To be sure, the primitive savage, unversed as he was in pastes and glazes16, in moulds and ornaments17, did not pass his life entirely19 devoid20 of cups and platters. Coconut21 shell and calabash rind, horn of ox and skull22 of enemy, bamboo-joint and capacious rhomb-shell, all alike, no doubt, supplied him with congenial implements23 for drink or storage. Like Eve in the Miltonic Paradise, there lacked him not fit vessels25 pure; picking some luscious26 tropical fruit, the savoury pulp27 he chewed, and in the rind still as he thirsted scooped28 the brimming stream. This was satisfactory as far as it went, of course, but it was not pottery29. He couldn't boil his joint for dinner in coconut or skull; he had to do it with stone pot-boilers, in a rude kettle of puddled clay.
But at last one day, that inspired barbarian30, the first potter, hit by accident upon his grand discovery. He had carried some water in a big calabash—the hard shell of a tropical fruit whose pulpy31 centre can be easily scooped out—and a happy thought suddenly struck him: why not put the calabash to boil upon the fire with a little clay smeared32 outside it? The savage is conservative, but he loves to save trouble. He tried the experiment, and it succeeded admirably. The water boiled, and the calabash was not burnt or broken. Our nameless philosopher took the primitive vessel24 off the fire with a forked branch and looked at it critically with the delighted eyes of a first inventor. A wonderful change had suddenly come over it. He had blundered accidentally upon the art of pottery. For what is this that has happened to the clay? It went in soft, brown, and muddy; it has come out hard, red, and stone-like. The first potter ruminated33 and wondered. He didn't fully34 realise, no doubt, what he had actually done; but he knew he had invented a means by which you could put a calabash upon a fire and keep it there without burning or bursting. That, after all, was at least something.
All this, you say (which, in effect, is Dr. Tylor's view), is purely35 hypothetical. In one sense, yes; but not in another. We know that most savage races still use natural vessels, made of coconuts36, gourds38, or calabashes, for everyday purposes of carrying water; and we also know that all the simplest and earliest pottery is moulded on the shape of just such natural jars and bottles. The fact and the theory based on it are no novelties. Early in the sixteenth century, indeed, the Sieur Gonneville, skipper of Honfleur, sailing round the Cape39 of Good Hope, made his way right across the Southern Ocean to some vague point of South America where he found the people still just in the intermediate stage between the use of natural vessels and the invention of pottery. For these amiable40 savages41 (name and habitat unknown) had wooden pots 'plastered with a kind of clay a good finger thick, which prevents the fire from burning them.' Here we catch industrial evolution in the very act, and the potter's art in its first infancy42, fossilised and crystallised, as it were, in an embryo43 condition, and fixed44 for us immovably by the unprogressive conservatism of a savage tribe. It was this curious early observation of evolving keramic art that made Goguet—an anthropologist45 born out of due season—first hit upon that luminous46 theory of the origin of pottery now all but universally accepted.
Plenty of evidence to the same effect is now forthcoming for the modern inquirer. Among the ancient monuments of the Mississippi valley, Squier and Davis found the kilns48 in which the primitive pottery had been baked; and among their relics49 were partially51 burnt pots retaining in part the rinds of the gourds or calabashes on which they had been actually modelled. Along the Gulf52 of Mexico gourds were also used to give shape to the pot; and all over the world, even to this day, the gourd37 form is a very common one for pottery of all sorts, thus pointing back, dimly and curiously53, to the original mode in which fictile ware54 generally came to be invented. In Fiji and in many parts of Africa vessels modelled upon natural forms are still universal. Of course all such pots as these are purely hand-made; the invention of the potter's wheel, now so indissolubly associated in all our minds with the production of earthenware55, belongs to an infinitely56 later and almost modern period.
