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Straipsnyje nagrinėjama Vilniaus plytdirbystės problematika. Tyrimų laikotarpį apibrėžia archyvinė informacija apie konkrečius plytininkus-žaliavų kasėjus, kurių sąrašai sudaryti 1795 bei 1805 m. Šiuo laikotarpiu dirbo 43 amatininkai. Naudojantis papildomais archyviniais bei spausdintais šaltiniais, sudarytos šių amatininkų biogramos. Remiantis surinktais duomenimis apibrėžiama plytininkų-žaliavų kasėjų dirbtuvių lokalizacija, apžvelgiama turtinė šiuo amatu besivertusių asmenų diferenciacija, aptariami plytininkystės amato tęstinumo bei plytininkų kaitos duomenys, nagrinėjami kitų amatininkų, ypač puodžių, ekonominiai bei socialiniai ryšiai su plytininkais. Raktiniai žodžiai: Vilnius, plytininkas, plytinė, puodžius, biograma. The article deals with the some aspects of the brickmaking craft in Vilnius. The main archival sources selected for the study were the following: (a) the list of the craftsmen of Vilnius and the register of the city’s properties of 1795 and 1808, (b) the income and expenditure books of the Vilnius magistrate, and (c) the list of the city’s property owners compiled in 1801. The starting point for the research was the short biographies of 43 brickmakers and raw material miners who worked in the workshops in Vilnius between 1795 and 1805 (Table 1), compiled by the author of the article. Using the accumulated database, the answers to the questions raised are provided: the sites of the workshops were located (Fig. 1), the brickmakers ‘dynasties’ from the 1830s onwards were distinguished, the criteria for the financially more capable brickmakers were established, and the main features of these brickmakers are discussed (Figs 2–4, Table 2). The hypothetical conclusion is drawn that changes in the organisation of the craft can already be discerned among the brickmakers of the late eighteenth and early nineteenth centuries. The fundamental shift was the emergence of a layer of brickmakers who sought to avoid the constraints on business expansion resulting from the volatile construction market, which dictated the client’s waitand-see tactics. The study also points to the special relationship between brickmakers and potters. At least half of the brickmakers had various levels of contact with potters, some of whom had become brickmakers themselves (Table 3). Attention is drawn to the desire of the brickmakers to keep their land properties in their hands and to expand their business. This ambition is illustrated in the diagram depicting the change of plot owners in the second half of the eighteenth century (Fig. 5). The author of the article captures the strong bonds of community among brickmakers. Keywords: Vilnius, brickmaker, brickworks, potter, short biography.

Šiame straipsnyje tiriamas keraminių pano kūrybos procesas. Išanalizavus įvairius tekstus apie Lietuvos sovietinio laikotarpio pano, sukuriamos molinės plokštelės, kurios galėtų būti vienos iš sovietmečio kūrinių detalių. Dirbant perimta ir interpretuota sieninių plokščių lipdymo tradicija. Apžvelgiami LSSR valstybinio dailės instituto studentų tiriamieji darbai, pristatantys nepublikuotus sovietmečio pano. Tyrimas yra dviejų dalių: pateikiama istorinė medžiaga ir jos meninės interpretacijos. The aim of this artistic research is to explore ceramic panels created in Lithuania in the Soviet period by artistic means. The research is based on the material related to ceramic panels created in the late Soviet period, approximately from 1974 to 1987, which was collected by the students of the State Art Institute of the Lithuanian SSR between 1986 and 1989. The material sheds light on works that were created in Kaunas, Vilnius and Alytus, and currently are for a large part demolished. While restoring and newly creating an independent artwork, the authors are looking for the means to reveal the reality of that time and to discover the inner motivation – why and how ceramic artists created monumental works at that time, what circumstances they took into consideration, and what they found most important: the topic, the media, light, colour, and texture. While creating works based on description, the authors hope to receive an answer if non-verbal knowledge is possible in ceramics. In order to test this hypothesis that arose during the research, the authors decided to do a practical experiment. The two artists, Rokas Dovydėnas and Remigijus Sederevičius, set themselves a task to restore a clay panel based on a description of creating a Soviet panel. With the aim to place emphasis on the tactile experience of the work, they decided to work blindly. The experiment in the studio revealed that the role of the body is highly important. Direct work with clay has a huge importance for acquiring experience, and there are certain actions that only the body can perform. Facing a new experience, earlier skills are undoubtedly important. While working with the hands, each movement becomes newly acquired knowledge. A result of the artist’s work – in this case, a ceramic plaque – is both an artwork, data obtained during the research, and part of the articulation. The presented result – the research – becomes the visible part, and the experiential part of research remains in the body memory of the researcher. One can make a conclusion that it is difficult to analyze creative work exclusively by description, as the practical research was conducted blindly. The control over the body and material achieved during the process obviously shows that sharing practical knowledge is possible even if it is poorly communicated, and the achieved result can be visually similar. This research experience can be applied for educational aims, by repeating actions that can build working skills. While realizing the entire course of the work and foreseeing the actions, a ceramic artist can achieve impressive results, which are predictable rather than random.

Vilniaus dailės akademijos meno aspirantūros studijų metu 2004 m. imti giluminiai interviu iš 1950–1970 m. aktyviai dirbusių arba tuo metu studijavusių keramikų Juozo Adomonio, Aldonos Ličkutės, Kristinos Mazūrienės, Egidijaus Igno Talmanto, Liucijos Šulgaitės, Elenos Venckevičienės. Meno aspirantūros tiriamajame darbe apie LSSR 1956–1970 m. keramiką remtasi literatūra iš 1950–1970 m. kultūrinės spaudos – žurnalų "Dailė", "Kultūros barai", "Pergalė". Be to, pažinti tą laikotarpį padėjo ir dailininkų darbų katalogai bei dailės albumai. Visgi to meto publikacijos buvo gana oficiozinės, o parodų kataloguose pristatyta tik dalis sukurtų darbų. Interviu medžiaga atskleidžia tai, kas neatspindėta tuometėje spaudoje, kokiomis sąlygomis dirbo Lietuvos keramikai XX a. 6–7 dešimtmečiais. Šaltinių tekste pateikiami trys interviu, trumpos trijų autorių biografijos ir interviu kontekstas. This publication of sources contains three interviews with ceramic artists who were active in the twentieth century: Aldona Ličkutė, Egidijus Ignas Talmantas, and Kristina Karkaitė-Mazūrienė. Aldona Ličkutė’s interview covers the period of her studies, the 1950s, her relation with the teachers and her own teaching practice in the State Art Institute, and the lack of materials and technical facilities in ceramics in the Soviet period. Egidijus Ignas Talmantas speaks about his technological experiments, the manufacturing of terra sigilatta, and his attempts to promote this invention internationally. He also describes his cooperation with archaeologists in exploring historical ceramics, and his work in the Vilnius M. K. Čiurlionis Art Boarding School. Kristina Karkaitė-Mazūrienė’s interview addresses the artist’s relation to already well-established creators, the exhibition possibilities of those times, and the efforts to seek creative freedom. All the three interviewees speak about the artists’ possibilities to create in the Soviet period, and it is obvious that ceramic artists chose different tactics ranging from adapting to the system, refusal to create and immersing in technological experiments, to the attempts to bypass the local power field and to find higher-placed reviewers. The interviewees, remarkable personalities, discuss the aspects important for creating ceramic works, their study years, their relations with colleagues, and their own work. The interviews touch upon the themes that could not be put out for public discussion in the Soviet era. Hopefully, these conversations will be interesting for further researchers of the Soviet period.

