lithiques taillées." Gallia préhistoire 55, no. 1 (2013): 31–71. http://dx.doi.org/10.3406/galip.2013.2499.
Smith, Alexandre Livingstone. "Review of Les styles céramiques de Kobadi. Analyse comparative et implications chronoculturelles au Néolithique récent du Sahel malien by Annabelle Gallin." Azania: Archaeological Research in Africa 47, no. 3 (September 2012): 399–401. http://dx.doi.org/10.1080/13545701.2012.709999.
Cauliez, Jessie. "Restitution des aires culturelles au Néolithique final dans le sud-est de la France. Dynamiques de formation et d’évolution des styles céramiques." Gallia préhistoire 53, no. 1 (2011): 85–202. http://dx.doi.org/10.3406/galip.2011.2488.
Barbarin, Lou de, and Jean-Christophe Sourisseau. "Trafics orientaux en Méditerranée occidentale. Quelques remarques sur la diffusion des styles céramiques dans le répertoire des cités grecques de Sicile orientale." Cahiers du Centre d'Etudes Chypriotes 46, no. 1 (2016): 201–19. http://dx.doi.org/10.3406/cchyp.2016.1685.
Mayor, Anne. "Les styles céramiques de Kobadi. Analyse comparative et implications chrono-culturelles au Néolithique récent du Sahel malien. By Annabelle Gallin. Reports in African Archaeology 1. Africa Magna Verlag, Frankfurt am Main, 2011, 319 pp. ISBN 9783937248240. € 49.80 (Paperback)." Journal of African Archaeology 11, no. 2 (November 11, 2013): 269–70. http://dx.doi.org/10.3213/2191-5784-10234.
Halm-Tisserant, Monique. "Styles géométriques et production céramique du Géométrique grec." Ktèma : civilisations de l'Orient, de la Grèce et de Rome antiques 35, no. 1 (2010): 123–62. http://dx.doi.org/10.3406/ktema.2010.2494.
Camps, Gabriel. "Le style de Gastel [Etude des céramiques d'une nécropole protohistorique d'Algérie]." Antiquités africaines 33, no. 1 (1997): 39–48. http://dx.doi.org/10.3406/antaf.1997.1263.
Dissertations / Theses on the topic "Styles céramiques":
Dupont-Delaleuf, Armance. "Styles techniques des céramiques de la protohistoire en Asie centrale : méthodologie et études de cas." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100190/document.
Central Asia is geographically and historically a large area unfairly overlooked. Yet, it is a huge territory formerly framed by the brilliant civilisations of the Indus and Mesopotamia. Since Neolithic, this region was the centre of population migrations and was a crossroad for the circulation of finished artefacts and raw materials.The pottery is in its way another set equally wide. It has become the reference artefact archaeologists working on for the periods without writing. For the analysis of forms, sets, clay and techniques, they constitutedthe artefact the most talkative.For many years, the techniques analysis strongly developed through the development of actualist frame of referencesuch as ethnography and experimentation. However, the technological approach has had a little opportunity to cross the Central Asia moving border. This work is the first meeting between those two giants. Ulug-Depe is an important site since it delivered the longest chrono-stratigraphy of Central Asia, from the Chalcolithic to the Iron Age. This site has become a pretext for a technological study on the long term, study that naturally blends the look of the potter. The question of the emergence and development of methods involving the rotary motion found here a fertile ground to address these issues in the long term and touch the social and anthropological implications of this innovation
Gallin, Annabelle. "Les styles céramiques du site de Kobabi : (néolithique récent, sahel malien) : étude comparative et implications chrono-culturelles." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10005.
Georjon, Catherine. "Le Néolithique moyen en Languedoc oriental : caractérisation stylistique de la céramique, nouvelles réflexions sur la culture chasséenne." Electronic Thesis or Diss., Toulouse 2, 2020. http://dante.univ-tlse2.fr/id/eprint/10938.
