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Grog tempered pottery, Wilmington cord marked, Wilmington Period, AD 350–800, Fernbank Museum of Natural History

Cord-marked pottery or Cordmarked pottery is an early form of a simple earthenware pottery. It allowed food to be stored and cooked over fire. Cord-marked pottery varied slightly around the world, depending upon the clay and raw materials that were available. It generally coincided with cultures moving to an agrarian and more settled lifestyle, like that of the Woodland period, as compared to a strictly hunter-gatherer lifestyle.[1]

Making cord-marked pottery

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Pottery was made by gathering clay from hillsides or streams. Other material—shells, stone, sand, plant fibers, crushed fired clay—added to the clay tempers it to prevent cracking and shrinking when dried and fired.[2] Several methods were used to create the rough shape of the vessel: pinching and shaping, paddling, or coiling, the latter of which means to build up a pot with coils of rolled clay. Layers of coiled clay are then pinched, thinned, and smoothed. Another method, paddling, is accomplished by pounding a lump of clay with a wooden paddle against a large stone. The fabric texture may appear on the side of the pottery if the paddle was covered with fabric. Otherwise, the pot could be created by shaping and pinching a lump of clay.[2]

Cord-marked pottery was then made with a paddle and anvil method that was accomplished by pressing cord-wrapped paddles against the side of the pottery to form and thin the pottery. This was done while holding an anvil stone on the inside of the vessel. The fiber cords prevented the paddles from sticking to the wet clay. This created small, parallel ridges in the pottery.[1] Pottery was then dried for two weeks and fired.[2]

The rough surface that was created made it easy to hold on to the vessels, particularly when wet or greasy. The rough surface also allowed "more effective transfer of heat (energy) from a cooking fire to the contents of the pot compared to a vessel with a smooth exterior."[1]

Mostly three types of impressions are obtained by using (1) single strand cord, (2) double strands twisted cord and (3) knots of thick cord in Maipur. The cords are wrapped around a paddle in the case of the first two types, while the paddle is covered with a net made by tying knots in series of thick cord in the case of the third type.[3]

Asia

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Earthenware with cord-marked and incised decoration (Tokoshinai 5 type), Metropolitan Museum of Art

In Japan, the Jōmon period is named after its cord-marked pottery.[4] The term Jomon was coined by Edward S. Morse who discovered corded ware at the Omori site in 1867.[3] In Taiwan, the Fengpitou (鳳鼻頭) culture, characterized by fine red cord-marked pottery, was found in Penghu and the central and southern parts of the western side of the island, and a culture with similar pottery occupied the eastern coastal areas. Archaeologically, the prehistory of Taiwan can be subdivided into at least four major cultural sequences. From earliest to most recent, these are the Changpin culture, Tapenkeng culture (coarse corded ware culture), fine corded ware culture (red cord-marked ware culture), and the proto-historical culture. There were also the eastern cord-marked cultures of eastern, central, and southern Taiwan. Pottery of the Suntangpu culture consists mainly of jars, bowls, and basins. Three main kinds of pottery: reddish sandy pottery, orange sandy pottery, and orange clay pottery, are recognized from these red cord-marked wares. Reddish Sandy pottery characterized by red coatings and dominant pyroxene tempers is considered most characteristic of Suntangpu culture. Micro-Raman spectroscopy, XRD, and SEM-EDX can be used on corded Ware pottery to unravel mineralogical composition and can also be specifically used on red cord-marked pottery to help determine whether the same raw materials were used in the red coatings and ceramic bodies by ancient Potters.[5]

North America

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Main article: Ceramics of indigenous peoples of the Americas

In North America, cord-marked pottery is believed to have originated in the Eastern United States prior to 1000 BC and was found in the upper Midwestern United States about 500 BC. Over the next 500 years, pottery-making cultures spread west, south, and northwest into the Great Plains, west of the Mississippi, and into Texas and Oklahoma.[1]