Straipsnyje pristatome maisto liekanų keramikoje cheminių ir stabiliųjų anglies bei azoto izotopų tyrimų, vykdytų 2014-2017 m., rezultatus. Lietuvoje tai dar menkai išnaudotas informacijos apie priešistorinių žmonių mitybų šaltinis ir dar visai nauja tyrimų kryptis, pradėta vystyti kartu su Jungtinės Karalystės mokslininkais Lietuvos mokslo tarybai parėmus du projektus, todėl greta pirmųjų įžvalgų, hipotezių, išvadų siekiame atskleisti naujų metodų potencialų priešistorinių visuomenių tyrimuose. Gauti rezultatai stebėtinai gerai dera su archeologiniais, zooarcheologiniais, kaulo kolageno stabiliųjų izotopų duomenimis, daro priešistorinės ekonomikos ir mitybos paveikslų gerokai išsamesnį ir labiau pagrįstų. Šie tyrimai patvirtina ryškų pokytį nuo vandeninio maisto prie sausuminio - nuo žvejybos prie gyvulių auginimo daugelyje Lietuvos vietų vykus maždaug 2500 cal BC, kartu su Virvelinės keramikos kultūros žmonių pasirodymu. Svarbu tai, kad pajūrio gyvenvietėse net ir Virvelinės keramikos periodu vandeninio maisto resursų svarba ir toliau išliko didelė. The article presents the results of chemical and stable isotope (carbon and nitrogen) analyses conducted between 2014-2017 on visible deposits of food residue found on pottery. Information about the diet of prehistoric populations has so far been applied sporadically in Lithuania and represents a new research opportunity, the development of which was begun in collaboration with UK scientists after the Research Council of Lithuania supported two projects. As a consequence, alongside the initial insights, hypotheses, and conclusions, an effort was made to reveal the potential of new methods in the investigation ofprehistoric societies. The results obtained are a surprisingly goodfit with the archaeological, zooarchaeological, and bone collagen stable isotope data and help to build a more comprehensive picture of the prehistoric economy and diet. This investigation confirms a distinct transition from aquatic to terrestrial food, i.e. from fishing to husbandry at many locations in Lithuania circa 2500 cal вс, together with the appearance of the peoples of the Corded Ware culture. It is important to note that the exploitation of aquatic food resources still remained high in coastal settlements even in the period of the Corded Ware culture.

Šiame projekte bus gaminama 5 mln. vienetų keraminių užkatinio dengimo čerpių. Pagrindinės žaliavos: Girininkų (Lietuva) ir Nikiforovo (Ukraina) moliai. Gamybos procesą sudaro masės paruošimo, formavimo, džiovinimo bei degimo skyriai. Keramines čerpes gamins bei jų kokybę tikrins kvalifikuoti specialistai. Nauja gamykla bus statoma UAB ,,Rokų keramika“ įmonės teritorijoje. Tai strategiškai patogi vieta, nes šalia yra pagrindinio molio (Girininkų) karjeras bei geležinkelis. Įmonė yra netoli pagrindinių kelių, todėl yra geras susisiekimas su aplinkiniais miestais, norint eksportuoti savo produkciją., This project will be produced 5 million pieces of ceramic tiles. The main raw materials: Girininkai (Lithuania) and Nikiforov (Ukraine) clays. The manufacturing process will consist of mass preparation, shaping, drying and firing sections. Ceramic tiles will be produced and their quality checked by qualified professionals. The new factory will be built in UAB ,,Roku Keramika” company's territory. It is a strategically convenient location, because nearby the main quarry of clay (Girininkai) and railway. The company is close to the main road, therefore connections with the surrounding towns are convenient, in order to export products easier.

Tyrimo metu buvo siekiama įvertinti fosfatinės konversinės dangos nuotekų dumblo priedo kiekio įtaką keraminės šukės sukepimui bei kitoms fizikinėms-mechaninėms savybėms, tame tarpe spalvai. Tam buvo ruošiami Girininkų telkinio molio ir fosfatinės konversinės dangos nuotekų dumblo formavimo mišiniai, kuriuose dumblo kiekis buvo nuo 5 iki 15 % , o paruošti bandiniai buvo degami 800, 1000, 1025 ir 1050 °C temperatūroje 4 valandas, o taip pat 1050 – 1075 °C temperatūroje – 1 valandą. Tyrimais nustatyta, kad keraminė šukė su FAU priedu sukepa geriau nei su FAA priedu., The purpose of this study was to investigate the influence of phosphate conversion coatings sewage sludge quantity to the physical – chemical properties and colour of ceramic body and to evaluate the possibility of using additives in ceramic products. For this reason, a mixture of clay and phosphate conversion coatings sewage sludge was prepared. The amount of sludge in clay mixture was 5 – 15 % and samples made of this mixture were fired at 800, 1000, 1025 and 1050 °C for 4 hour and at 1050 – 1075 °C for 1 hour. Studies have shown that the ceramic body with FAU additive is sintering better than with FAA additive.

Straipsnyje pristatomi Narkūnų Didžiajame piliakalnyje (Utenos r. sav., Leliūnų sen.) rastos techninės keramikos klasi'kacijos, chronologijos, gamybos ir naudojimo tyrimai. Vienai pagrindinių techninės keramikos (tiglių ir miniatiūrinių indelių) klasifikacijos problemų tirti pasitelkiami XRF, mikrocheminė kokybinė analizės, SEM/EDX ir rentgenografijos metodai. Jais remiantis atsisakoma miniatiūrinių indelių vertinimo kaip techninei keramikai (tigliams) priskiriamų radinių. Peržvelgus visą Narkūnų Didžiojo piliakalnio techninės keramikos kolekciją, atkreipiamas dėmesys į jos kiekį, reprezentuojamą specializacijos lygį ir chronologiją. Pristatomame metalurgijos veiklos vertinime išryškėja techninės keramikos chronologinis epizodiškumas. Tyrimų rezultatai skatina kelti hipotezę, kad Narkūnuose metalą liejo tik retkarčiais atvykstantys metalurgai. This article presents an investigation of the classiffication, chronology, production, and usage of the technical ceramics from the ‘Didysis’ Narkūnai Hillfort (Utena District, Leliūnai Eldership). An attempt to resolve the problem of classifying vessels as miniature cups or crucibles was made using XRF, microchemical qualitative, SEM/EDX, and x-radiography analyses. Based on the results, a signi'cant quantity of the miniature cups previously interpreted as crucibles are now considered to be unrelated to metallurgical activities. 3e revision of these technical ceramics is prompting a reassessment of the itinerant metalworker hypothesis as the collection is sparse, indicating a specialized metalworking level and an episodic chronological character.

