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International audience; The mausoleums area of Khwajâ Sabz Push in Bâmiyân, Afghanistan, was looted in 2001, cleared for architectural restoration in 2012 (B. Praxenthaler, ICOMOS/UNESCO) and then excavated in 2016 (Th. Lorain, MAFAB). These two last operations exhumed nearly 3,700 ceramic fragments studied in 2017 and still unpublished. This material comes from a large embankment that mixes waste from pottery production and household ceramics.The production rejects are attested by failed forms, kiln furniture and lining of the kilns. They testify to the production of ceramics, almost exclusively open forms (bowls and plates), decorated with the sgraffito technique on white or cream slip. They are fired a first time as a biscuit and covered with a transparent, almost colourless or yellowish glaze, the decoration highlighted with copper green and manganese brown. The incised decoration can be combined with champlevé or hatched background and the glazes can also be monochrome, yellow or green. Some of the production rejects belong to the so-called "Bâmiyân" type. Forms with painted decoration in slip or coloured glazes, with or without incisions, are also part of the production. The two decoration techniques, incised and painted, sometimes cover respectively the inside and outside of the same forms. Firing is done in bar kilns where the objects are separated by tripods and bowls.It is interesting to note that this decorated ceramic was fired in the same kilns as a production that associates shaping and wheel-turning, in coarse clay and in a wide variety of shapes.Materials from the mausoleum site attest to the production of sgraffito ceramics generally dated to the early 13th century, while the atypical monochrome variants are dated in the literature to between the 9th and 11th centuries. The results of the study of the mausoleums of Khwajâ Sabz Push seem to fix the dating of the fill around the 12th century.

International audience; The mausoleums area of Khwajâ Sabz Push in Bâmiyân was looted in 2001, cleared for architectural restoration in 2012, and then excavated in 2016 by the MAFAB. These two last operations exhumed nearly 3,700 ceramic fragments studied in 2017 and still unpublished. This material comes from a large embankment that mixes waste from pottery production and household ceramics.Some of the production rejects belong to the so-called “Bâmiyân type” and is characterized by sgraffito technique. Other incised or champlevé decorations in a slip are also fired in biscuit. Transparent, colourless, yellow or green glazes cover the décor. Shapes with painted engobe decoration are also part of the production. Firing is carried out in bar kilns where objects are separated by tripods or bowls. In the meantime, workshop remains provide no information about production of fritware.Some forms produced in the workshop have traces of use. Other household ceramics are moulded with traces of use in fire. The shape of pots, dishes and lids is very varied, sometimes painted with pigments or engobes. Glaze drips or drops on these dishes testify to a simultaneous firing with glazed production.Materials from the mausoleum site attest the production of sgraffito ceramic usually dated from the beginning of the 13th century (see Gardin 1957) whereas the atypical monochrome variants are dated in the literature between the 9th and 11th century. Results of the Khwajâ Sabz Push Mausoleums study seem to fix the dating of the embankment around the 12th century.

International audience; Constitué d’un ensemble de mausolées associé à un cimetière ancien de la vallée de Foladi (Bâmiyân, Afghanistan), le site de Khwâja Sabz Push a fait l’objet d’une étude architecturale et d’une fouille archéologique approfondies qui ont permis de mettre au jour un important complexe funéraire médiéval. L’abondant matériel céramique découvert sur le site prouve également la présence proche d’un atelier de production, avec rebuts de cuisson, offrant un nouvel éclairage sur la céramique dite de Bâmiyân.

International audience; Les fouilles archéologiques de la ville de Paykend intègrent un vaste projet franco-ouzbek de recherches sur l’oasis de Boukhara. En 2010 un quartier de potiers est mis au jour près du canal de la ville. Une superposition de fours, des zones de décantage et de façonnage ainsi que des remblais illustrent des séquences courtes d’une activité de près de deux siècles. Un rejet de fournée donne un aperçu de la diversité de la production. Elle est constituée principalement de formes en pâtes calcaires sans revêtement, à décors incisés ou imprimés, avec des pastilles et des anneaux en(lés dans de petites anses. Une autre série est composée par des coupes en émail alcalin décorées en vert ainsi que de leurs biscuits. L’assemblage est complété par de fragments de grosses formes, des outils de potier et d’enfournement qui portent les traces de la cuisson d’une céramique à glaçure verte. Les datations au C14 et les parallèles bibliographiques le placent plus probablement dans la deuxième moitié du IXe s.

Premier aperçu du mobilier céramique de consommation et de production du site de Paykend, oasis de Boukhara, VIIe-XIe siècles.

International audience; Presentation of the results of a prospection carried out in the forest areas devastated by the December 1999 storm in the Trépail area (near Reims). These uprootings have led to the discovery of building elements (dwellings and workshops) and of numerous pottery fragments. This paper studies these artefacts and the implantation of nearly 700 m-long craft-orientated area inhabitated particularly in the iind century.; Présentation des résultats d’une prospection dans les chablis provoqués dans la région de Trépail (près de Reims) par la tempête de décembre 1999. Ces arrachements ont permis la mise au jour d’éléments de construction (habitats et ateliers) et de nombreux tessons de céramique. Étude de ce mobilier et de l’implantation d’une zone habitée à vocation artisanale, surtout au iie s., d’environ 700 m de longueur.