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    • All Exhibits
    • Exhibit Home
    • Introduction
    • Archaeological Process
    • Multiple Narratives
    • Reconstructing the Past
      • Introduction
      • Reconstructing the Manor House
      • Roofing Tiles: A Quantitative Approach
      • Architectural Hardware from the Manor House
      • Reconstructing Virginia Indian Life: Ceramics
      • Reconstructing Virginia Indian Life: Ceramics
      • Use of Pots
      • Virginia Indian Food Preparation
    • Repurposing and Adaptation
    • Recent Research
    • Mysteries
    • Acknowledgements and Copyright Information
    • Learn More
American Indian quartz tempered ceramic

quartz-tempered, ca. AD 900-1650

Virginia Indian shell tempered ceramic

shell-tempered (shell has leached out), ca. AD 200-900

Virginia Indian grit tempered ceramic

grit-tempered (quartz/sand), ca. AD 900-1650

Virginia Indian cordmarked ceramic

cord-marked, ca. AD 900-1650

Virginia Indian fabric impressed ceramic

fabric-impressed, ca. AD 900-1650

Virginia Indian simple stamped ceramic

simple-stamped, ca. AD 900-1650

Virginia Indian corncob impressed ceramic

corn-cob impressed, ca. AD 900-1650

Among the most common artifacts found at Virginia Indian settlements after circa AD 500 are ceramic sherds--pieces of ceramic vessels that were broken and thrown away.  

What can archaeologists learn from ceramics?  

Ceramic Production

Historical records indicate that women were the primary producers of ceramics in Virginia Algonquian societies. Contemporary Virginia Indian tribes, particularly the Pamunkey and the Mattaponi, have continued the tradition of pottery-making. Working with Virginia Indian potters has helped archaeologists better understand the ceramic production process.

Ceramic production involved multiple steps and could take several days. Potters first needed to gather clay from riverbeds, which could be of some distance from their settlement. Materials such as sand or crushed quartz or shell--temper--were then kneaded into the clay. These materials help limit the shrinkage of the vessel when the water evaporates from the clay during firing. Three ceramic sherds with three different kinds of temper are on display. The clay would then be rolled into coils, which were stacked on top of each other and pressed together, and shaped into the desired form. Pressing cord-wrapped implements, nets, fabric, or even corncobs on the exterior added texture to the surface. Decoration, such as the incised designs on display, could also be added. The pot would be set out to dry and eventually fired.

 

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