V.1 The Chrono-typology: a Case Study from Karnak (Egypt)
p. 94-98
Texte intégral
1A chrono-typology is an essential tool to approach other issues raised by the ceramic material. This first result mainly depends on the good preservation of the archaeological contexts—which is finally quite rare—and on careful documentation of the stratigraphic layers as well as the associated pottery. A case study from Karnak (Egypt) provides a good example to address this topic.
The Ptolemaic Levels of the Treasure of Shabaqo
2The evolution of the Ptolemaic ceramics in the Theban region was the subject of a 2-year research programme at Karnak between 2013 and 2015. Numerous researchers were involved in studying the ceramic material from archaeological sites in the region (David 2016). The archaeological exploration of the Treasure of Shabaqo at Karnak has considerably enriched our knowledge about the chronology of the productions thanks to the discovery of a succession of dwellings installed on the monument dated to the Late Period (Licitra, David 2016). Nadia Licitra managed to isolate different stratigraphic phases of occupation and abandonment from the beginning of the Ptolemaic period to the beginning of the Roman period (end of 4th century bc-1st century ad) that can be summarised as follow:
the level prior to the installation of the house III-01
the construction and use of the house III-01
the destruction of the house III-01
the construction and use of the house II-01
the destruction of the house II-01
3The stratigraphy of the excavation guides the presentation of the ceramic material and allows highlighting of the appearance of certain forms or even certain productions and thus serves as a comparison with the material from regions where the evolution of production is better known. The classification of the ceramic production in the Theban region adopted during a workshop held in Karnak in 2014 serves as a reference for the presentation of ceramics (David et al. 2016). It distinguishes the local productions made in a calcareous clay for which at least one of the production centres is known (Barahona-Mendieta 2016), and many other productions made in Nile clay according to easily identifiable groups (see Section ii.2). The results enable to approach the economic dynamics affecting the productions uncovered at Karnak as well as the progressive influence of the Hellenistic tradition on the local facies.
The Evolution of the Ceramic Production
Phase 1: The Regional Facies at the End of the Egyptian Late Period
4The first phase, dated to the very beginning of the Ptolemaic period, is illustrated by ceramics mainly following the models inherited from the Late Period. The typology is indeed in line with what we know of Saite and Persian assemblages with some markers such as bowls, the rims of which are underlined by a groove and painted black or jars with a triangular rim (fig. 48 a-b). This phase, however, marks the advent of new amphora shapes inspired by Greek models (fig. 48 c), more particularly from the Aegean islands from which Egypt receives a quantity of wine (Defernez, Marchand 2016).
Figure 48. Ceramic material typical of Ptolemaic phases 1 and 2 at Karnak

© N. Licitra/R. David/Cfeetk.
Phase 2: Between Hellenisation and Creation of a Local Facies
5In the second phase (ca. mid-3rd century bc-ca. mid-2nd century bc), the Hellenistic influence was particularly strong on the typology of tableware, cooking wares and those associated with the storage function. The shapes are based on contemporary prototypes observed in the Greek world, such as the “echinus” bowls, “fish dishes”, caccabai and chytra (fig. 48 d-g). However, local amphoras moved away from the Greek models to adopt a form that lasted until the Roman period (fig. 50). At Karnak, the same types of amphorae produced from alluvial clay also appeared, the proportion of which increased during the following phases.
Figure 50. Complete amphora from the Treasure of Shabako

© J. Maucor/Cfeetk.
Phase 3: Continuity of the Hellenistic Facies
6The ceramic material of phase 3 (ca. mid-2nd century bc-ca. mid-1st century bc) is basically the same as the one observed during phase 2. The calcareous local productions remain for the most part unchanged. However, some of them are covered with a red slip, which was not observed in the previous phases. The shape of the cooking wares seems to be more varied, with types derived from caccabai and lopades (fig. 49 a-b) following an evolution already noticed in Alexandria (Harlaut, Hayes 2018). Amphorae in alluvial paste, one of the production centres of which could be located in Coptos (Dixneuf 2011, p. 95), are more widespread.
Figure 49. Ceramic material typical of Ptolemaic phases 3 and 4 at Karnak

© N. Licitra/R. David/Cfeetk.
Phase 4: The Late Hellenistic Facies
7The repertoire of shapes associated with phase 4 (ca. 1st century bc) shows notable changes compared to the previous phase. While the continuity of certain categories can be seen, particularly among tableware and amphorae, the introduction of new types is well documented. Within the category of the cooking ware, we note the disappearance of the caccabai and the appearance of “flanged” pots (fig. 49 c). On the other hand, the influence of Eastern Sigillata A types on local productions can be observed (fig. 49 d).
Phase 5: Early Roman Ceramics
8Unfortunately, the small quantity of the ceramic material dated to this phase does not enable further discussion on the general evolution of the facies of the ceramic from Karnak. However, it can be noted that most of the forms observed in the last level of abandonment of the site follow on from the facies of phase 4. The introduction of new forms of AE3-5 amphorae, probably originating from Coptos, marks the transition from the Ptolemaic to the Roman period (Dixneuf 2011, p. 128).
Concluding Remarks
9The evolution of the productions illustrated by the ceramic material from the Treasure of Shabaqo provides important clues to approach the phenomenon of the Hellenisation of the Egyptian culture. We can thus note the permanence of the pottery tradition of the Late Period during phase 1 and then, from phase 2 onwards, a marked influence of Greek models that accompanies the diversification of the local repertoire. It is likely that this facies remains unchanged in phase 3, apart from a variety of shapes observed among the category of the cooking wares. Phase 4 marks a slight break from this point of view since, with the renewal of the typology the local calcareous productions under the influence of the Eastern Sigillata A and the disappearance of many forms maintained from earlier periods, the facies of the Treasure of Shabaqo loses its specificity. Our documentation allows us to follow this process up to early Roman times (phase 5), when the ceramic repertoire becomes very similar to that of many sites in Egypt.
Auteur
Researcher, Section française de la direction des Antiquités du Soudan, Khartoum, Sudan.

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