Straipsnyje pristatoma Narkūnų archeologijos paminklų komplekso (Utenos r. sav., Leliūnų sen.) bronzos amžiaus III – B2/C1 periodų keramikos kolekcijos klasifikacija ir keraminių, kaulinių bei metalinių radinių erdvinė analizė. Pasitelkus elgsenos archeologijos teorinius pagrindus, nagrinėjami kultūrinių sluoksnių susiformavimo procesai, archeologinio konteksto reprezentatyvumas ir komplekso raida. Taip pat aptariami Narkūnų priešistorinį apgyvendinimą atspindintys radiniai ir jų chronologija. Pagal išanalizuotus 14 879-is keramikos fragmentus ir atskirai ištirtus 1534-is pakraštėlius išskiriami buitinės keramikos stiliai. Atlikta Narkūnų Didžiojo piliakalnio radinių erdvinė analizė leido išskirti II a. paleoreljefo fragmentą, analizuoti pastato apleidimo atvejį ir identifikuoti keturias nevienalaikes metalurgijos veiklos vietas. Aptariami priešistorinės elgsenos atspindžiai archeologiniame kontekste leidžia pratęsti diskusiją apie to meto visuomenę, piliakalnių atsiradimą, jų apleidimą bei gyventojų santykį su metalurgija Rytų Baltijos regione. The article presents a classification of the pottery dated to PIII–B2/C1 and a spatial analysis of the pottery, bone, and metal artefacts found at the Narkūnai archaeological complex (Utena District, Leliūnai Eldership). First, a re-examination of Narkūnai’s prehistoric chronology was made using typological studies. Second, on the basis of 14 879 analysed potsherds and 1534 separately examined rim sherds, pottery styles were distinguished in the context of the development of early hillforts’ pottery. Last, by applying a behavioural archaeology theory, the paper analyses the formation processes of the cultural layers and the fragment of the representativity of the archaeological context. A spatial analysis allowed the fragment of the 2nd century palaeorelief to be distinguished, the abandonment process of a single building to be examined, and four asynchronous metallurgical activity areas in the ‘Didysis’ Narkūnai Hillfort to be identified. The latter reflections on prehistoric behaviour are discussed in the context of the appearance and abandonment of the early hillforts and the relationship of the local communities with early metallurgy in the East Baltic region.

Straipsnyje išsamiai pristatomas ankstyvojo ir viduriniojo bronzos amžiaus archeologinis reiškinys Lietuvoje - Tscineco kultūra (Tscineco kultūrinė bendrija/horizontas). Įvairiais pjūviais analizuojama šios kultūros samprata, chronologija, pristatoma tyrimų istorija jos paplitimo areale. Išskirtinis dėmesys tenka archeologinei keramikai - pagrindimam kultūrinės priklausomybės rodikliui. Straipsnyje aptariami keraminių indų skiriamieji bruožai, tipai, ornamentika, jų priklausomybė Rytinei/Vakarinei Tscineco kultūroms. Straipsnio pabaigoje analizuojama bronzos amžiaus kultūrinė situacija Rytų Baltijos regione ir keliamas Tscineco kultūros egzistavimo Lietuvoje pobūdžio klausimas. The article presents the Trzciniec culture (Trzcinice cultural cycle), an Early and Middle Bronze Age archaeological phenomenon in Lithuania. It analyses various aspects of the concept and chronology of the culture and presents a history of the research in the cultures territory. Priority is given to archaeological pottery, the main indicator for cultural identification. The article gives the main distinguishing features of the ceramic vessels, their types, their ornamentation, and their attribution to either the East-Trzciniec or West-Trzciniec culture. Finally the article analyses the Bronze Age cultural situation in the Eastern Baltic region and raises the question of whether the Trzciniec culture existed in Lithuania and in what form.

The subject of this study is medieval wheel-turned pottery of Kernavė. The main goal of this work is to observe the development of pottery of medieval town and later settlement of Kernavė. Particular attention is paid to the pottery making traditions in 13th-14th centuries. Pottery from the later settlement meanwhile is used mainly as the comparative material in order to observe some changes through time. Technological, morphological and ornamental properties of pottery were identified for the study of their significance and evolution through time and space. The majority of pottery under consideration can be attributed to the pots of different sizes. These pots were differentiated into several functional groups: small pots, pots and jars. All these groups could be used for a variety of purposes such as cooking, transportation or storage. The amount of single-purpose vessels is very small and even these few belong to the settlement which was established in the 15th century in the place of earlier town. The evolution of technological attributes of Kernavė’s pottery in the Middle-ages is quite gradual. It is especially characteristic to the pottery of the 13th-14th centuries when most of discrepancies in pottery are influenced mainly by the individual peculiarities of every potter but not by the chronological differences. Crushed granite is typically used as a temper, the intensity of turning varies from the subtle surface smoothing to the partial forming of vessel. However, some gradual development in pottery making technology is evident already in the 14th century – the temper is getting finer, turning – more intensive, surface of the pot – unruffled and even. These features became even more characteristic since the 15th century. Potter’s individual abilities and stylistics highly influenced the diversity of morphological attributes of the 13th-14th century pottery as well. It is quite evident as individual pot shapes are typical for the separate farmsteads. Chronological development of the morphological attributes of pottery is not very significant in the 13th-14th centuries. Higher necks are characteristic for the earlier period; their height gradually decreases in the 14th century. Quantity of sharply profiled pots with raised shoulders increases in the 14th century as well; this tendency is even more evident since the 15th century. Ornamentation of Kernavė’s pottery is similar with the ornamentation of contemporaneous pottery from other sites in Lithuania and neighboring Slavs. Motives of horizontal lines and wavelets are dominant in the 13th-14th centuries. The compositions of these motives are quite varying and they depended mainly on the choice of particular potter. Some other motives are known as well, but they are infrequent. Same transformations in the ornamentation traditions are observable in the end of the 14th and the beginning of the 15th centuries. Horizontal lines and wavelets covering significant part or even entire body of pot, which were so characteristic for the preceding period are replaced with rather minimalistic style - ornamentation is restricted only to the upper side of pot; the dashes of various length and direction become the main motive of ornaments. The peculiarities of technological, morphological attributes and ornamentation of pottery and their dispersion in space and time provide some evidence about the development of the pottery as a craft. One can conclude that we cannot describe this craft as professional in the 13th-14th centuries yet. It is most likely that almost all pottery under consideration is a home-made pottery, i.e. every household produced pottery mainly for their own needs. The next level of craftsmanship – small-scale production for the sale – possibly could emerge in the end of the 14th century. Both these modes of production persisted in later centuries when one of the most important centers of the state turned into the small province settlement.