Cord-marked pottery was made in several shapes. An inverted cone shape, with a pointed bottom and up to 2 1/2 feet tall, was used for storing food. The walls of the pottery were very thick, and were too heavy to haul food a great distance. This would have been a great improvement over storing food directly underground without a container. Over time, the pottery walls became thinner and rounder as pottery-makers became more skilled, such as during the Plains Village period (c. a. AD 1100–1450). Round shaped or globular pottery meant that the vessels could be steadied on several small stones or placed directly on a fire for cooking. There were also different rim shaped: flared rims, straight rims, or collared, meaning thickened, rims. Fingernail impressions or incised lines were sometimes added for decoration.[1]

Native groups of people created their own styles, based upon the raw materials that they used or the decorations that they added to the pottery. Some used crushed volcanic stone to temper the clay pottery. Decorations were made with punctuations, impressions, and incised lines.[1] During the Luray phase of prehistoric West Virginia shells were used to temper Keyser Cord-marked pottery.

Cord-marked pottery was made in the plains between the early centuries AD and through to the 1700s.[1] Wilmington Cord-Marked, made of clay or grog and tempered with grit or sherd, was found at the mouth of the Savannah River and along the coastal plain of South and North Carolina. The earliest Wilmington pottery was dated to 500 BC.[6] Cord-marked pottery made by Plain Villagers about 900 years ago called Borger Cordmarked Pottery (found at Landergin Mesa), is named for the nearby town of Borger, Texas. It was made by people who lived in the Texas Panhandle along the Canadian River, believed to be people of the Antelope Creek culture from AD 1100 to 1450. Similar pottery was made in the Oklahoma panhandle, southwestern Kansas, and southeastern Colorado.[1] Cord-marked pottery, made by the Apache during the Tipi Ring period has been found at Picture Canyon in Colorado.[7] Pottery designated as white rock cord-marked pottery was obtained at the white rock site, seven miles east of Boulder and thirty miles north of Denver, Colorado in 1948.[8]

[edit]

References

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Cord-marked pottery

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Cord-marked pottery, also known as cord-impressed or cord-wrapped pottery, is an ancient earthenware tradition characterized by distinctive parallel impressions on vessel surfaces created by pressing cords or cord-wrapped paddles into wet clay during shaping.[1] This technique produced simple, low-fired vessels typically tempered with sand, grit, or crushed stone, used primarily for cooking, storage, and processing foods such as aquatic resources.[2] Originating among hunter-gatherer societies, it represents one of the world's earliest pottery forms, with evidence dating to the Late Pleistocene around 18,000–16,000 calibrated years before present (cal BP) in East Asia.[2] The origins of cord-marked pottery trace back to the Japanese archipelago, southern China, and the Russian Far East, where it emerged during cold glacial conditions and proliferated in the Early Holocene around 11,500 cal BP amid climatic warming and post-glacial environmental changes.[2] In these regions, such as the Jōmon culture of Japan, vessels were often globular or pointed-bottomed, thin-walled, and fired at low temperatures (500–700°F), reflecting adaptations for processing fish, shellfish, and other perishable foods by mobile forager groups.[2] Archaeological sites like those in Taiwan's Ta-p'en-k'eng and Feng-pi-t'ou cultures further illustrate its spread southward, where thick, coarse brown-buff sherds with cord markings appeared several millennia before 2500 B.C., associated with early horticulturalists using stone tools and pecked implements.[3] In North America, cord-marked pottery developed independently or through trans-Beringian influences, appearing around 2500–3000 years ago among Paleo-Inuit and later Neo-Inuit groups in the Arctic and Bering Strait regions, with thin, hard vessels featuring cord, linear, or check-stamped surfaces for cooking and lighting.[4] By the Woodland period (ca. A.D. 200–1100), it became widespread across eastern and central North America, including the Plains Village tradition (A.D. 1100–1450) in areas like the Texas Panhandle, where globular cooking pots and conical storage jars were formed from coiled clay and fired with brush or dung fuels.[1] This pottery's distribution highlights cultural exchanges, such as along the Canadian River and into southeastern Colorado, often linked to maize agriculture, semi-sedentary villages, and cordage technologies shared with weaving practices.[1] Overall, cord-marked pottery's endurance across millennia underscores its role in technological innovation, subsistence strategies, and social connectivity among prehistoric societies from East Asia to the Americas.[4]

