本篇文章共分 6 段，針對古希臘時代陶器器的設計、製造、銷售與商務事宜做有系統的整理與說明。

本篇考題英文原文與對應之中文翻譯整理如下。練習作答解題時若有對語意不清楚之處，請仔細查閱對照，以提升閱讀理解能力。

Ancient Greek Pottery 古希臘陶器

1. 古希臘陶器製造

   An extremely important and long-standing industry in ancient Greece was the ceramics industry, giving rise to the huge number of pieces of pottery archaeologists and historians pore over. In reality, pottery production can almost be seen as a combination of a natural resources-based economy and a production-based economy, as the primary material—good clay—was a result of the natural geology. However, not all city-states made equal use of their clay resources, and only two—Corinth and Athens—were really active in pottery export in the Archaic Age (750-500 B.C.) and following.

   古希臘的一個極其重要且歷史悠久的產業是陶瓷業，這就產生了考古學家和歷史學家詳細研究的大量陶器。實際上，陶器生產幾乎可以被看作是自然資源型經濟和生產型經濟的結合，因為主要材料—好的粘土—是自然地質的結果。然而，並不是所有的城邦都能平等地利用他們的粘土資源，只有兩個城邦—科林斯和雅典—在太古時代（公元前 750-500 年）及其後真正活躍於陶器出口。

2. 陶器發展沿革與主要製品

   As with weaving, pottery no doubt began as, and in many places remained, a household industry, probably practiced exclusively in the summer when the clay and kindling wood were drier and easier to transport and burn. But evidence of a more concentrated effort at production for export appeared already in the Bronze Age (3000-1100 B.C.) and continued in the Dark Ages (1100-800 B.C.), as with the copious export of Euboean scyphi (drinking cups) to such locations in the Mediterranean as Cyprus, the Levant, and even Italy. These were followed by the Corinthian cups and scyphi, and finally the Athenian kylix (a shallow type of wine goblet). The demand for Greek vessels to drink out of appears to have stemmed from a desire for Greek things to drink, and amphorae and pithoi (storage vessels), especially from Attica, also proliferated in the Mediterranean.

   與編織一樣，陶器無疑開始是，而且在許多地方仍然是，一種家庭工業，可能只在夏天使用，因為那時粘土和木柴比較乾燥，容易運輸和燃燒。但有證據顯示，在青銅時代（公元前 3000-1100 年）已經出現了更為集中的出口生產，並在黑暗時代（公元前 1100-800 年）繼續存在，如大量出口到地中海地區如塞浦路斯、黎凡特、甚至意大利的歐博亞雙柄無腳杯 (scyphi)（飲用水杯）。隨後是科林斯杯和雙柄無腳杯，最後是雅典的基里克斯陶杯 (kylix)（一種淺形的酒杯）。對希臘飲酒器皿的需求似乎源於對希臘飲品的渴望，雙耳陶瓶 (amphorae) 和大口陶瓷罈 (pithoi)（儲存器皿），特別是來自阿提卡的，也在地中海地區大量湧現。

3. 陶器製造工場結構

   This need for commercial production led to the rise of workshops and factories. Such workshops were usually family-owned businesses run by the head of the household, his sons (and possibly daughters), and, depending on the size of the industry, additional servants and/or slaves. The general assumption concerning many professional potters is that they were not citizens of the cities in which they worked. In Athens, these were the metics, or resident aliens, as well as slaves. The identity of the workers in the primary ceramic working area in Corinth—the Potters’ Quarter—is uncertain. But an inscribed pottery shard naming the Phoenician goddess Astarte suggests that there were Phoenician immigrants (from what is now Lebanon) working there, or at least a heavy Phoenician influence.

