Bucchero

Oinochoein bucchero

Bucchero(Italian pronunciation:[ˈbukkero]) is a class ofceramicsproduced in central Italy by the region'spre-RomanEtruscanpopulation. ThisItalianword is derived from the Latinpoculum,a drinking-vessel, perhaps through the Spanishbúcaro,or the Portuguesepúcaro.

Regarded as the "national" pottery of ancientEtruria,bucchero ware is distinguished by its black fabric as well as glossy, black surface achieved through the unique "reduction"method in which it wasfired.After the leather-hard unfired ware was arranged in thekilnand the fire started, the vent holes were closed, thus reducing the supply ofoxygenrequired in a normal kiln firing. In the smoke-filled atmosphere of the kiln, the oxygen-starved flames drew oxygen molecules from theiron oxideof the pottery. This process caused the fabric of the clay to change color from its natural red to black. Thus, in contrast to the black-glazedCampanianware of theGreekcolonists insouthern Italy,thelustrous,shiny, black surface of many bucchero pots was achieved by diligentburnishing(polishing) or, occasionally, through the application of a thin slip (clayemulsion).

Etymology

The termBuccheroderives from the Portuguese wordbúcaro,meaning "odorous clay", because this type of pottery was reputed to emit a special odor.

In the 18th and 19th century inEuropea lot of interest was shown for a particular typePre-Columbianpottery in a black color. These ceramics were therefore shipped in large numbers from South America to Europe, where they were traded and were imitated.

At the same time, in Italy, 'etruscheria' (Etruscan-style artefacts) was in large demand and major digs were organized inTuscanyandUmbriain the quest for Etruscan antiquities. Because of the similarities with the popular South American ceramics, the striking black pottery that was found in Etruscan tombs was called 'bucchero'. This Italianate form became established in archaeological terminology and even today the designation 'bucchero' is still common in the scientific literature.

Development

Oinochoe from theMetropolitan Museum of Art(inv. 91.1.454)

The first appearance of aceramictype that can clearly be classified as bucchero occurred around 675 BCE at the coastal community ofCaere(the modern-dayCerveteri), with somewhat later centers of production to be found atVeiiandTarquinia,both cities, like Caere, located in the southern part of the Etruscan heartland. Bucchero ware would seem to have been the natural sequel to theimpasto potteryassociated with the earlierVillanovan culturefrom which the Etruscan civilization, itself, had evolved. Etruscan pottery is distinguished from Villanovan impasto by the more sophisticated processing of the clays used which were finelylevigatedto remove the traces of grit common in the earlier pottery, by its being uniformly turned on apotter's wheel,by itscarbonizedblack fabric in contrast to the brown or tan color found in impasto pottery.

Although the shapes of Villanovan pots provided the basics for the Etruscan potters, they added new types and forms largely inspired through intensified trade with the more advanced cultures at the eastern end of the Mediterranean, in particular the areas ofCyprus,Syria,andPhoenicia,as well asEgypt.Many of the new, exotic shapes were in imitation of themetalwaresimported from these cultures. The potters of Etruria were able to offer their customers a locally produced and less-expensive ceramic equivalent to the desirable but costly metal products arriving from the east. Some of the Etruscan potshops even carried metalware imitation to the point of covering the surface of bucchero vessels with thin sheets ofsilverin an attempt to visually duplicate the luxurious imports.

Styles

TheOrientalizingmanner is most apparent in the earliest phase of bucchero production which also is distinguished by the remarkable thinness of the walls of the vessels. Known asbucchero sottile,or delicate bucchero, this ware represents a technical achievement elevating the potters who turned them to the ranks of the very finestceramicists.So thin-walled are some of bucchero sottile vessels (in some cases, less than 2mm in thickness), such as the products of theCornacchiola TombPotter of Caere, that it is probable that they were turned specifically for funereal purposes rather than for general household use. On the other hand, the broad distribution of buccherosherdsat ancient Caere,Veii,andTarquiniaand at other area sites points to less extreme examples of bucchero sottile as having had a more practical function in the daily life of the Etruscans.