Straipsnyje analizuojama žinomos keramikės Aldonos Keturakienės šiuolaikinė kūryba. Dailininkė jau daugelį metų dėsto Vilniaus dailės akademijos Kauno dailės fakultete, yra išugdžiusi ne vieną keramikų kartą. Taip pat ji garsėja kaip lietuviškos keramikos novatorė, balansuojanti ant modernistinio ir postmodernistinio meno ribos, savo kūryboje puoselėjanti konceptualumo nuostatas. Norint tiksliau suvokti šios autorės kūrybinius principus, tekste nagrinėjama, kaip jos parodose pasiekiama vaizdinė įtaiga ir intriga, kokios yra svarbiausios dailininkės surengtų projektų kūrybinės nuostatos, kokiais parametrais remiantis gimsta menininkės kūrinių specifinė išraiška. In the article The structure features of poetry images in the contemporary art of Aldona Keturakienė written by Raimonda Kogelytė-Simanaitienė, the last decade of the creative artworks which were exhibited in personal exhibitions-projects have been analysed. Aldona Keturakienė is a well-known ceramic artist and professor at the Kaunas faculty of Vilnius Academy of Art. The path of creativity for Keturakienė started in the middle of the 1980s when the artist tried some different spheres of pottery. In her time she created decorative and domestic crockery, monumental art pieces for the interior, along with figurative plastic art. But probably the most important thing is the fact that even nowadays when the spectrum of plastic abilities is increasing and changes in pottery are emerging, Aldona Keturakienė was almost every time at the vanguard of Lithuanian pottery. Since the year 2000 Keturakienė has had over 10 personal exhibits-projects, which were characterised by integrity and with the deliberate decision of installation. The article states that recent exhibitions have highlighted the artist’s penchant for metaphoric theme, reflected with personal memories and the reflections of events in life. The projects also show an original composition ‒ the plastic visual structure. This structure has been highlighted by analysing the artistic qualities of the active pottery work and the space ratio, the works’ mobility and frequency, the use of a modular piece in art work, the meaning and hypnotism of colour which is certainly typical for the artist’s exhibitions and also for the individual works in it and governs the work figurativeness, forming and helping to reveal the artist’s creative semantic field. It was stated that the artist’s ceramics are very diverse: it balances in wide range of contradictions such as, spatiality ‒ statics, brittleness ‒ monumental. Artists’ works are always based on an idea and Keturakienė herself, as a lecturer and as an artist undoubtedly remains an important personality among Kaunas ceramics artists.

Straipsnyje apžvelgiama lietuvių profesionaliosios keramikos studijų padėtis Kaune, ilgalaikė suinteresuotų asmenų kova dėl jo atkūrimo, 1951 m. uždarius Kauno valstybinį taikomosios ir dekoratyvinės dailės institutą. Po aštuonerių metų pertraukos šis siekis iš dalies buvo įgyvendintas, mieste įkurtas Lietuvos valstybinio dailės instituto (dab. Vilniaus dailės akademijos) Vakarinis skyrius. Studijos vakariniame skyriuje, remiantis vadovybės nutarimu, buvo susietos su dailiosios keramikos gamyklų tikslais ir poreikiais, buvo dedama daug pastangų, kad Keramikos skyriaus studentai ugdytų kūrybiškumą, orientuotųsi dinamiškoje modernėjančio pasaulio taikomosios ir dekoratyvinės dailės raidoje, gebėtų naudotis plačiomis keramikos meno galimybėmis. Vakarinio skyriaus keramikos studijų programos, parengtos profesionaliai ir įžvalgiai, nepaisant akivaizdaus dėstytojų indėlio, atspindėjo gamybos įmonių suformuluotus reikalavimus, kuriuose menkai atsispindėjo modernios meno raidos procesai. 1991 m. Kauno vakariniam skyriui suteikus savarankiškumą ir reorganizavus fakultetą, atsirado galimybė studijuoti keramiką kaip meną, kuriame nyksta ribos tarp taikomojo ir vaizduojamojo meno. The changes of the university art studies in postwar Kaunas generated moral and intellectual tension. The flourishing traditions of a national ceramics school were disrupted by the closure of Kaunas Applied and Decorative Arts Institute. The outcome of this reform was felt by the city’s tableware ceramics factory and smaller ceramics workshops. With the demand for tableware and interior ceramics growing, the shortage of professional specialists able to apply artistic creativity to factory production was deeply felt. In 1959, due to the favourable situation, Kaunas Evening Applied Arts Department of Vilnius Art Institute was established in Kaunas. The core tutors came from Kaunas Applied and Decorative Arts Institute, the predecessor of Kaunas Evening Applied Arts Department of Vilnius Art Institute. In the studies process they employed an existing and tested teaching programme where nurturing students’ creative and technological independence was given great importance. During the studies the students were introduced to various techniques and decoration types, preparing moulds, firing processes of tableware and decorative ceramics, and they were also introduced to the designing and producing of large-scale ceramic objects for architectural spaces. Due to the limited production resources, the students of Evening Studies were not taught advanced technologies and high temperature firing, nonetheless they successfully applied modern forms of artistic expression in their works. In 1979, the Ceramics Department was reorganised into the Glass and Porcelain Department specialising in porcelain. Here, the required technical basis for studies was installed and the conditions for the practical side of studies improved. However, the main aspect of studies, directed at mass production, hindered the students’ grasp of aesthetic values and limited the possibilities for individual creative work. The new perspectives of teaching professional ceramics opened up 1991 when Kaunas Art Institute became independent. The development of this teaching institution which in part continued the traditions of national ceramics school reveals the impact of inconsiderate reforms.