And that consideration naturally suggests the fundamental question, When did the first potter live? The world (as Sir Henry Taylor has oracularly told us) knows nothing of its greatest men; and the very name of the father of all potters has been utterly57 forgotten in the lapse58 of ages. Indeed, paradoxical as it may sound to say so, one may reasonably doubt whether there was ever actually any one single man on whom one could definitely lay one's finger, and say with confidence, Here we have the first potter. Pottery, no doubt, like most other things, grew by imperceptible degrees from wholly vague and rudimentary beginnings. Just as there were steam-engines before Watt59, and locomotives before Stephenson, so there were pots before the first potter. Many men must have discovered separately, by half-unconscious trials, that a coat of mud rudely plastered over the bottom of a calabash prevented it from catching60 fire and spilling its contents; other men slowly learned to plaster the mud higher and ever higher up the sides; and yet others gradually introduced and patented new improvements for wholly encasing the entire cup in an inch thickness of carefully kneaded clay. Bit by bit the invention grew, like all great inventions, without any inventor. Thus the question of the date of the first potter practically resolves itself into the simpler question of the date of the earliest known pottery.
Did pal61?olithic man, that antique naked crouching62 savage who hunted the mammoth63, the reindeer64, and the cave-bear among the frozen fields of interglacial Gaul and Britain—did pal?olithic man himself, in his rude rock-shelters, possess a knowledge of the art of pottery? That is a question which has been much debated amongst arch?ologists, and which cannot even now be considered as finally settled before the tribunal of science. He must have drunk out of something or other, but whether he drank out of earthenware cups is still uncertain. It is pretty clear that the earliest drinking vessels used in Europe were neither bowls of earthenware nor shells of fruits, for the cold climate of interglacial times did not permit the growth in northern latitudes65 of such large natural vessels as gourds, calabashes, bamboos, or coco-nuts. In all probability the horns of the aurochs and the wild cattle, and the capacious skull of the fellow-man whose bones he had just picked at his ease for his cannibal supper, formed the aboriginal66 goblets67 and basins of the old black European savage. A curious verbal relic50 of the use of horns as drinking-cups survives indeed down to almost modern times in the Greek word keramic, still commonly applied68 to the art of pottery, and derived69, of course, from keras, a horn; while as to skulls71, not only were they frequently used as drinking-cups by our Scandinavian ancestors, but there still exists a very singular intermediate American vessel in which the clay has actually been moulded on a human skull as model, just as other vessels have been moulded on calabashes or other suitable vegetable shapes.
Still, the balance of evidence certainly seems to show that a little very rude and almost shapeless hand-made pottery has really been discovered amongst the buried caves where pal?olithic men made for ages their chief dwelling72-places. Fragments of earthenware occurred in the Hohefels cave near Ulm, in company with the bones of reindeer, cave-bears, and mammoths, whose joints73 had doubtless been duly boiled, a hundred thousand years ago, by the intelligent producer of those identical sun-dried fleshpots; and M. Joly, of Toulouse, has in his possession portions of an irregularly circular, flat-bottomed vessel, from the cave of Nabrigas, on which the finger-marks of the hand that moulded the clay are still clearly distinguishable on the baked earthenware. That is the great merit of pottery, viewed as an historical document; it retains its shape and peculiarities74 unaltered through countless75 centuries, for the future edification of unborn antiquaries. Litera scripta manet, and so does baked pottery. The hand itself that formed that rude bowl has long since mouldered76 away, flesh and bone alike, into the soil around it; but the print of its fingers, indelibly fixed by fire into the hardened clay, remains77 for us still to tell the story of that early triumph of nascent78 keramics.
The relics of pal?olithic pottery are, however, so very fragmentary, and the circumstances under which they have been discovered so extremely doubtful, that many cautious and sceptical antiquarians will even now have nothing to say to the suspected impostors. Among the remains of the newer Stone Age, on the other hand, comparatively abundant keramic specimens79 have been unearthed81, without doubt or cavil82, from the long barrows—the burial-places of the early Mongoloid race, now represented by the Finns and Lapps, which occupied the whole of Western Europe before the advent83 of the Aryan vanguard. One of the best bits is a curious wide-mouthed, semi-globular bowl from Norton Bavant, in Wiltshire, whose singular shape suggests almost immediately the idea that it must at least have been based, if not actually modelled, upon a human skull. Its rim3 is rough and quite irregular, and there is no trace of ornamentation of any sort; a fact quite in accordance with all the other facts we know about the men of the newer Stone Age, who were far less artistic84 and ?sthetic in every way than their ruder predecessors85 of the interglacial epoch86.
