Cechy obce i lokalne w średniowiecznej i nowożytnej ceramice elbląskiej. Zarys problematyki na podstawie wybranych przykładów

Abstract

The article touches the problem of foreign and local features’ identification distinguished in Elbląg pottery craft. In case of mediaeval vessels it is difficult to state, which characteristics can be regarded as foreign and which are prescribed to local tradition, what is a direct consequence of various ethnic and geographical origin of the town inhabitants. Technologically and stylistically the oldest vessels include the examples defined as traditional. They differ clearly from predominating grey products, characteristic for the settlers coming from German territories. Characteristic features describing North German and Middle German workshops are clearly readable in case of vessels originating from one collection – pottery kiln dated from the 70s–80s of 13 th century. In majority of cases they enable to identify vessels produced there with the terrains of the Upper Saxony and Thuringia, to a lesser extent with the area of northern Germany. First half of 14 th century is the period when Elbląg vessel assortment is enriched by examples of treepod vessels, earlier not produced by local potters. At the turn of 15 th century, Elbląg craftsmen began to kiln their products in oxidizing atmosphere and coat them with glaze (initially only from the inside). At present it is difficult to state if these two novelties were accepted by the means of foreign influences or they were the results of local factors. Elbląg modern pottery displays foreign impacts – in technology and the mode of decorating, which is seen evidently in case of dishes defined as Pomeranian faience. Elbląg potters, and generally Prussian craftsmen, not wanting to be pushed off by Delft competitors, learned the way of faience vessels production and accepted their way of decorating. In the first stage, i.e. in 1 st half of 18 th century, they were nearly solely ‘Chinese’ motifs, copied from Far East porcelain, first by Netherland painters and next the ones from Prussia. In 2 nd half of that century, Far East motifs are met rather rarely, although imitating patterns of Netherland ceramics is still visible. These few examples indicate univocally that foreign and local features are clearly observable not only in case of imports, but also in local craft products, although it is difficult sometimes to state evidently which of them and for which social group they were foreign and which local.