Overview

Definition and Characteristics

Cord-marked pottery is a type of earthenware characterized by its surface decoration, achieved by pressing twisted cords or cord-wrapped paddles into the wet clay before firing, resulting in distinctive linear or rope-like impressions.[5][6] These impressions create a textured, rough exterior that mimics the weave of cordage, often covering the entire body of the vessel in parallel or overlapping patterns.[7] Physically, cord-marked pottery typically features coiled or slab-built construction, with vessels commonly exhibiting globular or pointed-bottom forms suited for cooking or storage.[8] The impressions are usually deep and uneven, imparting a tactile, fibrous quality to the surface, and this style predominates in Neolithic and early ceramic traditions across various regions, reflecting early advancements in pottery decoration.[1][9] Unlike comb-marked pottery, which uses toothed tools to produce serrated or dashed lines, or incised pottery, which involves cutting linear grooves into the clay, cord-marked pottery relies on the organic impression of flexible cordage for its organic, woven-like texture.[10] The direction of cord twists—S-twist (counterclockwise) or Z-twist (clockwise)—visible in the impressions, provides insights into contemporaneous fiber technologies, as these patterns indicate the spinning methods used to create the cords from plant or animal fibers.[1][11] The earliest known examples of cord-marked pottery date to approximately 18,000–16,000 cal BP in East Asia, with examples associated with the Incipient Jōmon period in Japan dating from around 14,000 BCE, where rudimentary cord impressions appear on deep cooking vessels.[2][8][9]

Historical Significance

Cord-marked pottery provides essential evidence of early textile and cordage technologies, revealing advanced fiber processing skills that in many regions predated the invention of pottery itself. The impressions created by pressing cord-wrapped tools or fabrics onto wet clay preserve intricate details of prehistoric weaving and twisting techniques, offering direct archaeological traces of otherwise perishable materials. For example, in the Late Neolithic Northern Levant, cord-impressed pottery from the site of Shir in Syria yields hundreds of sherds with well-preserved cordage and textile imprints, representing the largest such assemblage known from the prehistoric Middle East and illuminating the production and use of early woven goods.[12] In archaeological contexts, cord-marked pottery plays a pivotal role in dating Neolithic transitions, indicating the onset of sedentism and the establishment of trade networks, while associating with broader shifts from mobile hunter-gatherer economies to more settled lifestyles. Its appearance often coincides with evidence of semi-permanent villages and resource storage, as observed in Japan's Incipient Jomon period (14,000–9,250 cal. BC), where cord-marked vessels facilitated nut-based storage economies that supported year-round occupation without reliance on agriculture. Similarly, in East Asia, early cord-marked pottery from sites like Houtaomuga in Northeast China (dated 12,900–11,100 BP) marks the Paleolithic-Neolithic boundary, linked to communities exploiting stable aquatic resources and wild plants, thus predating domesticated farming and highlighting pottery's role in enabling reduced mobility.[13][14] On a global scale, cord-marked pottery exemplifies parallel inventions in ceramic technologies across continents, arising independently among hunter-gatherer groups with little evidence of transcontinental diffusion. In East Asia, such pottery emerged as early as 18,000–16,000 cal BP, while in Eastern Europe, grass-tempered cord-impressed vessels appeared around 5,800 cal. BC among Mesolithic foragers, distinct from contemporaneous farmer traditions in the Balkans. This pattern underscores cord-marked pottery's significance as a universal marker of early sedentary innovation, challenging models that tie ceramics exclusively to agricultural revolutions.[2][15] The tradition further contributes to interpretations of prehistoric gender divisions in labor, particularly women's central involvement in pottery forming and associated weaving tasks. Cross-cultural ethnographic data from 120 societies show women dominating cordage production in 57.5% of cases, frequently overlapping with pottery and textile crafts as flexible, household-based activities that reinforced female economic roles. Scholarly debates persist on the cord-marking technique's intent, with some viewing it as functional—for enhancing vessel grip or even heat transfer during cooking—while others emphasize its decorative evolution, as in Jomon pottery where initial practical impressions developed into symbolic, high-relief motifs reflecting cultural identity.[16][17]

