Rácz Tibor Ákos: A múltnak kútja. Fiatal középkoros regészek V. konferenciájának tanulmánykötete - A Ferenczy Múzeum kiadványai, A. sorozat: Monográfiák 3. (Szentendre, 2014)
Képtáblák
English Summaries Péter Véninger Issues of Production Techniques of Turkish Clay Pipes Although a number of communications and comprehensive studies have been published on Turkish clay pipes, part of the issues concerning contemporary production techniques have not been addressed. This product is worth, however, a closer examination - from the potter’s point of view -, in order to reflect on technological problems based on the study and analysis of these artefacts. In the present essay, the author underlined some technological curiosities, and following a general introduction, three topics were addressed. In the first part, he discussed the main characteristics of clay materials used for these pipes, then he described the technique of a very peculiar pipe with a strange surface, finally he addressed technological problems of making these pipes from a potter’s point of view. Replicas of Turkish clay pipes cannot imitate the quality of contemporary ones. According to the author’s opinion, the main obstacle is that the clay from which the pipes were originally produced was of a different quality than the types of clays used today. As of present, analytical investigations are unfortunately not capable of determining the original qualities and the plasticity of the materials as they were in the making of the form. However, based on the marks left by the stamping, it is possible to obtain some information concerning the plasticity of the materials. There are two main observable differences: the tiny stamp marks on the pipes are much more detailed than what is achievable by using modern clay materials. The clay did not curl around the stamps, and so the overall quality of the stamped pattern is clearly better than what would have been made possible by using modern clays. The clay used for these pipes was especially fine grained (in comparison to the modern standard materials), as it was only possible to produce such detailed surfaces this way. It is when using relatively solid, yet thick clay that the clay does not tend to curl or indent around stamped surfaces. Materials used for the pipes had such qualities. Compared to present day materials, they were mostly thinner, whereas for the production of vessels less refined materials than the ones used today would have been also appropriate. In case of some pipes decorated with relief patterns of flowers there are peculiar marks observable on the surface that are difficult to interpret at the first sight. They were likely made by taking negative imprints of a similar pipe, which were used as moulds for the new ones. However, the potters did not take into account the thick glaze due to which the outline of the negative patterns became less visible. As a correction, the potters engraved the contours onto the negatives. These two traces provide the characteristics of the two pipes. The curled surface on one of the pipes might be explained by the fact that the clay is likely to behave this way, when preparing negative imprints. A professional would take this into account and would prepare the clay in a way to avoid such problems. If such curls occur, then he would make a new negative, since the curled negative would only produce pipes with flawed surfaces. Deciphering these traces is not easy, since the surfaces of glazed relief ceramics can be studied only with the translucent glaze on them. As a third topic, the author discussed the issue of making clay pipes as a technological problem - from a potter’s point of view. He thinks that potters making clay pipes were faced with the problem of their standard methods applied when making vessels (and stove tiles) did not work out entirely well. The reason for that is that these objects are much smaller than the regular vessels made by potters. Decoration methods — strictly from a technological point of view — were still applicable though. However, pipes were on the market. In order to make pipes more marketable, potters have sought different ways to make them prettier and more colourful. Their standard decoration methods did not always work out as well and as efficient as in case of vessels. None of such solutions would have complied with expectations - perhaps this is why we may observe a variety of technologies applied in case of clay pipes. It is worth to note that this is far from being a usual phenomenon, since already available technologies were usually applicable, when there was a new type of product coming out. One (or a few) technological step(s) would suffice at least. Finally, the author tried to evaluate how successful the technologies applied on these pipes were eventually. 473
