Hidden stories in Fiji’s ancient clay pots
- Admin
- 6 hours ago
- 3 min read
Imagine walking along the beach in Fiji and finding a broken clay jar buried in the sand. You might just dismiss it as a plain old worthless broken pot. To archaeologists, however, this jar, molded by human hands, is a receptacle of stories from over 3,000 years ago.
In his study, “Post-Lapita Ceramic Change in Fiji,” archaeologist Geoffrey Clark explains that pottery in ancient Fiji served purposes beyond mere cooking tools. These clay artifacts provide insights into the lifestyle, trade practices and creativity of the people.
Clark said that archaeologists have spent decades studying pottery created by the Lapita people, Fiji's earliest known settlers. These early potters knew how to make pottery like no one else. They had a special skill for decorating clay with unique stamped patterns that resembled tattoos. Each line and mark on the design represented Fijian history and identity.
Archaeologists observed Lapita pottery styles changed over time. The shapes and decorations showed new features. Some archaeologists attributed the changes to the arrival of new people from other islands, such as Vanuatu. They believed that migrants brought new tools, ideas and designs. Even obsidian, a volcanic glass used for tools found in Fiji, was initially thought to have come from Vanuatu, located 850 kilometers away.
But science told a different story. Tests on obsidian samples revealed the volcanic glass did not come from Vanuatu after all, but from the Fiji–Tonga region. At the time, bridging the distance between Fiji, Vanuatu and other islands was challenging and dangerous. Traveling was anything but easy.
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Researchers later entertained the possibility that the Fijians were changing their pottery designs themselves.
To find out how the mysterious changes in pottery designs came about, archaeologists looked closely at the clay found at the Sigatoka Sand Dunes on Viti Levu. They identified two main types of post-Lapita or newer pottery: Fijian Plainware and Navatu-phase ceramics.
At first glance, the newer pots looked very different, as if they had been imported from somewhere else. They had different rims, decorations and shapes. Some were flat trays that might have been used for salt-making.
Archaeologists went into full detective mode and studied the new pots meticulously. They measured rim angles, heights, widths and examined the designs. The surprising truth emerged: the pots were not imported after all.
Studies revealed that Fijian potteries evolved gradually, with designs showing continuity rather than sudden change or replacement. Archaeologists found that even designs and markings made with the potters’ fingernails, sticks and paddles show a blend of old and new techniques. They were not copying designs from outsiders; they were experimenting, learning and recreating.
Which means, there was no cultural dilution.
Researchers also noted that post-Lapita pottery had more variety, which they attributed to Fiji's population growth. As more communities sprouted, more creative ideas emerged.
Fiji has more than 300 islands. Over time, people moved inland, settled in new places and travelled between villages and islands. During these travels, people traded food, exchanged knowledge and, yes, shared pottery design ideas.
Clark noted some unique clay pots, such as double-spouted vessels, found across many islands in Fiji. This strengthened the theory that Fijians from different islands were interconnected and communicating with one another.
As life in Fiji changed, so did pottery. Each pot carried the marks of those changes.
Raquel Bagnol is a longtime journalist. She worked as a reporter for Marianas Variety on Saipan and Island Times in Palau. Send feedback to gukdako@yahoo.com
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