Production Techniques

Materials and Preparation

Cord-marked pottery was typically produced using locally sourced earthenware clays, which were abundant in riverine and lacustrine deposits across regions where the tradition developed. These clays, often containing iron oxides, provided the base paste that, when fired, yielded the characteristic reddish-brown hues of the finished ware.[8][1] To enhance strength and reduce cracking during drying and firing, potters incorporated tempers such as sand, crushed shell, grit, mica, fibers, or volcanic ash into the clay mixture, comprising 30-50% of the paste by volume in many examples. In East Asian contexts like the Jōmon period, crushed shells and mica were common additives, while North American variants frequently used micaceous sand or bone. The choice of temper reflected regional availability, with coastal areas favoring shell and inland sites opting for quartzite or ash.[8][1] Preparation began with sourcing clay from nearby geological formations, such as Permian redbeds or playa deposits in North America, followed by cleaning to remove impurities like pebbles and rootlets through pulverizing, screening, and winnowing. The cleaned clay was then hydrated with water and wedged or kneaded like dough to achieve plasticity and eliminate air pockets, often left to rest overnight for optimal workability.[1] Initial forming techniques included coiling, where soft clay ropes were stacked and welded to build vessel walls; pinching, for smaller forms; or slab construction for bases. These methods, adapted from pre-ceramic basketry practices, employed simple tools like wooden paddles, bone awls, or stones to shape and thin walls to 2-4 mm thickness.[8][1] Firing occurred in low-temperature open or pit fires, typically reaching 300–900°C (570–1650°F) depending on region; for example, up to ~900°C in East Asian Jōmon traditions and 260–370°C (500–700°F) in some North American variants, using fuels like brush, dung, or wood in outdoor bonfires without kilns. This process hardened the porous, non-vitrified ware, enhancing durability for everyday use while preserving its earthy tones from iron content in the clay; slow preheating and cooling prevented thermal shock and cracking.[8][1]

Decoration and Forming Methods

Cord-marked pottery derives its name from the distinctive surface decoration achieved by impressing cords into the leather-hard clay body, creating textured patterns that enhance grip and aesthetic appeal. This primary decoration technique involves using single strands, twisted cords, or cords wrapped around wooden paddles to apply impressions, often during the vessel's construction phase. Common methods include stamping the cord or paddle directly onto the clay surface for discrete marks, rolling it across the body to produce continuous lines, or dragging it to form elongated patterns such as parallel rows or herringbone designs.[12] The decoration process is frequently integrated with forming methods, particularly in coil-building traditions where cord-wrapped paddles serve dual purposes: smoothing and joining coils while simultaneously imparting the characteristic markings as a by-product of shaping. In some variants, after initial impressions are applied, the surface may undergo light smoothing or burnishing to refine the texture without erasing the cord patterns entirely, balancing functionality with decorative intent. This combined approach ensures the impressions are uniform and structurally sound, as the pressure from paddling helps compact the clay walls.[18] Variations in cordage significantly influence the final appearance, with cords typically crafted from local plant fibers, such as bast from trees or herbaceous plants, or occasionally other natural materials. Twisted cords, either in Z- or S-directions, produce more pronounced and varied impressions compared to single strands, allowing for complex motifs. Archaeologists analyze impression depth and density to infer cord thickness and the pressure applied during decoration; deeper, closely spaced marks indicate thicker cords and firmer stamping, while shallower ones suggest lighter rolling or finer materials.[12][19][20] One challenge in this technique arises from uneven impressions, which can lead to irregular drying and potential cracks in the clay body due to differential shrinkage around textured areas. Innovations addressed this by evolving from earlier basketry impressions—where entire woven mats were pressed into clay as skeuomorphs—to more controlled cord-marked styles that allowed precise application and reduced structural weaknesses. This shift emphasized direct cord use over full fabric transfers, improving both durability and pattern consistency.[21][22]