Taikomajai dailei visais laikotarpiais (tiek prieškaryje, tiek sovietmečiu, tiek ir dabar – Nepriklausomybės laikotarpiu) skirtas kur kas mažesnis dėmesys, ši meno sfera nepelnytai pamirštama, jos tyrimai nėra gausūs. Nors įvairiose užsienio šalyse daiktinė kultūra labai vertinama, mūsuose ji tam tikra prasme laikoma antrarūše. Straipsnyje norima išsiaiškinti, kaip XX a. II pusės – XXI a. 1-ojo dešimtmečio laikotarpiu keitėsi lietuvių taikomosios dailės tyrimai, kiek juos lėmė istorinė ir meninė situacija, pasipildančios taikomosios dailės tyrėjų gretos, nauji metodologiniai reikalavimai, t. y. siekiama išskirti svarbesnius taikomosios dailės tyrimus, juos susisteminti ir pateikti kiekybinės apžvalgos bei kokybinių pokyčių aspektu. Taip pat ketinama apibrėžti, kokie taikomojo meno reiškiniai (etapai, sritys) mūsų teoretikų yra geriausiai išanalizuoti, bei įvardinti nūdienos taikomosios dailės tyrimų spragas ir trūkumus. Peržvelgus atliktų Lietuvos taikomosios dailės tyrimų visumą, galima išskirti joje ryškėjančius specifinius bruožus. Didžiausias dėmesys iki šiol buvo skiriamas Lietuvos taikomosios dailės faktologijai susisteminti ir jos raidai perteikti. Antra sritis – įvairių taikomosios dailės rūšių analizė; daugiausia pasistūmėta senosios ar šiuolaikinės Lietuvos tekstilės ir kostiumo pažinimo srityse. Gilesnių tyrimų susilaukė Lietuvos metalininkystė, juvelyrika. Šiek tiek – meninis stiklas ir keramika, tuo tarpu meninės odos, baldų ir kitomis, smulkesnėmis taikomosios dailės rūšimis, domėtasi tik fragmentiškai. During all times (during the pre-war, Soviet period and now, at the period of Independence) less attention was paid to applied arts. This sphere of art was undeservedly forgotten; there are little researches made in this sphere. Although in many foreign countries material culture is appreciated, in our country it is considered to be second-rate. An article aims to explain the ways in which the researches of Lithuanian applied arts were changing from the second part of the 20th c. until the first decade of the 21st c. and the influence of historical and artistic situation to those changes. Also, to present new researches of the applied arts and new methodological requirements, i.e. it is intended to distinguish more important researches of the applied arts, structure them and present them according to the aspect of quantitative review and qualitative changes. Moreover, it is intended to emphasize the best analyses of applies arts phenomena (stages, spheres) made by our theorists and to indicate the gaps and defects of nowadays researches of applied arts. After having an insight to entire researches of Lithuanian applied arts, distinct specific features may be distinguished. Up to now, attention was mostly paid to the systematization of the Lithuanian applied arts factology and the rendering of its development. The second sphere was the analysis of various kinds of applied arts; the biggest push was felt in spheres of old or nowadays Lithuanian textile and costume cognition. Deeper analyses were performed in the spheres of Lithuanian metalsmithing and jewelry. Some more were made in spheres of artistic glass and ceramics, meanwhile, some minor spheres as artistic leather, furniture and others attracted only fragmentary attention.

Juozas Adomonis - žymus keramikas, kritikas, teoretikas ir pedagogas, pagerbtas Nusipelniusio meno veikėjo vardu, apdovanotas Lietuvos didžiojo kunigaikščio Gedimino ordino Karininko kryžiumi, Vyriausybės meno premija. Kalbant apie dailininko veiklą, dažnam vertintojui neišvengiamai išsprūsta apibūdinimas„klasikas". Tačiau išties reikšminga, jog tarp kolegų ir studentų jis yra pelnęs tikrą, neformalų profesinį autoritetą. Taigi, kodėl naujoji profesoriaus Juozo Adomonio kūryba atrodo tokia gyvybinga ir šviežia, lyg už jo pečių neglūdėtų penkiasdešimt kūrybinio ir pedagoginio darbo metų? Ar dėl to, kad dailininkas visą tą laiką rūpinosi ne vien savo paties kūryba, buvo atviras naujovėms ir nevengė nerti į tarptautinius vandenis? Ar todėl, kad patirtis jam padėjo įtvirtinti dar jaunystėje susiklosčius] atsakingą požiūrį į kūrybą bei subtilų skonį, tačiau nenuslopino vidinės laisvės, humoro jausmo ir poreikio pažaisti vaizdais, paklajoti? Juozas Adomonis is a famous ceramic artist, as well as an art critic, theoretician and teacher. When writing on Adomonis'activity, critics almost invariably refer to him as a'classic', and it is of consequence indeed that he has earned a sincere and true esteem of his colleagues and students. Adomonis'approach to ceramic art has been partially determined by the epoch of his formation and his career. The artist belongs to the generation of the'thawing'period: these individuals started their careers just before or immediately after the fall of Stalinism. The artist himself tends to consider the early Sixties a phase of late Modernism, while in Modernist aesthetics the emotional impact of a work of art is strongly associated with its distinctive artistic form. Therefore each of the artists of the Sixties and Seventies inevitably revisited the question of the nature of his or her medium (be it painting, sculpture or textile arts) and its properties. No matter how they answered this particular question, most of Adomonis' contemporaries sought to explore the potential of the material used in the making of their artwork. But what was part and parcel of a ceramic art piece for Adomonis, did not completely correspond with the then dominant concept of ceramic art in Lithuania. The surface of his works has Nordic elegance and density. The artist has never developed a liking of supple forms or amorphous, 'unharnessed' plasticity. He finds inspiration in the world's architectural ceramics - historic bricks and tiles, or in the solid, sturdy and humble creations of nature itself: erratic, wood, clods of earth.

Šioje daktaro disertacijoje pirmoje dalyje nustatyta šiuolaikinės, o antroje dalyje – archeologinės keramikos gaminių elementinė ir fazinė sudėtis, bei ištirta morfologija. Šiuolaikinės ir archeologinės keramikos pavyzdžių elementinė sudėtis nustatyta Rentgeno spindulių dispersinės analizės (EDX), liepsnos atominės absorbcinės spektrometrijos (LAAS), titrimetrinės ir spektrofotometrinės analizės metodais. Parodyta, kad visų keraminių pavyzdžių kokybinė bei kiekybinė sudėtis yra skirtinga Nustatyta, kad visuose keramikos mėginiuose pagrindiniai elementai yra silicis ir aliuminis. SiO2 sudaro 46 – 60% keramikos sudėties, Al2O3 – apie 17 – 33%. Fe, Na, Mg, K, Ca ir Ti mėginiuose rasta kelis kartus mažiau. EDX analizė gali būti sėkmingai naudojama nustatant pagrindinius elementus, kurių kiekiai viršija 0,5 % bendros elementinės sudėties. Norint nustatyti tikslią keramikos sudėtį ir pėdsakinius elementus reikia naudoti LAAS analizės metodą. Aliuminio kiekį keramikoje patikimai galima nustatyti titrimetriniu, o silicio ir titano kiekį – spektrofotometriniais metodais. Ištyrus šiuolaikę ir archeologinę keramiką Rentgeno spindulių difrakcine analize (XRD), nustatyta, kad visų keramikų pagrindinė fazė yra vienoda – silicio dioksidas SiO2, tačiau jų bendra fazinė sudėtis skiriasi. Skirtinguose kermikos pavyzdžiuose buvo aptikos šios fazės: kvarcas, dolomitas, kaolinas, albitas, mikroklinas, muskovitas, mulitas, hematitas, rutilas, diopsidas, korundas, titanitas, natrio anortitas... [toliau žr. visą tekstą] The elemental composition of the samples of modern and archaeological ceramics was determined using the energy dispersive X-ray analysis, flame atomic absorption spectrometry, titrimetric and spectrophotometric analysis methods. It has been shown that the qualitative and quantitative composition of all the samples is different. It has been established that silicon and aluminium are the main elements in all the samples. SiO2 accounts for 46–60 % of the composition of the ceramics, Al2O3 – for some 17–33%. The amounts of Fe, Na, Mg, K, Ca and Ti discovered in the samples are several times lesser. EDX analysis can successfully be used in determining the main elements whose amounts exceed 0.5% of the overall elemental composition. In order to determine the exact composition of ceramics one has to employ the FAAS analysis method. To determine in a credible manner the amount of aluminium in ceramics, one can use the titrimetric method, and the amount of silicon and titanium – spectrophotometric methods. Upon examination of the modern and archaeological ceramics by diffraction analysis it has been established that the main phase of all the samples is the same – quartz SiO2, however their phase composition varies. In different samples the following phases have been discovered: calcite, dolomite, kaolinite, albite, microcline, muscovite, mullite, hematite, rutile, diopside, corundum, titanite, and sodium anorthite. Being aware of the phase composition, it has been established that the... [to full text]

