Lajkó Orsolya: „Cserepén ismerem, minemű fazék volt..." (Szeged, 2015)
Irodalom
198 drawn from them. All this together was aimed at the complex, historical, regional, social and stylistic presentation of the ceramic culture of the period. The evaluation and publication is carried out according to formal groups, based on the archaeological vessel types identified by research - bowls and plates, saucepans, footed pans, pots and smaller kitchen vessels, lids, furthermore jugs and jars - complemented with the results of the study of their materials and decoration techniques. In connection with the differentiation between locally manufactured and traded products I aimed at the analysis of contemporary exchange connections. With regard to the characteristics of the clay sources of the Carpathian Basin the presence of fire-resistant vessels (pots, footed pans) in the southern Great Hungarian Plain confirms that some products reached the area from faraway regions through trade. Their chronological position connects these assemblages to 17th-century remains in Hungary, and the composition of the sets of vessels and the applied decorative techniques show connections with Hungarian and wider Central European early modem period materials. In this respect the ceramic style of the period shows uniformity, but certain regional differences are present and can be observed ar- chaeologically. In the southern Hungarian Plain - and consequently at Hódmezővásárhely as well - a number of styles meet and form the characteristic formal language known from the ethnographic material from Hódmezővásárhely. The 17th-century fragments brought to light through the excavations were primarily the products of local Hungarian potters. Finely silted, red, brown or yellowish white, glazed and en- gobe-painted vessels formed on fast potter’s wheel dominate: cooking pots glazed on the inside, narrow-necked one-handled water jugs, round-mouthed jugs and footed pans with a handle. The characteristic bowls of the period and region with unique decoration — brown frames on a white background with colourful, red and green engobe paintings covered by a colourless glaze - were meant to satisfy a certain demand for representation. Beside this ware the assemblages contained - in significantly smaller numbers - the table ware of the Turkish occupiers of the Ottoman period: footed bowls, spouted and ball-mouthed jugs, and so-called Turkish or Balkan type decorations such as combed, striped, glazed and mottled techniques. In connection with the analysis it can be anticipated that with regard to the characteristics of the pottery of the period, although certain groups of vessel types do share some attributes, the fragments do not necessarily carry all of the attributes of a category. The analysis seems to confirm that it is often impossible to determine chronological or regional characteristics behind the different typological traits, based solely on the character of the given vessel, since vessel forms and decoration techniques were transmitted through centuries. This is especially true for everyday domestic ware, the mass ware dominating the excavated material. While the ceramic material of the ethnographic period is connected chronologically already to the representational period of peasant ceramics, which provides less
