Design Layout System of Middle Jomon Pottery

Abstract

The aim of this paper is to reconstruct the operational sequence followed in applying decoration to Jomon pottery, based on an analysis of the layout of the design. In particular, analysis is made of design layout systems of Middle Jomon pottery of the Kanto region of Japan. These consist of Goryogadai, Katsusaka, and Kasori-E types. There is considerable variation between these types in terms of their decoration, which may have complex elements and motifs. However, the regularity of the arrangement of these elements is what helps us to classify the design system for each type.
In principle, Goryogadai type pottery decoration consists of four motifs applied around the circumference of the vessel. Almost all Goryogadai pottery has four repetitive motifs in the upper decoration zone, evenly spaced. The motifs of the lower zone were also often spaced evenly and used in sets of four, with their positions following the layout of those in the upper zone. The standard number for Katsusaka type pots is also four, but there is some variability, with two, three, and five motifs also being used. Some pots were made with an evenly spaced design, and some not. Kasori-E3 pots have seven or more motifs, especially in the lower decoration zone, and the numbers are not constant.
There is considerable variation in the manner of applying decoration. In some instances the potter laid out the spacing of design elements in advance (Fig. 2a, c, e). In examples shown in Fig. 2a the spacing is exact, in Fig. 2c priority appears to have been given to a standard number of divisions rather than even spacing, and in Fig. 2e there appears to have been a deviation for some reason from an intended pattern of regularity. In other instances (Fig. 2d) the potter simply applied evenly spaced elements in sequence without dividing the total circumference beforehand, leaving a single unevenly spaced or partial motif at the end. Figure 2b shows examples in which the unevenness in spacing appears intentional.
Most of Goryogadai, Katsusaka 1, and Katsusaka 2 pottery are of the pattern shown in Fig. 2a. Kasori-E3 and E4 pots take the arrangement of Fig. 2d. It is also interesting to note that the Katsusaka 3 and Kasori-El types, chronologically intermediate to the two groups just mentioned, take the patterns of Fig. 2a, b, c, and e.
As is commonly known, Jomon potters did not use the wheel and built their pottery by beating and coiling the clay by hand. But the design arrangement of Jomon pottery can show regularity nevertheless, suggesting that some standard such as the span of the fingers was used for laying out the design. It is also possible that they used a ruler made of sticks tied in the form of a cross, or a measuring tape of plaited rope.
This reconstruction analysis of the operational sequence of design layout reveals norms in the pottery production system of the Jomon period. It is possible to have differences in layout between the norm, or product model, and the performative results. Studies like this of the design layout systems and motif arrangements of Jomon pots should contribute to a better understanding of the stylistic character of Jomon culture.