Regional Traditions

East Asia

Cord-marked pottery has early origins in East Asia, with the earliest examples dating to the Late Pleistocene around 18,000–16,000 cal BP in southern China at sites such as Xianrendong Cave in Jiangxi Province and Yuchanyan Cave in Hunan Province, where mobile forager groups produced simple, low-fired vessels with cord impressions for cooking during cold glacial conditions.[23][2] Evidence also appears contemporaneously in the Russian Far East, along the Amur River basin, indicating multiple centers of innovation among hunter-gatherers adapting to post-glacial environments.[2] In Japan, during the Incipient Jōmon period (~14,000–10,500 BCE), pottery emerged at sites like Ōdai Yamamoto I in Aomori Prefecture, featuring initial plain and undecorated vessels formed by hand from local clay and fired at low temperatures for cooking over open fires by hunter-gatherer communities transitioning to semi-sedentary lifestyles.[24][25] By the Initial Jōmon phase (around 10,500–7,500 BCE), pottery evolved to include simple impressions from cords wrapped around sticks, marking the shift to cord-marked styles that defined the broader Jōmon period (14,000–300 BCE).[26] This progression from plain to elaborate cord-marked designs reflected increasing technical proficiency and aesthetic variation, with deeper, pointed-bottom jars emerging for boiling and storage in foraging-based economies.[27] In China, while the earliest pottery dates to the Paleolithic, cord-marked styles proliferated during pre-Yangshao Neolithic phases at sites like Xiawanggang in Henan Province (~7000–5000 BCE), featuring ovoid amphorae with pointed bases, small necks, and lug handles for practical storage and transport in early agricultural settlements.[28] By the Yangshao culture (5000–3000 BCE) along the Yellow River basin, these forms became widespread.[29] The tradition spread southward to Taiwan's Ta-p'en-k'eng and Feng-pi-t'ou cultures several millennia before 2500 BCE, where thick, coarse brown-buff sherds with cord markings were associated with early horticulturalists using stone tools and pecked implements.[3] Similarly, in Korea, the Chulmun (or Jeulmun) period (8000–1500 BCE) produced cord-marked pottery with incised and combed decorations, particularly along coastal areas where deep bowls and pointed-base vessels adapted to marine resource processing by foraging populations reliant on fishing and shellfish gathering.[30][31] These vessel types, often fired in open pits, supported boiling seafood and storage in semi-permanent shell middens.[32] Cord-marked pottery played a central role in East Asian foraging economies, enabling efficient cooking of wild plants, fish, and nuts while symbolizing cultural continuity among hunter-gatherer societies.[8] In Japan, Jōmon vessels were sometimes used in rituals, such as infant burials where designs evoked birth motifs, linking pottery to spiritual practices.[33] Evidence of trade emerges through stylistic similarities, such as shared cord-impression techniques between Jōmon pottery and Chulmun wares, suggesting maritime exchanges along coastal routes.[34] These connections extended to early Southeast Asian sites, like Ban Chiang in Thailand (circa 3600–2000 BCE), where pre-metal age cord-marked pots indicate cultural diffusion from East Asian traditions into regional hunter-gatherer networks.[35]