The main goal of this dissertation is the evaluation of the current material from the Iron Age eastern Lithuanian settlements in the context of the settlement archaeology. Historically developed circumstances determined that Lithuanian archaeology nearly from its origins has been oriented mainly towards ethnocultural research. Consequently the material from the burial monuments has been under the greatest consideration, settlement excavations were considered less informative. As the goals of archaeological research are broadening in Lithuania recently, social, economic and ideological aspects of culture are becoming more relevant. Settlement material is essential for the analysis of these subjects. However, as the majority of the settlement excavations were implemented under the different goals with different methods, the employment of their data is complicated. The data is not fully reliable, it requires reconsideration. Methodological aspects of settlement excavation and interpretation of its data are widely analysed in this dissertation. The model of settlement archaeology fitted to the properties of Lithuanian Iron Age sites is introduced here. Data from the Eastern Lithuanian settlements are treated in the context of this model. Problems of the chronology of settlements are under consideration here as well. Pottery from the Eastern Lithuanian settlements was revised for this purpose. The chronological scale with the intervals of 1-3 centuries has been constructed. Disertacijos tikslas – šiuo metu turimos medžiagos iš Rytų Lietuvos geležies amžiaus gyvenviečių įvertinimas gyvenviečių archeologijos kontekste. Dėl taip susiklosčiusių istorinių aplinkybių, Lietuvos archeologijos mokslas beveik nuo pat savo ištakų buvo orientuotas gana siaura kryptimi – būtent į etnokultūrinius tyrinėjimus. Dėl šios priežasties didžiausias dėmesys nuolat buvo skiriamas laidojimo paminklams, o gyvenviečių medžiaga laikyta neinformatyvia. Pastaruoju metu, plečiantis archeologijos mokslo interesams, vis daugiau dėmesio skiriama socialiniams, ekonominiams, ideologiniams klausimams, kurių analizė be gyvenviečių medžiagos jau neįmanoma. Tačiau kadangi dauguma gyvenviečių kasinėjimų vykdyta keliant kitus tikslus, kuriems įgyvendinti taikyta kitokia metodika, šios medžiagos panaudojimas yra gana komplikuotas. Turimais duomenimis ne visada galima pasitikėti, jie reikalauja naujos interpretacijos. Disertacijoje daugiausiai dėmesio skiriama metodologiniams gyvenviečių tyrinėjimų ir medžiagos interpretavimo aspektams. Suformuluotas prie Lietuvos geležies amžiaus specifikos pritaikytas gyvenviečių archeologijos modelis, jis derinamas su turimais duomenimis iš Rytų Lietuvos gyvenviečių. Analizuojama, kokiems klausimams spręsti medžiagos turima daugiau, kuriems mažiau, kokie metodai gali padėti išspręsti aktualiausias problemas. Taip pat disertacijoje daug dėmesio skiriama gyvenviečių chronologijos problemoms, kurios iki šiol dar beveik neanalizuotos. Šiuo tikslu... [toliau žr. visą tekstą]

The elemental composition of the samples of modern and archaeological ceramics was determined using the energy dispersive X-ray analysis, flame atomic absorption spectrometry, titrimetric and spectrophotometric analysis methods. It has been shown that the qualitative and quantitative composition of all the samples is different. It has been established that silicon and aluminium are the main elements in all the samples. SiO2 accounts for 46–60 % of the composition of the ceramics, Al2O3 – for some 17–33%. The amounts of Fe, Na, Mg, K, Ca and Ti discovered in the samples are several times lesser. EDX analysis can successfully be used in determining the main elements whose amounts exceed 0.5% of the overall elemental composition. In order to determine the exact composition of ceramics one has to employ the FAAS analysis method. To determine in a credible manner the amount of aluminium in ceramics, one can use the titrimetric method, and the amount of silicon and titanium – spectrophotometric methods. Upon examination of the modern and archaeological ceramics by diffraction analysis it has been established that the main phase of all the samples is the same – quartz SiO2, however their phase composition varies. In different samples the following phases have been discovered: calcite, dolomite, kaolinite, albite, microcline, muscovite, mullite, hematite, rutile, diopside, corundum, titanite, and sodium anorthite. Being aware of the phase composition, it has been established that the samples of modern ceramics were fired at the temperatures of 600–1300o C, and the archaeological pottery – at the temperature of up to 1000o C. The scanning electron microscope provides a possibility to examine the morphological features of ceramic items. Being aware of the shape and morphology of ceramic items it is possible to determine their manufacturing conditions. From the photographs made by a scanning electron microscope it can be seen that the samples of modern ceramics are characterised by different morphology – the size of their particles and pores, shapes and distribution are different. The surface features, chemical and phase composition of the archaeological pottery discovered in different locations are different too: this is related with the technological manufacturing features of the pottery. FTIR analysis can facilitate interpretation of the results obtained by XRD and TG. In IR spectra, intensive peaks are observed at 3700–3000 and 1635 cm-1, corresponding to the O-H vibrations (adsorbed water). The Si–O vibrations observed at 1200–1000, 797 and 778 cm-1 are assigned to SiO2. Employing FTIR analysis, other silicates and carbonates, earlier determined by XDR analysis, have also been identified. Infrared ray spectroscopy, jointly with X-ray diffraction analysis, can be successfully used for the qualitative analysis of ancient pottery. The modern and archaeological ceramics has been examined using the methods of thermogravimetric and differential thermal analysis. It has been established that the nature of the TG–DTA results of modern ceramics depends on its composition and manufacturing conditions. Using the data of the thermal analysis it has been established that the ceramics, excavated in different archaeological complexes, was manufactured at different firing temperatures. The obtained results of the thermal analysis are in good agreement with the XRD and FTIR results, and are a valuable method of examination and description of ceramic findings.

