Lajkó Orsolya: „Cserepén ismerem, minemű fazék volt..." (Szeged, 2015)
Irodalom
199 insight into everyday production and use, the pottery of the 17th century was still fundamentally functional and uniform in its appearance, although to some extent it foreshadows the later process of the separation of object populations according to social classes, the demand for representation at the level of objects and the regional differentiation of 19th-century pottery. Based on the evaluation of the results of the analysis the claim of ethnographic research that Hungarian folk pottery is the result of a uniform, continuous, unilineal development cannot be confirmed. It is rather likely that it was formed through regionally diverging directions with divergent characteristics. This is also supported in the case of early pottery from Hódmezővásárhely through the analysis of the archaeological material. The styles of the two periods show few connections; at the same time this difference makes it clear that the formation of the manufacture of ceramics known today as Hódmezővásárhely pottery had not taken place before the 18th century, and this pottery did not develop locally, but at a later time, through the influence of another - or many other - pottery manufacturing centre(s). We may hypothesize the stylistic mediator role of the city of Szeged - especially with regard to Turkish and Southern Slavic influences - but in order to clarify this we need more assemblages, ethnographic excavations, archaeological pottery, and in lucky cases remains of pottery workshops and production waste. First through smaller, regional studies, then through more expansive and comparative research we may be able to determine the origin of Hungarian folk pottery; the ceramic culture of the 17th-19th centuries may reveal itself in its historical completeness and unity, and various developmental trends may be delineated.