High-legged buccherochalicewith relief decoration, early 6th century BC(Louvre)

During theArchaic period,the ever-increasing impact of theGreek aestheticon Etruscan culture can be noted in the influence of Greek vase shapes on the design choices of the bucchero potters. Etruscan potters, however, made their own contributions to theHellenicceramic vocabulary by adding the form of the two-handled drinking cup, thekantharos,and that of the related single-handled cup, thekyathos,to the list of Greek vase types. TheNikosthenic amphorawith its wide, flat handles was yet another example of Greek potters looking to Etruscan prototypes. The bucchero wares of Etruria even offered some export competition to Greek pottery.

In the production of bucchero sottile, the shape of the pot held pride of place, with surface decoration playing a supporting role. When decoration was used, it was usually limited to enhancing the profile of achalice,a kantharos, or a kyathos with a row of crisply defined hook notches at the point ofcarination.The bowl of anoinochoe(pitcher) might be emphasized by closely spaced vertical lines incised into the soft clay before firing. Further decoration could be added before thegreen warewas loaded into the kiln by using a toothed wheel or a comb-like instrument to create rows of dots arranged in fan patterns. On later examples a roller with recessed reliefs was used to transfer figures of deities or even narratives to the surface of the vessel.

During the Orientalizing period and on into the Archaic, bucchero sottile production continued but gradually lost its unique character as Etruria became increasingly Hellenized. As Rome began to nibble away at the territories of southern Etruria, centers for producing bucchero shifted northwards to the cities ofChiusiandVulci.There, during theClassical period,potters put their stamp upon the bucchero tradition by introducing a new variety of the ceramic known asbucchero pesante,or heavy bucchero. In this final phase in the history of bucchero pottery, vessel walls become thicker and proportions squatter. The decoration of bucchero pesante ware typically consisted of mold-formed figures applied to the still-damp surface of the pot. By the beginning of the fifth century B.C.E., in part due to the growing availability of the elegant pottery of Greece, the demand for native bucchero ware was in a steep decline. Bucchero no longer was exported and, at home, consumers preferred the colorful pottery of the Greek artisans with their narrative and figurative panels. Etruscan potters now devoted their attention to the production of provincial imitations of Greek red-figure vases.

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  Bull-headed oinochoe (Chiusi, 6th century BC)
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  Plate (Metropolitan Museum of Art)
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  Cup banded with human and animal figures, first half of 6th century BCE
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  Kantharos (3rd or 4thLatial Period,cemetery at Osteria dell'Osa)
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  Oinochoe from the same site
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  Oinochoe (latter 4th century BC,Volterra)
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  Etruscan BuccheroFocolare(funerary offering tray) from Chiusi A Tomb Group 550-500 BCE at theArt Institute of Chicago
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  Etruscan offering vessel with bovine protomes at theGregorian Etruscan Museum
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  Buccherorhytonfrom the necropolis of Cucifisso del Tufo at the NAM Orvieto 6th century BCE
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  Oinochoewith mold decoration, 550-500 BCE
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  Kyathosin bucchero with man among lions, from tomb 1 of the mound of S. Paul, 670-650 BCE nowNational Etruscan Museumin theVilla Giuliain Rome
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  Etruscan cup in the form of a pig at theMetropolitan Museum of Art

Further reading

• Del Chiaro, Mario, "Etruscan Bucchero Pottery,"Archaeology,19, 1966.
• De Puma, Richard,Etruscan and Villanovan Pottery,Iowa City, University of Iowa Museum of Art, 1971.
• Hirschland-Ramage, Nancy (1970). "Studies in Early Etruscan Bucchero".Papers of the British School at Rome.38:1–61.doi:10.1017/S006824620001120X.S2CID191367626.
• Rasmussen, Tom B. (1979).Bucchero pottery from Southern Etruria.Cambridge: Cambridge University Press.ISBN0-521-22316-4.