Straipsnyje nagrinėjama Vaclovo Miknevičiaus keraminė kūryba, išryškinamas jo darbų meninis, technologinis bei medžiaginis savitumas. Pastarąją analizę atlikti paskatino tai, jog menininko šeimos dėka į Vilniaus dailės akademijos Kauno dailės fakulteto Keramikos katedros fondus 2006 m. buvo perduotas gausus V. Miknevičiaus sukurtų ir keramikai gaminti naudotų medžiagų (daugiausia glazūrų) palikimas. Apžvelgus šį palikimą, menininko indėlį į lietuviškos keramikos medžiagų, technologijų naudojimo skalę imtasi tyrinėti meniškumo, medžiagiškumo ir technologijų išradingumo aspektu. The article analyses Vaclovas Miknevičius ceramic works, while emphasising the artistic, technological and material originality of the pieces. The analysis was encouraged as a result of the courtesy of the artist's family who bequeathed their heritage of V. Miknevičius materials (mostly glazes), created and used for ceramics manufacturing to the Vilnius Art Academy's Kaunas Art Faculty Ceramies Department in 2006. The comprehensive nature of his oeuvre became the inspiration for this research into the contribution of the artist to Lithuanian ceramics in the planes of artistic, material and technological ingenuity. Ceramics, as a professional branch of art in Lithuania, first began to develop in the Kaunas Arts School in the fourth decade of the twentieth century. From then on, the professional progression of this branch of applied art remained uninterrupted. It is worth mentioning that in the pre-war period, without digressing from the conception of ceramies as people's arts, and basing themselves on Art Deco as well as the national style, the ceramicists tried to experiment with original forms and techniques, focusing their attention on technological research and new materials. From the fourth to the seventh decade of the twentieth century, the works of the artist Vaclovas Miknevičius were exceptional within the overall context of ceramics. They were distinguished by their high artistic value and technological complexity. These peculiarities predetermined the recognition and appreciation of the artists' works in Lithuanian and foreign exhibitions. V. Miknevičius was also involved in the process of industrial ceramics in Lithuania; he discovered and adapted the Clay of Murava, whose fragments anneal in low temperature, to mass production. The artist experimented a plenty with terracotta, especially when creating interior as well as exterior works suitable for usage in open air. He gave particular effort to the development of reduction glaze, and sought to discover and establish new recipes. At the same time, the artist solved not only artistic, but also technological problems; the reduction of the harmfulness of glaze and questions relating to annealing came to light during his experiments with lead-free glaze. V. Miknevičius constantly shared his artistic investigations as well as his discoveries with other ceramicists and students. In 1970 he published a book, called "Refined Ceramics. Works of Art and Technologies", from which students as well as professional artists of that time derived knowledge. This book remains topical in the education of ceramics up until today. Moreover, the works created by V. Miknevičius have not lost their artistic-technological suggestiveness, and his glaze recipes are not only historical heritage, but also the base for creating contemporary ceramics.

Keramikos studijos įsteigimas Kauno meno mokykloje padėjo pamatus, ant kurių buvo pradėta kurti nacionalinė keramikos mokykla. Šios studijos mokymo programa, kurios esmę sudarė naujas taikomosios dailės reikšmės supratimas, jos estetinės vertės iškėlimas, funkcionalumo ir dekoratyvumo pusiausvyros pabrėžimas, nepraranda savo aktualumo iki šių dienų ir yra atsvaros taškas skirtingų kartų menininkų kūryboje. The founding of the ceramics studio in Kaunas School of Art laid the base from which a national school of ceramics began to be created. The ceramics studio curriculum, the essence of which consisted of a new understanding of the nature of applied art and its aesthetic criteria, has lost nоnе of its urgency and is the counterweight in the creation of artists of different generations. The beginning of professional Lithuanian ceramics is related to the Kaunas Art School, whose ceramics studio played an important role in the history of Lithuanian applied art. The majority of its students successfully formed the creative basis of a professional ceramies that marked the Lithuanian style; one founded upon functionality, a laconicism of form and decor, and the preservation of the traditions of folklore trade. The ceramics studio was opened in 1931. The qualified ceramicist technologist P. Brazdžius was assigned to manage it, and in 1934 the management of the school invited the painter-ceramicist L. Strolis to manage the artistic part of the studio. L. Strolis had been studying in Paris and was well acquainted with the tendencies of modern applied art and its most recent achievements, and he attempted to apply his skills in Lithuania without prejudice to the principles of national art and the preservation of the best traditions of the folklore trade. L. Strolis prepared the curriculum for all the stages of study, starting with the teaching of the classical basics of ceramies up to more difficult tasks in both an artistic and trade sense. The main basis of the curriculum, which stimulated the trends of the trade's traditions and its modes of artistic expression, determined that the works of the studio's students gained several acknowledgements in world art and technical exhibitions. This curriculum had a big influence upon the entire pleiad of Lithuanian ceramicists, who were at that time in the process of forming the national school of ceramics.

Straipsnyje nagrinėjama Žagarės II (Žvelgaičio) piliakalnio, kapinyno (?), dvaro sodybos archeologinė medžiaga, sukaupta ir atsitiktinai, ir 1956 m. tyrinėjimų metu. Žagarės II (Žvelgaičio) piliakalnyje ir kapinyne surinkti archeologiniai radiniai (ir atsitiktiniai, ir tyrinėjimų metu) datuojami 2 horizontais. Pirmasis - XII-XIV a. - siejamas su žiemgalių Žagarės žemės laikotarpiu ir Kryžiaus karų laikotarpiu. Negausių radinių pobūdis liudija, kad Žagarė buvo vienas svarbesnių Vakarų Žiemgalos centrų, о II piliakalnyje buvo Žagarės žemės pilies apygardos centras. Antrasis piliakalnio horizontas datuojamas XVI a. pabaiga - XVII a. ir siejamas su Senosios Žagarės dvaro laikotarpiu. Apžvelgus XVI a. pabaigos - XVII a. koklius, randama daug analogijų su kaimynine Kuršo Kunigaikštyste. Ateityje, sukaupus gausesnės medžiagos Siaurės Lietuvoje bei Pietų Latvijoje, būtų galima tiksliau nustatyti išvardytų koklių motyvų kilmę ir paplitimo kryptis. Ir atsitiktinai, ir tyrinėjimų metu surinkti duomenys yra vertingi nagrinėjant Žiemgalos piliakalnių, Siaurės Lietuvos dvarų kultūrą bei Žagarės senamiesčio medžiagą. Iki šiol lieka neatsakytas klausimas: ar Žagarės II piliakalnio siejimas su lietuvių kunigaikščiu Žvelgaičiu turi realų istorinį pagrindą? Deginimo papročio paplitimas XII a. pabaigoje - XIII a. pradžioje pietinėse žiemgalių žemėse bei šių pėdsakų (?) fiksavimas Žagarėje liudytų apie lietuvius Žagarėje. Žagarės II piliakalnyje lokalizuotina 1271 m. minima Ordino (?) statyta pilis. Ji, labiausiai tikėtina, su pertraukomis egzistavo iki paskutiniojo žiemgalių sukilimo 1279-1290 m. bei iki XIV a. vidurio. The article studies archaeological material of the hillfort, cemetery and manor of Žagarė II (Žvelgaitis); this material has been collected both occasionally and during archaeological excavations in 1956. By dating and distinguishing the finds and their complexes, it is intended to correct iterant historiographic inaccuracies and set the ways of the findings' appearance in Giuliani Aušra Museum. There are solved the following issues of Žagarė micro-region of West Semigallia in the 12th-13th centuries: the boundaries of the land and its structure, as well as certain historical processes.