Over the past three decades, the large number of diplomas and collective research projects, supported by the multiplication of preventive archaeology operations have led to a better appeciation of the middle Neolithic in Southern France. In the specific pottery and flint studies field, work on the Garonnais, the Aude valley, the Quercy, the Auvergne, the middle Rhone valley, the Alps and Provence have made it possible to better understand the chronology and the variability of the cultural expressions between 4500 and 3500 B.C. In Eastern Languedoc, a combined approach to the flint and ceramic industries was conducted from the late 1990s. Two parallel theses on both remains types were initiated, but only that on the flint industries was possible (Lea, 2002). However, a synthesis article was used for the first time to compare lithic periodization with a preliminary pottery’s seriation (Georjon and Lea, 2013).The present thesis thus corresponds to the culmination of a work initiated 20 years ago on the ceramic periodization of the Middle Neolithic in Eastern Languedoc. I selected a corpus of 11 series finely analyzed and augmented from various sets addressed more quickly. Most of these series are from my ceramic work on operations of preventive archaeology. Some are unpublished, others partially or entirely published. All the studies already carried out have been completely redone using a unified methodology.The issues developed in this thesis addresses three main aspects: the chrono-cultural and chrono-geographical approach of Eastern Languedoc in the context of the southern Middle Neolithic, the characterisation of ceramic productions and, more broadly, the overview of the Chasséen definition.Chrono-cultural and chrono-geographical issues are at the forefront: how to correlate my periodization with those that exist in the South? What is the place of Eastern Languedoc, a region with contrasting landscapes, limited to the east and west by two rivers of unequal importance (the Hérault and the Rhone) and to the north by the foothills of Massif Central, in the southern domain during this period? The treatment of this aspect is based on an accurate assessment of the archaeological contexts, composition and conservation status of the sets. A crossing of ceramic and lithic periodizations with 14C chronology is also proposed.The analysis of the means for producing the pottery is based on the technological studies available to my corpus
Houbre, Aurélie. "Styles céramiques et groupes régionaux dans le Néolithique ancien danubien occidental (bassins du Rhin, de la Meuse et de la Seine) : une approche systémique." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG011.
This work is dedicated to the analysis of the decorated pottery of the early Danubian Neolithic (Lbk) in the basins of the Rhine, the Meuse and the Seine (western Lbk). The application of a systemic approach to all the reconstructible decorations discovered in this area permitteded the elaboration of a decorative grammar for the western Lbk area. This grammatical analysis, which was applied to all the regional groups of this area, constitutes a totally new work.The center of our research focuses with the regionalisation process. In the middle Lbk phase, a northern block spreads over the Escaut to the Neckar, whereas in the south the “middle Lbk from Haute-Alsace” goes from the valley of the Marne to the Hegau via the southern part of the higher Rhine plain. Only the Basse-Alsace region occupies an isolated place within the western Lbk. In the second half of the Lbk (steps IV and V) this area is divided into three complexes: the Northwest Lbk, from the Escaut to the Main, the central Lbk, comprising the Palatinat and the Neckar regions and the southern Lbk, which includes the south of the higher Rhine plain (Basse- and Haute-Alsace) and the Paris basin
Perron, Martin. "La production et la diffusion des céramiques utilitaires de style à bandes à Argilos et dans le Nord de l'Egée aux périodes archaïque et classique." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-01011569.
Schorsch, Stéphanie. "La Région du Cuzco : du formatif à l’arrivée des Espagnols." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040199.
Cuzco is now known as the ancient Inca capital. Crossroads between different regions and ecological levels of Peru, Cuzco Region contains many different resources, which attracted people since the Preceramic Period. The first culture confirmed, Marcavalle, set up cultural traditions that will lead, almost 2400 years later, the great Inca Empire.This thesis consists to redefine the chronology of the region based on various sources available to us. This study attempts to redefine the map of the region thanks to the many ruins and the few written sources and, in order to trace the course of the ethnic ancestors of the Incas
Le, Meaux Hélène. "Iconographie orientalisante de la péninsule ibérique : questions de styles et d'échanges." Paris 4, 2004. http://www.theses.fr/2004PA040036.