North America

In North America, cord-marked pottery developed independently or possibly through trans-Beringian influences, with early appearances around 2500–3000 years ago (~500–0 BCE) among Paleo-Inuit and later Neo-Inuit groups in the Arctic and Bering Strait regions. These thin, hard vessels featured cord, linear, or check-stamped surfaces and were used for cooking and lighting in mobile societies.[4] Cord-marked pottery first appeared more widely during the Late Archaic period around 1000 BCE in the Eastern Woodlands, marking a significant technological advancement in indigenous ceramic traditions.[5] This ware, characterized by impressions from cord-wrapped paddles pressed into coiled clay vessels, emerged independently in the Eastern Woodlands and spread widely.[36] In the Northeast, the Vinette I type, dating to approximately 1000–500 BCE, exemplifies early adoption, featuring grit-tempered, conoidal vessels with both interior and exterior cord markings, often used for storage and cooking by semi-sedentary communities.[36] These ceramics reflect adaptations to local resources, with cordage impressions derived from plant fibers such as dogbane (Apocynum cannabinum), a common bast fiber in the region for twined and plied cords.[37] The pottery flourished during the Woodland period (ca. 1000 BCE–1000 CE), becoming a hallmark of cultural expansion across the continent.[5] In the Midwest, the Marion Cord-Marked type, associated with the Marion phase around 500 BCE, featured thick-walled (8–12 mm) jars with straight sides and rock-tempered paste, distributed along the Great Lakes and upper Mississippi River drainages.[38] Key sites include those near Fort McCoy, Wisconsin, where such vessels indicate early horticultural practices and mound-building activities linked to the broader Adena and Hopewell traditions.[38] Further south, along the Mississippi River, early examples appear at Tchefuncte culture sites in Louisiana, dating to 800 BCE–1 CE, where cord-marked surfaces occasionally adorned untempered, globular jars used by fisher-hunter-gatherers who constructed burial mounds.[39] Vessel forms typically included wide-mouthed jars suitable for processing maize and other staples, as maize agriculture intensified in the Late Woodland subperiod after 500 CE.[5] Regional variations highlight adaptive diversity, with southern manifestations like Ocmulgee Cord-Marked in Georgia's Ocmulgee River valley (ca. 800–1200 CE) featuring sand-tempered, 5 mm thick sherds with linear or crossed cord impressions on folded rims.[40] This type, comprising up to 35% of assemblages at bluff and knoll sites, underscores ties to emerging farming economies and socio-political changes.[40] Overall, cord-marked pottery's distribution spanned from the Northeast's Laurentian forests to the Mississippi Valley and Great Lakes, facilitating storage, cooking, and trade among mound-building societies transitioning to agriculture.[5] By around 1000 CE, it declined in favor of shell-tempered wares during the Mississippian period, as communities adopted more specialized ceramic technologies aligned with intensified maize cultivation and complex chiefdoms.[38]

Other Regions

In the Late Neolithic of the northern Levant, cord-impressed pottery represents a distinctive surface treatment appearing at sites such as Shir in western Syria, dating to approximately 7000–6000 BCE. These vessels feature impressions created by wrapping cords around paddles or directly applying them to the wet clay, often combined with dark-faced burnished ware traditions, and exhibit restricted distribution primarily along the Euphrates and coastal regions linked to early agricultural settlements.[12] This pottery's emergence coincides with the transition to more sedentary farming communities, though it remains a minor component compared to incised or painted wares.[41] In Southeast Asia, particularly Indonesia, variants of cord-marked pottery, often produced using paddle-impressed techniques, appear in regions like Sumatra and Java around 2000 BCE. These examples, found at sites such as those near Danau Bento in Sumatra, reflect influences from pre-Austronesian Neolithic spreads and later Austronesian migrations, incorporating local adaptations like red-slipping alongside cord impressions for utilitarian vessels.[42] Such pottery underscores cultural exchanges across Island Southeast Asia, with evidence of continuity in coastal and highland contexts tied to early maritime activities.[43] Cord-impressed pottery occurs rarely in European Neolithic contexts, with examples from the Elshan tradition in the Samara Valley of Russia dated to 7200–6800 BCE, where impressions mimic cord patterns but spark debates over technical similarities to broader impressed wares rather than true cord-marking.[44] In Africa, potential Saharan Neolithic examples are even sparser and contested, with some impressed motifs on early ceramics possibly evoking cord techniques, though distinct traditions like dotted wavy line pottery dominate without clear cord-marked continuity.[44] Globally, cord-marked pottery's presence outside East Asia and North America indicates sporadic adoption facilitated by migration routes and trade networks across Afroeurasia, as seen in early dispersals from East Asian origins, yet lacking sustained development or widespread cultural integration in these peripheral regions.[44]

