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托福TPO59阅读Passage 3完整原文

Ancient Greek Pottery

An extremely important and long-standing industry in ancient Greece was the ceramics industry, giving rise to the huge number of pieces of pottery archaeologists and historians pore over. In reality, pottery production can almost be seen as a combination of a natural resources-based economy and a production-based economy, as the primary material-good clay-was a result of the natural geology. However, not all city-states made equal use of their clay resources, and only two-Corinth and Athens-were really active in pottery export in the Archaic Age (750 -500 BC) and following.

As with weaving, pottery no doubt began as, and in many places remained, a household industry, probably practiced exclusively in the summer when the clay and kindling wood were drier and easier to transport and burn But evidence of a more concentrated effort at production for export appeared already in the Bronze Age (3000-1 100 B c.) and continued in the Dark Ages (1100-800 B c ), as with the copious export of Euboean scyphi (drinking cups) to such locations in the Mediterranean as Cyprus, the Levant, and even Italy. These were followed by the Corinthian cups and scyphi, and finally the Athenian kylix (a shallow type of wine goblet). The demand for Greek vessels to drink out of appears to have stemmed from a desire for Greek things to drink, and amphorae and pithoi (storage vessels), especially from Attica, also proliferated in the Mediterranean.

This need for commercial production led to the rise of workshops and factories. Such workshops were usually family-owned businesses run by the head of the household, his sons (and possibly daughters), and, depending on the size of the industry, additional servants and/or slaves. The general assumption concerning many professional potters is that they were not citizens of the cities in which they worked. In Athens, these were the metics, or resident aliens, as well as inscribed pottery shard naming the Phoenician goddess Astarte suggests that there were Phoenician immigrants

Happily for modern researchers, many artisans signed their works. This gives an idea not only of who these ancient ceramicists were, but also of how labor was divided Modern scholars have the names of a few potter-families from sixth-century B c Athens: Nearkhos, who worked with his sons Tleson and Ergoteles: Ergotimos, who was succeeded by his son Eukheiros (literally, "Good Hand" ); and Amasis and his son Kleophrades, who produced pottery from the mid-sixth century B c to the dawn of the fifth. The signatures indicate, however, that although these men fashioned and fired the ceramics, others were employed to paint the more elaborate figural vases.Such artists traveled around to different workshops, like the sixth-century Epictetus, whose name as a painter accompanied about six different names of potters.

Starting around 550 B.C., numbers were scratched onto the bottoms of some vases, often appearing after the name of the vase in full or abbreviated form. These may have been batch numbers, indicating groups of pots fired together and intended for specific merchants or markets. The merchants were also indicated by markings on some vases, whereby a signature sign or abbreviation indicated to which exporter or importer in the receiving city the pottery was destined In the sixth century B c ., such merchants were frequently lomans (Greeks from cities on the Mediterranean coast of Asia Minor), who were responsible for much of the import-export business at Naucratis in the south and Gravisca in the west.

But the most important markings from the point of view of economics are the actual "price tags" etched into some pots. An important difference in the price occurred between painted and undecorated vases, with a markup of anywhere from 25 to 50 percent for the figural vases. Clearly, this was because the pottery manufacturer had to pay for the additional labor.

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