This thesis entitled Orientalizing Iconography of the Iberian Peninsula. Questions of styles and exchanges presents two complementary parts: on the one hand, an inventory of the ivories and ceramics in the form of cards, and on the other hand, a discussion where the gathered data are analysed and placed in a historical perspective. In the first chapter the peninsular patterns which decorate ivories and ceramics, as well as bronzes and jewels of the 7th and 5th centuries B. C. Are analysed from a typological and associative standpoint. Through the comparison of these various corpuses, it became possible to highlight a community of art of the Peninsula and to specify the types of relations existing between the various technical categories. The second chapter is devoted to the historiography relating to the exploitation of the orientalizing peninsular iconography from a historical and an interpretative point of view. The third chapter describes the iconographical transformations in order to replace this iconography in a space which is both geographical and historical: geographical on the one hand, with the Peninsular and the Mediterranean areas, and historical on the other hand, with the chronological eras featuring orientalizing peninsular creations which are not strictly limited to the period of the same name. Most of the time, the exchange is partial: the dissociation of the ends and the processes led us to make a systematic distinction between what can, or not, be considered “orientalizing” and allowed us to free the orientalizing concept from its yoke
Decker, Émile. "Sarreguemines au XIXème siècle : la faïencerie Utzschneider : 1790-1914 : contribution à une histoire des goûts et des styles au XIXème siècle." Nancy 2, 2001. http://docnum.univ-lorraine.fr/public/NANCY2/doc207/2001NAN21007_1.pdf.
During the 19th century, the Sarreguemines works located in the north of Lorraine on the German border became one of the leading centres for earthenware production in Europe. Very early on the factory introduced industrial production techniques. The work was carried out with the aid of machines or processes making mass-production a reality. Satisfying the public remained a key factor, and every aspect of the business was tailored to meeting the whims of the factory's clientele. This approach led to the manufacturing of objects of rather dubious aesthetic quality. Often, the technical quality of the workmanship made up for the insufficiency of the design. The company sought to react against the mediocrity and monotony of mass production through an increased use of decor and diverse shapes, adding plenty of variety to its catalogue. The wide choice available enabled the client to enjoy the illusion that he or she owned something truly unique. During the 19th century, the style of the objects produced varied according to taste. History was always a source of inspiration. During the Empire and the Restoration, the items produced where neo-classical and their models were English. During the Louis Philippe period, under the influence of Romantism, eclectism was the norm : Italian majolica of the Renaissance and French earthenware from the 17th and 18th centuries were all copied and interpreted. Exotic patterns were ever-increasing in number. Initially, the designs used had featured approximate replications of Oriental works, later happily giving way to something more in keeping with the spirit in which Western artists worked. Nature was always a favourite subject for the earthenware artists, and according to the period the representations of plants were marked by Romanticism, Japanism or Art nouveau. Earthenware also met a growing public demand for imagery : hundreds of series were produced with highly varied themes including the history of France, topical subjects, picturesque illustrations, or humorous scenes. For over a century, the production of the Sarreguemines works has mirrored changes in taste and style
Solar, Velarde Nino Vadick del. "Contribution des sciences archéologiques à la connaissance des choix techniques Mochica et Cajamarca : étude des matériaux céramiques du site de San José de Moro (VIIIe-Xe s. apr. J.-C., Pérou)." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30067/document.
Mochica or Moche societies (2nd-9th c. A.D.) left a significant number of archaeological sites on the north coast of Peru which preserve ceramic objects of an exceptional character of a morphological, ornamental and technical point of view. In recent years, the Mochica ceramics have been studied by archaeological and ethnoarchaeological approaches. The first aim of our research is to study them thanks to the methods and the techniques of the archaeological sciences. In this context, we developed a crossed study of applied sciences (physico-chemical analyses of materials), archaeology and ethnoarchaeology approaches to try to answer archaeological problems perfectly defined in time (8th-10th c. A.D.) and space (archeological Mochica site of San José de Moro). The questions deal with the exploitation of raw material resources, the production, and in particular, the consumption of ritual ceramics. The major aim of our research is to discuss and define ceramic technical styles by defining technologies, raw materials, imports or local productions, in order to characterize and understand the history of this civilization and the history of contemporary and nearby civilizations (Cajamarca and Huari). The main subject in this research concerns the study of typo chronologies Moche, the archaeological study of the Mochica and Cajamarca productions, the archaeological study of the exploitation of the resources in raw materials at a local or a regional level, the study of the technical processes of ceramic productions discovered at San José of Moro. Then a theoretical discussion is carried out about the technical styles of ceramics preserved on the site. To conclude, our studies allowed, for example, to establish that Mochica ceramics were elaborated on homogeneous productive processes, to assert that Moche objects with poly-chrome decoration were produced with the same raw materials used for the production of Moche objects with bi-chrome decoration, and to define that Mochica and Cajamarca potters did not exchange raw materials for manufacturing ceramic bodies. Finally, the existence of technological parallels between these two societies, particularly as regards the decorations of ceramics, has been demostrated
Ansart, Arnaud. "Épistémologie d’une archéologie fragmentaire : le cas virú-gallinazo, côte nord du Pérou." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040007.