Ornamentation, when it does begin to appear, arises at first in a strictly87 practical and unintentional manner. Later examples elsewhere show us by analogy how it first came into existence. The Indians of the Ohio seem to have modelled their pottery in bags or nettings made of coarse thread or twisted bark. Those of the Mississippi moulded them in baskets of willow89 or splints. When the moist clay thus shaped and marked by the indentations of the mould was baked in the kiln47, it of course retained the pretty dappling it received from the interlaced and woven thrums, which were burnt off in the process of firing. Thus a rude sort of natural diaper ornament18 was set up, to which the eye soon became accustomed, and which it learned to regard as necessary for beauty. Hence, wherever newer and more improved methods of modelling came into use, there would arise an instinctive90 tendency on the part of the early potter to imitate the familiar marking by artificial means. Dr. Klemm long ago pointed91 out that the oldest German fictile vases have an ornamentation in which plaiting is imitated by incised lines. 'What was no longer wanted as a necessity,' he says, 'was kept up as an ornament alone.'
Another very simple form of ornamentation, reappearing everywhere all the world over on primitive bowls and vases, is the rope pattern, a line or string-course over the whole surface or near the mouth of the vessel. Many of the indented92 patterns on early British pottery have been produced, as Sir Daniel Wilson has pointed out, by the close impress of twisted cord on the wet clay. Sometimes these cords seem to have been originally left on the clay in the process of baking, and used as a mould; at other times they may have been employed afterwards as handles, as is still done in the case of some South African pots: and, when the rope handle wore off, the pattern made by its indentation on the plastic material before sun-baking would still remain as pure ornament. Probably the very common idea of string-course ornamentation just below the mouth or top of vases and bowls has its origin in this early and almost universal practice.
When other conscious and intentional88 ornamentation began to supersede93 these rude natural and undesigned patterns, they were at first mere94 rough attempts on the part of the early potter to imitate, with the simple means at his disposal, the characteristic marks of the ropes or wickerwork by which the older vessels were necessarily surrounded. He had gradually learned, as Mr. Tylor well puts it, that clay alone or with some mixture of sand is capable of being used without any extraneous95 support for the manufacture of drinking and cooking vessels. He therefore began to model rudely thin globular bowls with his own hands, dispensing96 with the aid of thongs97 or basketwork. But he still naturally continued to imitate the original shapes—the gourd, the calabash, the plaited net, the round basket; and his eye required the familiar decoration which naturally resulted from the use of some one or other among these primitive methods. So he tried his hand at deliberate ornament in his own simple untutored fashion.
It was quite literally98 his hand, indeed, that he tried at first; for the earliest decoration upon paleolithic pottery is made by pressing the fingers into the clay so as to produce a couple of deep parallel furrows99, which is the sole attempt at ornament on M. Joly's Nabrigas specimen80; while the urns100 and drinking-cups taken from our English long barrows are adorned101 with really pretty and effective patterns, produced by pressing the tip of the finger and the nail into the plastic material. It is wonderful what capital and varied102 results you can get with no more recondite103 graver than the human finger-nail, sometimes turned front downward, sometimes back downward, and sometimes used to egg up the moist clay into small jagged and relieved designs. Most of these patterns are more or less plaitlike in arrangement, evidently suggested to the mind of the potter by the primitive marks of the old basketwork. But, as time went on, the early artist learned to press into his service new implements, pieces of wood, bone scrapers, and the flint knife itself, with which he incised more regular patterns, straight or zigzag104 lines, rows of dots, squares and triangles, concentric circles, and even the mystic cross and swastika, the sacred symbols of yet unborn and undreamt-of religions. As yet, there was no direct imitation of plant or animal forms; once only, on a single specimen from a Swiss lake dwelling, are the stem and veins105 of a leaf dimly figured on the handiwork of the European prehistoric106 potter. Ornament in its pure form, as pattern merely, had begun to exist; imitative work as such was yet unknown, or almost unknown, to the eastern hemisphere.
