Abstract
This thesis set out to ascertain the nature of the Phimai Black ceramic tradition at the site of Non Ban Jak, Northeast Thailand. The research was undertaken to assess the degree of visual standardisation through a form-plus-fabric analysis of ceramics over time and through multiple contexts across the site. This in turn led to an investigation into the nature of social organisation surrounding pottery production at Non Ban Jak.
Excavations at Non Ban Jak have revealed extensive residential quarters, burial chambers, and ceramic kilns. Along with a large ceramic assemblage, accurately dated context, and the evidence of production onsite, models concerning sourcing, cultural transmission, the nature of production, and previous models pertaining to Phimai Black could be assessed.
In one exploratory model, it was hypothesised that the ceramic tradition originated as an elite good that was widely exchanged, resulting in local imitation and standardisation in production and form across multiple sites. Through this research it can be seen that Phimai Black moved from elite ware to common ware, its production carried out by independent specialists who lived with, and catered for, the community.
Burial offerings in terms of the Phimai Black tradition were concluded to be highly standardised at Non Ban Jak. Regardless of status and wealth, it was the social norm to use certain ceramics for burial, this is seen in the sets of ceramics reserved for different age groups. Individual grief and status associated with the deceased was not necessarily expressed in ceramic offerings, but mainly in offerings such as gold, carnelian, and bronze ornaments. Social significance surrounding infant interment was prominent on site, these people would have put much social value on infant passing, as the most elaborate vessels were chosen.
The purpose of the Phimai Black ceramic tradition was to symbolise a community-wide goal to associate the deceased with an identity that reflected Iron Age communities across the Mun Valley. Phimai Black through time is seen to be made with a specific clay, showing that originally there was a set of ideals associated with these ceramics, linking to the emulation/imitation hypothesis. While vessel forms gradually transcended clay borders throughout the Iron Age, the standardisation of form highlights an effort to hold onto past beliefs, and to the identity of the wider community.