During the XXth century, the viru-gallinazo term first refers to ceramic’s style and after it distinguishes a culture. Today, the archaeological consensus includes the viru-gallinazo remains as a"cultural phenomenon" and seeks to define it. But the epistemology shows the fragmented aspect on which are based those interpretations.This thesis proposes then a more complex approach of the viru-gallinazo "cultural phenomenon". It is based on the following ideas: art does not reflect the entirety of cultural events. Finally the meaning of an object may vary according to the context in which it is located. For that reason, this study sets out a crossed contextual analysis of the different categories of remains
Books on the topic "Styles céramiques":
Berg, Paul Louis van. Grammaire des styles céramiques du rubané d'Alsace. Zimmersheim: Association pour la promotion de la recherche archéologique en Alsace, 1994.
Gallin, Annabelle. Les styles céramiques de Kobadi: Analyse comparative et implications chronoculturelles au néolithique récent du Sahel malien. Frankfurt: AMV, Africa Magna Verlag, 2011.
Meunier, Katia. Styles céramiques et néolithisation dans le sud-est du Bassin parisien: Une évolution Rubané, Villeneuve-Saint-Germain. Paris: INRAP, 2012.
Ducreux, Franck. Du Bronze moyen à l'aube du Bronze final en Bourgogne orientale: Analyse chrono-culturelle des styles céramiques (XVIe-XIIe siècle avant n.è.). Dijon: Éditions universitaires de Dijon, 2020.
Coulié, Anne. La céramique de la Grèce de l'Est: Le style des chèvres sauvages : la collection du musée du Louvre. [Montreuil]: Gourcuff Gradenigo, 2014.
(Firm), Drouot-Richelieu. Estampes, dessins et tableaux anciens, dessins et tableaux modernes, ensemble de céramiques XVIIIe et XIXe siècles françaises et étrangères, art déco, art nouveau, verrerie, céramiques, luminaires, mobilier, armes à feu françaises, armes blanches d'Extrême Orient, objets d'art et d'ameublement, mobilier ancien et du style, lustres, tapisseries et tapis. Paris: O. Outrebente, 2003.
(Firm), Drouot-Richelieu. Tableaux anciens, dessins et tableaux modernes, ensemble de céramiques XVIIe, XVIIIe et XIXe siècles franc̦aises et étrangeres, objet d'art et de bel ameublement, lustrerie, mobilier ancien, rustique et de style, tapis. Paris: O. Doutrebente, 2003.
(Firm), Drouot-Richelieu. Estampes anciennes et modernes, gouache et tableaux anciens, dessins des XIXe et XXe siècle, tableaux du XIXe siècle, tableaux du XXe siècle, caricatures, sculptures, bronzes, céramiques françaises et étrangères, arts d'Extrême Orient, art déco, art nouveau, verreries, objets d'art, mobilier, objets d'art et d'ameublement, instruments de musique, mobilier ancien et de style, lustres, tapisseries, tapis, toile peinte. Paris: O. Doutrebente, 2003.
V, Lungu. Céramique de Style West Slope. Peeters Publishers & Booksellers, 2013.
Hotel Drouot. Tableaux anciens et modernes, objets d'art, collections de verreries émaillées, céramiques et bibelots époque Napoléon et de la seconde moitié du XIXe, meubles d'époque et de style, important ensemble de meubles Napoléon III, tapis. Paris, 2000.
Book chapters on the topic "Styles céramiques":
Pétrequin, Pierre, and Anne-Marie Pétrequin. "Chapitre 1. Styles céramiques et chronologie." In La Préhistoire du Jura et l’Europe néolithique en 100 mots-clés, 91–161. Presses universitaires de Franche-Comté, 2021. http://dx.doi.org/10.4000/books.pufc.41945.
Nicolas, Théophane. "Styles céramiques et limites culturelles dans la culture Rhin-Suisse-France orientale." In Objets et symboles, 101–12. Éditions de la Sorbonne, 2009. http://dx.doi.org/10.4000/books.psorbonne.6051.
Mas, Juliette. "La céramique côtelée de Djézireh à la fin du Bronze ancien:." In Par la bêche et le stylet! Cultures et sociétés syro-mésopotamiennes, 256–62. Archaeopress Publishing Ltd, 2019. http://dx.doi.org/10.2307/j.ctvndv9gg.32.