In America, it was quite otherwise. The forgotten people who built the mounds107 of Ohio and the great tumuli of the Mississippi valley decorated their pottery not only with animal figures, such as snakes, fish, frogs, and turtles, but also with human heads and faces, many of them evidently modelled from the life, and some of them quite unmistakably genuine portraits. On one such vase, found in Arkansas, and figured by the Marquis de Nadaillac in his excellent work on Prehistoric America, the ornamentation consists (in true Red Indian taste) of skeleton hands, interspersed108 with crossbones; and the delicacy109 and anatomical correctness of the detail inevitably110 suggest the idea that the unknown artist must have worked with the actual hand of his slaughtered111 enemy lying for a model on the table before him. Much of the early American pottery is also coloured as well as figured, and that with considerable real taste; the pigments112 were applied, however, after the baking, and so possess little stability or permanence of character. But pots and vases of these advanced styles have got so far ahead of the first potter that we have really little or no business with them in this paper.
Prehistoric European pottery has never a spout113, but it often indulges in some simple form of ear or handle. The very ancient British bowl from Bavant Long Barrow—produced by that old squat114 Finnlike race which preceded the 'Ancient Britons' of our old-fashioned school-books—has two ear-shaped handles projecting just below the rim, exactly as in the modern form of vessel known as a crock, and still familiarly used for household purposes. This long survival of a common domestic shape from the most remote prehistoric antiquity115 to our own time is very significant and very interesting. Many of the old British pots have also a hole or two holes pierced through them, near the top, evidently for the purpose of putting in a string or rope by way of a handle. With the round barrows, which belong to the Bronze Age, and contain the remains of a later and more civilised Celtic population, we get far more advanced forms of pottery. Burial here is preceded by cremation116, and the ashes are enclosed in urns, many of which are very beautiful in form and exquisitely117 decorated. Cremation, as Professor Rolleston used feelingly to plead, is bad for the comparative anatomist and ethnographer, but it is passing well for the collector of pottery. Where burning exists as a common practice, there urns are frequent, and pottery an art in great request. Drinking-cups and perforated incense118 burners accompany the dead in the round barrows; but the use of the potter's wheel is still unknown, and all the urns and vases belonging to this age are still hand-moulded.
It is a curious reflection, however, that in spite of all the later improvements in the fictile art—in spite of wheels and moulds, pastes and glazes, stamps and pigments, and all the rest of it—the most primitive methods of the first potter are still in use in many countries, side by side with the most finished products of modern European skill and industry. I have in my own possession some West Indian calabashes, cut and decorated under my own eye by a Jamaican negro for his personal use, and bought from him by me for the smallest coin there current—calabashes carved round the edge through the rind with a rude string-course, exactly like the common rope pattern of prehistoric pottery. I have seen the same Jamaican negroes kneading their hand-made porous119 earthenware beside a tropical stream, moulding it on fruits or shaping it inside with a free sweep of the curved hand, and drying it for use in the hot sun, or baking it in a hastily-formed kiln of plastered mud into large coarse jars of prehistoric types, locally known by the quaint120 West African name of 'yabbas.' Many of these yabbas, if buried in the ground and exposed to damp and frost, till they almost lost the effects of the baking, would be quite indistinguishable, even by the skilled arch?ologist, from the actual handicraft of the pal?olithic potter. The West Indian negroes brought these simple arts with them from their African home, where they have been handed down in unbroken continuity from the very earliest age of fictile industry. New and better methods have slowly grown up everywhere around them, but these simplest, earliest, and easiest plans have survived none the less for the most ordinary domestic uses, and will survive for ages yet, as long as there remain any out-of-the-way places, remote from the main streams of civilised commerce. Thus, while hundreds of thousands of years, in all probability, separate us now from the ancient days of the first potter, it is yet possible for us to see the first potter's own methods and principles exemplified under our very eyes by people who derive70 them in unbroken succession from the direct teaching of that long-forgotten prehistoric savage.
