Horizontal plastic clay bands are commonly observed on the outer surfaces of vessels in the early Late Neolithic pottery assemblages of northern Syria and southeastern Turkey. This horizontal applied band has been regarded as a “grip” (moyen de préhension) along with the handle, and its widespread occurrence during the very early period of pottery development (mid-7th millennium BCE) is often interpreted to suggest how and why pottery vessels were invented.

   However, these bands can also be considered decoration. In fact, this decoration theory seems to be popular for pottery from other parts of the world. These two views, furthermore, are not mutually exclusive.

   This article discusses the function(s) of horizontal applied bands in Neolithic pottery from the northern Levant through analyses of specimens recovered from Tell el-Kerkh in the Rouj Basin, Syria. It demonstrates that band frequency, its applied ware-type, and its vessel-shape or size changed over time. This evidence suggests that horizontal applied bands were invented as a grip applied to a large-sized vessel. However, the band gradually fell into disuse as pottery attributes diversified. Finally, its size and frequency drastically reduced until its original significance was lost.

   This transformation seems to correspond to the specialization of pottery for various purposes reflected in the diversification of ware-type or vessel shape. Specialized pottery used for transportation was designed to be smaller and no longer needed a grip. This interpretation is also confirmed by observation of the changes in handles, the other “grip” form in the Neolithic pottery, recovered from Tell el-Kerkh.

The Chalcolithic, especially the 5th millennium BC, cultural period of Marv Dasht plain, Fars, southwest Iran, is called the Bakun period. It has been classified into Early, Middle, and Late phases. Some researchers identify this period as the initial stage of socioeconomic complexity (Sumner 1994; Alizadeh 2006). While the processes of the changes in settlement patterns during the Bakun period have been well studied to clarify social development, those of ceramic changes have not been well researched, except for the decorated motifs and vessel forms (Voigt and Dyson 1992). This paper analyzes ceramic changes by using ceramic materials now curated in the University Museum of the University of Tokyo and in the Oriental Institute of the University of Chicago, from four Bakun period sites: Tall-i Jari A (Early Bakun), Tall-i Bakun B (Early Bakun), Tall-i Gap (Middle Bakun), and Tall-i Bakun A (Late Bakun). This paper focuses particularly on the ceramic assemblages, the amount of fine ceramics, and the ceramic production technology. It finds that the peak in the amount of fine ceramic produced was in the Middle Bakun phase, while the craftsmanship which enabled craft specialization gradually and locally improved over time.