View Halaf culture Research Papers on for free. PDF | On Jan 1, , P.M.M.G. Akkermans and others published Old and New Perspectives on the Origins of the Halaf Culture. Tell Halaf Culture. A tell (mound) site in the Khabur Valley in northeast Syria close to the Turkish border which has given its name to a widespread culture of.

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More precisely, archaeological sites associated to the ceramic productions from the Hassuna, Samarra, Halaf and Ubaid cultures have been studied.

Halaf culture

A small collection of sherds was therefore exported for thin section analysis 59 examples with the permission of the Turkish authorities. It cannot therefore be assumed that only the dull painted examples are of local origin.

This chapter focuses on the human figurines from the Pre- Pottery Neolithic and Pottery Neolithic periods, spanning c. Ten kilometres east of the site is the Yavuzeli formation with basalt and pyroclastic rocks, and some outcrops of the Selmo formation with siltstone, tuff and sandstone. Regarding Mesopotamia, the area and time period are subdivided into several cultures.

Tell Halaf Grabungsprojekt

Levels from 11 to cultude are considered pre-Halaf ; from 6 to 4, transitional; and from 3 to 1, early Halaf. As the guarantee of the regular renewal of life, she had a key role to play in a society based on the production of natural resources.

A-B in the Levant, before shifting eastward to Mesopotamia. Enter the email address you signed up with and we’ll email you a reset link. This allows clustering cilture on chemical composition to be compared to petrographic grouping and other attributes, such as the fi nd site. Thanks to a number of survey projects and site excavations, Upper Mesopotamia has become in recent years a key case study for the investigation of the appearance of complex societies.

Table 1 — List of samples analysed from Domuztepe, Tell Halaf, Chagar Bazar, and Arpachiyah, with corresponding registration number, ware type and fi nd site. Many thanks to D. We shift to the Pottery Neolithic, reviewing the PN. A-B is introduced ca. In a few instances, one or two of the bulk analyses produced signifi cantly different results to the majority from that sherd table 4probably because of post-depositional calcite contamination AR12or concentrations of calcareous fragments, fl int, quartz, feldspar or serpentine inclusions CB40, TH6, TH49, DT A framework for the later Prehistory in Mesopotamia, which places the Halaf period in the 6th millennium cal.


Different clays were used for the production of vessels which share macroscopic similarities, such as Bichrome and Painted Orange ware; cuoture thin section the two fabrics are very different, the Painted Orange being extremely fi ne and the Bichrome rich in coarse igneous inclusions and ilmenite Fabrics 5 and subgroup a. These wares cylture not however chronologically distinct from the rest of the ceramic assemblage and derive from contexts that can be fi rmly placed in the Middle Halaf or Halaf II, well before the beginning of the so-called Halaf-Ubaid transition.

It was argued that pottery with vitreous and lustrous paints was a Halaf import, whereas sherds showing duller, non-penetrating paint were local copies. These are hand- held items, rarely over 10 cm in height; a majority are crafted out of clay, although many are cut from stone culturd occasionally bone.

As well as their fine painted pottery the Halaf communities made baked clay female figurines and stamp seals of stone; these latter artefacts are often thought to mark the development of concepts of personal property because at a later date seals are used to produce marks of ownership.

The articles presented in this publication have been written by 31 researchers from 13 nationalities and hlaaf themes involving from raw material collection to the manufacture, use and characterisation of diverse ceramic productions.

The Unpainted Ubaid Fabric 1-subgroup b was produced with micritic clay hala abundant quartz, calcareous fragments, occasional serpentine and fi ne volcanic inclusions, as was one of the Painted Ubaid samples. Ancient Near East portal.

SEM-EDX has been used to study technological and compositional aspects of pottery, 55 often in combination with other techniques. The Halaf period is notable for having a shared material cultural tradition spread over a large geographical area fi g. Other types of Halaf pottery are known, including unpainted, cooking ware and ware with burnished surfaces.

Remember me on this computer. Each symbol represents a different sherd table 4and the shape of each symbol indicates the find-site see legend [link] Fig. The other six samples have positive cu,ture against Principal Components 1, refl ecting their non-micritic fabrics.


In contrast, the same clays and processes of cylture were employed to manufacture different categories of vessels, such as Painted Orange and Painted Halaf Fabric 13 and subgroups.

H̱alaf Period

As cultude Tell Halaf, it is possible that this material was found locally, but it is also conceivable that some of these fabrics were produced elsewhere in the region, as the characteristic minerals are widespread. From the 13th century B. The fact that typical round buildings were the primary living and working areas during the Halaf period complicated matters.

Most potsherds 18 samples: Minero-petrographic analysis Domuztepe 59 sherds were selected for analysis to create a comparative sample of the 12 fabric types identifi ed at Domuztepe table 2 through non-archaeometrical statistical analyses57 and to cover the range of ware-types encountered at Domuztepe, namely, fi ne painted wares Bichrome, Trichrome, Painted Orange and Fine LinePainted Halaf and Ubaid, Unpainted Halaf and Ubaid, Black, Brown and Red Burnished, Thick Burnished, Pattern Burnished, Incised and Coarse wares.

A sub-group was defi ned when the matrix was similar to that of other sherds in the group, but there was variation in the percentage or the size of some minerals. The figurine data presented encompass a range of styles and emphasize varying degrees of Samples were selected for analysis across as wide a range as possible of stylistic and fabric types within this painted group.

The other subgroups of Fabric 1 are either too coarse or have much higher percentages of serpentine than the fi ne ware fabrics from the Syrian and Iraqi sites. Watkins and Campbell, CDA maximises the separation of defi ned groups of samples here defi ned by the fi nd site.