References

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  2. The impact of environmental change on the use of early pottery by ...
  3. [PDF] Prehistoric Archaeology of Taiwan - ScholarSpace
  4. Studying Long-term Patterns of Bering Strait Cultural Interaction and ...
  5. https://www.texasbeyondhistory.net/villagers/cordmarked/
  6. Cord-marked pottery - (History of Japan) - Fiveable
  7. Cord Marked Types - Pottery - Peach State Archaeological Society
  8. Jōmon Culture (ca. 10500–ca. 300 B.C.)
  9. Jomon pottery, Japan - World Archaeology
  10. Pottery Identification - Peterborough Archaeology
  11. A New Examination of Cordage Twist and Ethnic Difference during ...
  12. The cord-impressed pottery from the Late Neolithic Northern Levant
  13. (PDF) Jomon hot spot: increasing sedentism in south-western Japan ...
  14. [PDF] The Emergence of Early Pottery in East Asia: New Discoveries ... - HAL
  15. Technology and provenience of the oldest pottery in the northern ...
  16. Gendered cordage production in cross-cultural perspective
  17. (PDF) Jomon pottery: cord-imitating decoration
  18. This paper concerns the identification of ceramic finishing marks on ...
  19. Native American Cordage - NativeTech
  20. cord-marked ceramics from scarem-kramer (36wh22) - Academia.edu
  21. [PDF] an analysis of voids in ceramics - SOAR
  22. [PDF] Skeuomorphs, Pottery, and Technological Change - Anthropology
  23. Odai Yamamoto Site - 北海道・北東北の縄文遺跡群
  24. Final Pleistocene and early Holocene population dynamics and the ...
  25. About the Jomon period
  26. [PDF] Jomon Reflections - OAPEN Library
  27. Yangshao Culture (5000-3000 BCE) - Harvard Art Museums
  28. THE NEOLITHIC ARCHAEOLOGY OF CHINA A BRIEF ... - jstor
  29. [PDF] Pottery use by early Holocene hunter-gatherers of the Korean ...
  30. Neolithic Pottery, an Aesthetic Impetus for Revolutionary Change
  31. Korea, 8000–2000 B.C. | Heilbrunn Timeline of Art History
  32. Jōmon Japan: Prehistoric Culture and Society | Nippon.com
  33. The Jomon culture in Japan - Fabrizio Musacchio
  34. Ban Chiang, a prehistoric archaeological site - Smarthistory
  35. Vinette - Diagnostic Artifacts in Maryland
  36. [PDF] PERISHABLE MATERIAL CULTURE IN THE NORTHEAST - Exhibition
  37. Fort McCoy ArtiFACT: Marion thick-ware pottery - DVIDS
  38. Tchefuncte Culture - 64 Parishes
  39. [PDF] Investigation of Ocmulgee Cord-marked Pottery ... - UGA Archaeology
  40. Full article: Investigating Late Neolithic ceramics in the northern Levant
  41. [PDF] Archaeology and the Austronesian expansion: where are we now?
  42. The cord-marked and red-slipped sherds of Liang Abu's layer 2 and ...
  43. (PDF) Early pottery in Afroeurasia - Origins and possible routes of ...
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