Byzantine ceramics refer to the pottery and ceramic art produced during the Byzantine Empire, from the 4th to the 15th century. Although not as widely renowned as Byzantine mosaics or architecture, ceramics played an important role in daily life and artistic expression. Byzantine pottery was characterized by its functional forms, such as jugs, bowls, and storage vessels, often decorated with simple, geometric patterns or religious motifs. Glazing techniques, particularly the use of lead glaze, were common, and potters developed distinctive styles that blended influences from ancient Roman, Greek, and Near Eastern traditions. The ceramics, often adorned with Christian iconography or abstract designs, reflected the empire’s blend of classical heritage and Eastern artistic influences, contributing to the broader material culture of Byzantium.
The sgraffito technique.
One of the techniques used to produce Byzantine ceramics is known as “sgraffito” (and its variations). This term derived from the Italian verb sgraffiare, meaning to engrave. Sgraffito emerged in the 11th century and quickly became the most popular and diverse technique in the Byzantine world. Unlike painted or relief decoration, sgraffito involves carving patterns through a layer of slip (diluted pure clay used to coat the surface of the vase either by dipping or pouring while still wet). The visual effects vary based on the thickness of the carved line, which reveals the red color of the clay against the light-colored slip background. One of the most refined versions of the technique, fine sgraffito, gained popularity in the second half of the 12th century and exemplified the elegant aesthetics of the Komnenian period. Some of the best examples of fine sgraffito, including delicate spiraling forms and lacy abstract motifs, come from the Alonissos shipwreck and are featured in the exhibition. A variation of fine sgraffito, known as “measles ware,” is characterized by the combination of fine engraving with red or red-brownish spots grouped in patterns. Eventually, fine sgraffito and its variations were replaced by the incised sgraffito technique, which is distinguished by its bolder lines and larger patterns, often depicting warriors and hunters. Incised sgraffito is a technical advancement that produces “champlevé ware” (French for “to remove the field, champ”). The technique is notable for its projection of the entire decorative motif in light color against a dark colored background and in low relief, a reversal of the light and dark combinations reminiscent of ancient Greek black and red figure vases. Once sgraffito techniques were mastered, technical concerns shifted toward more inventive ways of applying color and accelerating production.
These developments began around the time of the Latin conquest in the early 13th century and continued throughout the 14th century. Craftsmen who had mastered all sgraffito techniques by the early 13th century increasingly turned to color in shades of brown, yellow (iron oxide) and green (copper oxide). The most significant advancement of the period was the tripod stilt, small clay devices that enabled many vases to be stacked together in a kiln, allowing for mass production and specialized workshops. The first ceramics made using tripod stilts was the so-called Zeuxippos ware, known for its meticulous decoration, shiny glaze, and color enhancements. The majority of Zeuxippos ware was discovered in the eastern Aegean, Cyprus, and the coast of the Middle East. The Palaeologan period was also marked by a decrease in the size and a change in the shape of pottery, possibly suggesting a modification in diet or changing tastes influenced by Frankish culture.
After the 15th century, pottery in the Balkan region became limited in terms of shapes and decorative motifs. However, areas such as Cyprus and Crete, which remained under Roman rule, continued to produce interesting variations and styles of pottery following the Byzantine patterns.
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