   這種對商業生產的需求導致了工作坊和工廠的興起。這種作坊通常是由戶主和他的兒子（可能還有女兒）經營的家族企業，根據產業的規模，還有額外的僕人和／或奴隸。關於許多專業陶工的一般假設是，他們並非他們工作城市的公民。在雅典，這些人是客籍民 (metics)，或居留的外國人，以及奴隸。在科林斯的主要陶瓷工作區—陶工區—工人的身份是不確定的。但一塊刻有腓尼基女神阿斯塔特名字的陶器碎片顯示，有腓尼基移民（來自現在的黎巴嫩）在那裡工作，或者至少是受到了腓尼基人的顯著影響。

4. 陶器製造的分工

   Happily for modern researchers, many artisans signed their works. This gives an idea not only of who these ancient ceramicists were, but also of how labor was divided. Modern scholars have the names of a few potter-families from sixth-century B.C. Athens: Nearkhos, who worked with his sons Tleson and Ergoteles; Ergotimos, who was succeeded by his son Eukheiros (literally, “Good Hand”); and Amasis and his son Kleophrades, who produced pottery from the mid-sixth century B.C. to the dawn of the fifth. The signatures indicate, however, that although these men fashioned and fired the ceramics, others were employed to paint the more elaborate figural vases. Such artists traveled around to different workshops, like the sixth-century Epictetus, whose name as a painter accompanied about six different names of potters.

   對現代研究者來說，令人高興的是，許多工匠都在他們的作品上簽名。這不僅讓我們瞭解了這些古代陶藝家的身份，而且還瞭解了勞動的分工情況。現代學者掌握了公元前六世紀雅典的幾個陶工家族的名字： Nearkhos，他與他的兒子 Tleson 和 Ergoteles 一起工作； Ergotimos，由他的兒子 Eukheiros（字面意思是「好手」）繼承；Amasis 和他的兒子 Kleophrades，他們從公元前六世紀中期到第五世紀初生產陶器。然而，簽名顯示，儘管這些人製作和燒製了陶瓷，但其他人被僱用來繪製更精緻的人物花瓶。這樣的藝術家在不同的工場中遊走，比如六世紀的愛比克泰德，他作為一名畫家身分的姓名伴隨著大約六個不同的陶工的姓名。

5. 陶器器的生產與販售

   Starting around 550 B.C., numbers were scratched onto the bottoms of some vases, often appearing after the name of the vase in full or abbreviated form. These may have been batch numbers, indicating groups of pots fired together and intended for specific merchants or markets. The merchants were also indicated by markings on some vases, whereby a signature sign or abbreviation indicated to which exporter or importer in the receiving city the pottery was destined. In the sixth century B.C., such merchants were frequently lomans (Greeks from cities on the Mediterranean coast of Asia Minor), who were responsible for much of the import-export business at Naucratis in the south and Gravisca in the west.

   大約從公元前 550 年開始，一些花瓶的底部被劃上了數字，通常以全稱或縮寫的形式出現在花瓶的名稱之後。這些數字可能是批號，表示一起燒製的花瓶組，供特定商人或市場使用。一些花瓶上的標記也表明了商人的身份，其中的簽名符號或縮寫顯示了陶器的目的地是接收城市的哪個出口商或進口商。在公元前六世紀，這些商人經常是洛曼人（來自小亞細亞地中海沿岸城市的希臘人），他們負責南部的瑙克拉蒂斯和西部的格拉維斯卡的大部分進出口業務。

6. 陶器器的價格

   But the most important markings from the point of view of economics are the actual “price tags” etched into some pots. An important difference in the price occurred between painted and undecorated vases, with a markup of anywhere from 25 to 50 percent for the figural vases. Clearly, this was because the pottery manufacturer had to pay for the additional labor.

   但從經濟學的角度來看，最重要的標記是刻在一些壺上的實際「價格標籤」。價格上的一個重要差異發生在有繪圖和無繪圖的花瓶之間，有繪圖花瓶的標價加成在 25% 到 50% 之間。很明顯的，這是因為陶器製造商必須支付額外的勞動力。