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1
gratitude
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| adj.感激，感谢 | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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rim
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| n.(圆物的)边，轮缘；边界 | |
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cumbersome
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| adj.笨重的，不便携带的 | |
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lengthy
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| adj.漫长的，冗长的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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antelope
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| n.羚羊；羚羊皮 | |
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percolate
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| v.过滤，渗透 | |
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improvised
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| a.即席而作的,即兴的 | |
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joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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sodden
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| adj.浑身湿透的；v.使浸透；使呆头呆脑 | |
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seethed
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| （液体）沸腾( seethe的过去式和过去分词 )； 激动，大怒； 强压怒火； 生闷气(~with sth|~ at sth) | |
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gnawed
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| 咬( gnaw的过去式和过去分词 )； （长时间） 折磨某人； （使）苦恼； （长时间）危害某事物 | |
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plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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glazes
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| n.上釉的表面( glaze的名词复数 )；釉料；（浇在糕点上增加光泽的）蛋浆v.装玻璃( glaze的第三人称单数 )；上釉于，上光；（目光）变得呆滞无神 | |
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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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devoid
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| adj.全无的，缺乏的 | |
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coconut
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| n.椰子 | |
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skull
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| n.头骨；颅骨 | |
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implements
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| n.工具( implement的名词复数 )；家具；手段；[法律]履行（契约等）v.实现( implement的第三人称单数 )；执行；贯彻；使生效 | |
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vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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luscious
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| adj.美味的；芬芳的；肉感的，引与性欲的 | |
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pulp
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| n.果肉，纸浆；v.化成纸浆，除去...果肉，制成纸浆 | |
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scooped
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| v.抢先报道( scoop的过去式和过去分词 )；（敏捷地）抱起；抢先获得；用铲[勺]等挖（洞等） | |
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pottery
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| n.陶器，陶器场 | |
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barbarian
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| n.野蛮人；adj.野蛮(人)的；未开化的 | |
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pulpy
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| 果肉状的，多汁的，柔软的； 烂糊； 稀烂 | |
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smeared
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| 弄脏； 玷污； 涂抹； 擦上 | |
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ruminated
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| v.沉思( ruminate的过去式和过去分词 )；反复考虑；反刍；倒嚼 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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purely
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| adv.纯粹地，完全地 | |
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coconuts
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| n.椰子( coconut的名词复数 )；椰肉，椰果 | |
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gourd
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| n.葫芦 | |
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gourds
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| n.葫芦( gourd的名词复数 ) | |
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cape
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| n.海角，岬；披肩，短披风 | |
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amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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savages
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| 未开化的人，野蛮人( savage的名词复数 ) | |
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infancy
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| n.婴儿期；幼年期；初期 | |
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embryo
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| n.胚胎，萌芽的事物 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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anthropologist
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| n.人类学家，人类学者 | |
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luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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kiln
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| n.（砖、石灰等）窑，炉；v.烧窑 | |
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kilns
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| n.窑( kiln的名词复数 )；烧窑工人 | |
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relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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relic
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| n.神圣的遗物，遗迹，纪念物 | |
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partially
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| adv.部分地，从某些方面讲 | |
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gulf
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| n.海湾；深渊，鸿沟；分歧，隔阂 | |
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curiously
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| adv.有求知欲地；好问地；奇特地 | |
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ware
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| n.(常用复数)商品，货物 | |
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earthenware
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| n.土器，陶器 | |
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infinitely
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| adv.无限地，无穷地 | |
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utterly
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| adv.完全地，绝对地 | |
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lapse
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| n.过失，流逝，失效，抛弃信仰，间隔；vi.堕落，停止，失效，流逝；vt.使失效 | |
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watt
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| n.瓦，瓦特 | |
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catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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pal
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| n.朋友，伙伴，同志；vi.结为友 | |
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crouching
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| v.屈膝，蹲伏( crouch的现在分词 ) | |
