Korsókra varázsolt legendák. Németh János figurális díszítésű edényei (Zalaegerszeg)

Legends on pitchers

tors' experiences and practices are mixed, condensed in the compositions decorating their bellies. This applies to the next group, in which only the distinct shape of the pottery is different. There are religious, folklore or nature-inspired scenes, from Hungarian and Greek mythology with rich allegorical references. Since these pots have lost their practicability, the master places stress on representation rather than on decoration in a narrower sense. While taking into consideration the fashionable scenes and figures of the religious faith of common people, a world concept, mixing biblical faith with common sense, unfolds before our eyes, which is far from being theologically exact and not without profane concerns. The conceptual pillars of this system are: the world was created, and sinful (Adam and Eve in the Paradise, Expulsion), the love of God through embodiment (the scene in Bethlehem), redemption (crucified Christ) and the cosmic perspectives (our Lady carrying a sickle), which are opened by means of these. The key and the token of all of these is the church, which is represented by St. John, the Baptist, St. Francis, St. Peter, apostles, monks, the saints of austerity and poverty or St. George, who became a hero due to his faith. The weary, hard-handed ploughmen felt really close to these saints. A pitcher, decorated with the scene of the birth of Jesus Christ, shows the characters of a Nativity play, brilliantly concentrating the whole performance into one scene. The tree of The Fall is seen behind St. John, the Baptist or St. Francis (the other side of the dish), but the tree of life is a frequent motif in Hungarian mythology, which occurs in St. John's apocalypse, as well as in the Hungarian traditional belief-system. This motif symbolizes the beginning and the end, the sky and the earth, the relationship between man and nature. Sometimes the moon and the sun can be seen above the tree or on one of the branches, symbolizing the eternal cycle. Probably that is why the nasty, tempting serpent wriggles around it and tries to strangle it, in order to deprive man of this life-giving, world-preserving gift of God. Though the serpent can entice man into sin - it cannot prove successful, since it cannot hinder the creative power. The Tree of life, with a serpent on it, appears not only on pitchers decorated with Adam and Eve in the Garden of (Eden) Paradise, but also on a square-shaped bottle with a crucifix on the other side, on the back of the St. Francis bottle or next to St. George, who is struggling with the dragon, and basically everywhere, where the traditional way of thinking mostly felt the presence of the devil. Another important aspect of the tree motif can be the one that considers the tree the most important material in the life of ordinary people, who have not lost touch with nature. Not only the cradle, the bed, the table (and other pieces of furniture), and the coffin are made of it, but also walls and roofs built to protect people from cold and rain. Moreover, due to its plasticity it helps people with their hard work in the form of tools. This function of course comes only after the tree casts a shade over the farmer's sweating head, its essential fruits sweeten his days and the juice of the fruits, poured into a wine jug, also make his days happy. In this sense we can call it the tree of life, not because of its mystic concern rather because its role, which determines man's whole life. The mythical motifs of traditional national identity are reflected in the scenes of Hunor and Magor, the dream of Emese, the mythical stag or the Compact sealed with blood. On the latter one, naturally enough, there are not seven, only two chieftains. They have already tethered their horses and, kneeling face to face, are hugging each other tend raising their drinking vessels together, which contain the blood of their alliance. Our legendary progenitress, Emese could, as well be, the nymph Aigina and the vulture fertilizing her could be Zeus, appearing in the form of a vulture. From this point of view both vessels could be classified as mythological subjects, together with the lovely Dionysus or Justifia pitchers. But that is not the case. There is an essential difference behind the use of the two topics, which are both hidden in the mist of bygone days. Emese'

s defiling, while asleep, was the sign of the chieftain's birth, who was chosen to conquer a home for the Magyars and in its kind, it played a central role in the mind of all Hungarians. While mating with Aigina was one of the juicy adventures of the Greek deity. Hunor and Magor appear in two versions. In the first, similarly to the decorative well in Százhalombatta, they are portrayed, while resting, as hunting for the mythical stag. The latter one shows them, leading 15