Research sheds light on Nabataean pottery's role in Kingdom identity, regional production
An undecorated Nabataean deep bowl (Photo of LCP)
AMMAN — The emergence of the Nabataeans from Hijaz to modern day Jordan was gradual and their economic and political rise happened in 2nd century BC.
The Nabataean tribes who lived in north-western Hijaz connected with their relatives who were in southern Jordan forming a kingdom. This kingdom distinguished itself through material goods and trade, which linked disparate communities.
"One method for achieving the latter was through the production and distribution of a recognisable and standardised pottery ware. In this regard, The Nabataean painted fine ware [NPFW] served to unite disconnected groups and reaffirm their participation in the Kingdom," noted Mary Ownby who received her PhD in Archaeology from the Cambridge University.
Ownby added that while NPFW vessels appear highly standardised, the question remains if all were produced in one area, namely the capital at Petra.
If evidence exists that other Nabataean settlements were manufacturing local versions of NPFW, this may indicate the kingdom's control over the distinctive and meaningful ware was not absolute. Rather, groups could participate in the Nabataean identity through copying the NPFW.
'Also, part of this question is the production of unpainted fine ware bowls that were likely used by non-elites as a way to participate in the social meaning of the NPFW,' Ownby said.
The archaeologist noted that they are found more commonly and may have been under less royal control. In order to assess if NPFW and unpainted fine ware was made outside of Petra a technological style approach can be taken.
"Technological style is here defined as the culturally embedded process by which an object is created," Ownby said, stressing that for a potter, choices will be made during the entire manufacturing process that encompasses both culturally dictated preferences and technological considerations.
The learned pattern of production will typically be specific to that time, culture, location and material. For a highly stylised ware that is meant to be symbolic and broadly distributed, its technological style is part of its specific characteristic that makes it easily identifiable and meaningful, she elaborated.
Ownby noted that if the technological style of NPFW is defined and compared across the ware group, it may be possible to identify instances where the style is different.
"This could indicate potters imitating NPFW outside its principal region of production and potential royal control. However, there is always the possibility of migrant potters working outside Petra making NPFW or local potters who directly learned how to imitate the technological style of these significant vessels," Ownby speculated.
Nevertheless, taking a technological style approach serves as a basis for comparison and an analytical framework.
Several studies have already outlined the technological style of NPFW, and material from the site of Mudayna Thamad, located in central Jordan to the east of the Dead Sea along the Wadi ath-Thamad, provided an opportunity to utilise petrography to define the technological style of NPFW outside its presumed main manufacturing centre at Petra.
This method would provide information on the geological source of the raw materials utilised to produce the pottery that could indicate if these vessels were made at Mudayna Thamad.
"Comparison to NPFW from Petra, cooking vessels from Mudayna Thamad, and clay samples collected from the Wadi ath-Thamad aided in suggesting the source of the painted and unpainted Nabataean fine ware bowls from Mudayna Thamad," Ownby explained.
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