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mammoth
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| n.长毛象；adj.长毛象似的，巨大的 | |
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reindeer
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| n.驯鹿 | |
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latitudes
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| 纬度 | |
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aboriginal
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| adj.（指动植物）土生的，原产地的，土著的 | |
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goblets
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| n.高脚酒杯( goblet的名词复数 ) | |
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applied
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| adj.应用的；v.应用，适用 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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derive
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| v.取得；导出；引申；来自；源自；出自 | |
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skulls
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| 颅骨( skull的名词复数 )； 脑袋； 脑子； 脑瓜 | |
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dwelling
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| n.住宅，住所，寓所 | |
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joints
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| 接头( joint的名词复数 )； 关节； 公共场所（尤指价格低廉的饮食和娱乐场所） （非正式）； 一块烤肉 （英式英语） | |
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peculiarities
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| n. 特质, 特性, 怪癖, 古怪 | |
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countless
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| adj.无数的，多得不计其数的 | |
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mouldered
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| v.腐朽( moulder的过去式和过去分词 )；腐烂，崩塌 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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nascent
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| adj.初生的，发生中的 | |
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specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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specimen
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| n.样本，标本 | |
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unearthed
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| 出土的（考古） | |
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cavil
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| v.挑毛病，吹毛求疵 | |
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advent
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| n.(重要事件等的)到来，来临 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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epoch
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| n.(新)时代；历元 | |
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strictly
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| adv.严厉地，严格地；严密地 | |
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intentional
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| adj.故意的，有意（识）的 | |
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willow
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| n.柳树 | |
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instinctive
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| adj.(出于)本能的；直觉的；(出于)天性的 | |
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pointed
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| adj.尖的，直截了当的 | |
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indented
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| adj.锯齿状的，高低不平的；缩进排版 | |
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supersede
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| v.替代；充任 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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extraneous
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| adj.体外的；外来的；外部的 | |
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dispensing
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| v.分配( dispense的现在分词 )；施与；配（药） | |
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thongs
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| 的东西 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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furrows
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| n.犁沟( furrow的名词复数 )；（脸上的）皱纹v.犁田，开沟( furrow的第三人称单数 ) | |
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urns
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| n.壶( urn的名词复数 )；瓮；缸；骨灰瓮 | |
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adorned
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| [计]被修饰的 | |
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varied
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| adj.多样的，多变化的 | |
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recondite
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| adj.深奥的，难解的 | |
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zigzag
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| n.曲折，之字形；adj.曲折的，锯齿形的；adv.曲折地，成锯齿形地；vt.使曲折；vi.曲折前行 | |
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veins
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| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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prehistoric
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| adj.（有记载的）历史以前的，史前的，古老的 | |
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mounds
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| 土堆，土丘( mound的名词复数 )； 一大堆 | |
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interspersed
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| adj.[医]散开的；点缀的v.intersperse的过去式和过去分词 | |
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delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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inevitably
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| adv.不可避免地；必然发生地 | |
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slaughtered
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| v.屠杀，杀戮，屠宰( slaughter的过去式和过去分词 ) | |
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pigments
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| n.（粉状）颜料( pigment的名词复数 )；天然色素 | |
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spout
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| v.喷出，涌出；滔滔不绝地讲；n.喷管；水柱 | |
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114
squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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115
antiquity
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| n.古老；高龄；古物，古迹 | |
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116
cremation
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| n.火葬，火化 | |
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117
exquisitely
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| adv.精致地；强烈地；剧烈地；异常地 | |
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118
incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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119
porous
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| adj.可渗透的，多孔的 | |
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120
quaint
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| adj.古雅的，离奇有趣的，奇怪的 | |
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