Straipsnyje yra analizuojama Zapsės upės 1-oji gyvenvietė Pietų Lietuvoje, Lazdijų rajone. Tai būdingas Pietų Lietuvos akmens ir bronzos amžių paminklo pavyzdys - kelių laikotarpių trumpalaikių stovyklaviečių palikimas. Egzistuojančios gamtinės sąlygos nesudarė palankių sąlygų izoliuotų kultūrinių sluoksnių susiformavimui. Geografinis vietos pobūdis nulėmė negalėjimą pasinaudoti erdvine analize. Aplinka yra žymiai patogesnė medžiotojų ir žvejų trumpam sustojimui, ilgalaikei gyvenvietei čia yra per mažai vietos. Remiantis radiniais ir radiologiniu datavimu galima aiškiai išskirti du stovyklaviečių laikotarpius: vėlyvąjį mezolitą su išvystyta skelčių gamybos ir mikrolitine technika, įtveriamaisiais ašmenėliais, lancetais, kirveliais bei trapecijomis, ir vidurinįjį - vėlyvąjį - bronzos amžių. Titnaginiai plokščiai retušuoti strėlių antgaliai ir peiliai, gremžtukai bei kiti dirbiniai su rudai geltona žieve, netaisyklingos skeltės bei netaisyklingi skaldytiniai - paskutiniojo stovyklavimo palikimas - sudaro gausiausią titnaginių radinių ir keramikos dalį. Kita negausi radinių grupė, kurią sudaro keramikos šukių su smėlio ir augalinėmis priemaišomis molyje, yra dar vieno galimo trumpo žmonių apsistojimo šioje vietoje liudijimas. The article analyzes settlement 1 of the Zapsė river in the Southern Lithuania in Lazdijai district, which is a characteristic example of monuments of the stone and bronze ages of the Southern Lithuania, i. e. the heritage of short-term campsites of several time periods. The existing natural conditions did not create favourable environment for emergence of isolated cultural layers. The geographical character of the location determined the inability to use the special analysis. The environment is significantly more convenient for short-term camping for hunters and fishermen, there is too little space for a long-term settlement. Referring to the findings and radiological dating one can clearly distinguish two periods of campsites, i. e. the late Mesolith with the well-developed microlith techniques, splinted blades, lancets, small axes and trapezes and the middle – late Bronze age. The flint flatly retouched arrowheads and knives, scrapers and other articles with brown-yellow sheath, i. e. the heritage of the last camping, amount to the most plentiful share of flint and ceramics findings. Another small group of findings, i. e. the ceramic chips with infusions of sand and plants in clay, evidence another possible short stoppage of people in the location.

After the opening of the Applied Art Museum in the Old Arsenal Palace of the Vilnius Lower Castle among a great number of historical art works, there was shown a decorative vase which entered the museum from a private Mrs. Kiguolienė’s collection as a deposit. Its dimensions: h - 62 cm, the cover h - 18 cm, the tray 0-40 cm, h - 12 cm. The vase distinguishes itself by its function and effective form. It is the so-called potpourri vase with a cover and base decorated with a wealth of floral modelling, sculptural plastics and polychrome glaze painting. The article presents information about the history of the potpourri vase and the exhibit and consequally describes its restoration processes. At the end of the publication the restorers indicate that after a long and scrupulous work, the removal of earlier poor restoration materials, the glueing of the fragments and the recreation of the missing details, the potpourri vase again became sumptuous and aesthetic. It took the restorers two years to bring to life this exhibit, complex in restoration respect.

XX a. 9-ojo dešimtmečio pradžioje tyrinėjant kelias Pajūrio, Šiaurės Rytų ir Pietryčių Lietuvos gyvenvietes, buvo nustatytos Narvos kultūros pietinės ribos ir jų kaita. Vis dėlto Narvos kultūros pietiniai ar Nemuno kultūros šiauriniai paminklai dar nebuvo nustatyti. Pastaraisiais metais vykdyti tyrimai Pietų Lietuvoje ir kitur apie pietines Narvos kultūros gyvenvietes suteikė daugiau duomenų, kurie leidžia iki šiol plačiau neanalizuotą Narvos kultūros pietinę ribą nustatyti tiksliau. Straipsnyje nagrinėjami archeologiniai duomenys, kurių pagalba yra tiksliau nustatomi Narvos kultūros piečiausi paminklai ankstyvojo neolito ir vėlyvojo neolito laikotarpiais. Pažymima, kad bronzos amžiuje Narvos kultūra dar egzistavo, tačiau jos riba dėl turimų šaltinių stokos nėra detalizuojama. At the beginning of the eighties of the 20th century, when several settlements of coastal, Northeastern and Southeastern Lithuania were examined, the Southern limits of the Narva culture and their changes were identified. Nevertheless the Southern monuments of the Narva culture and the Northern monuments of the Neman culture were not identified. The examinations of the cultural settlements of the Southern Narva, performed in the Southern Lithuania and other locations provided more data, which give the possibility to define the Southern limits of the Narva culture more precisely. The article examines the archeological data, which help to identify the most Southern monuments of the Narva culture of the early and late Neolith more accurately. It is noted that in the bronze age the Narva culture still existed However, its limits are not detailed due to the lack of sources.

Straipsnyje aptariamas unikalus archeologinis atradimas – vienintelis pagal dydį ir išlikimo laipsnį Europoje iki šiol žinomas pypkių gamybos centras Vilniuje. Tyrimų metu atkasta pypkių degimo krosnies dalis bei 132 brokuotos penkių tipų pypkės ir jų fragmentai bei pypkių degimo ir glazūravimo laikikliai. Dirbtuvė buvo įrengta geros kokybės molio klodais garsėjusiame Vilniaus Šnipiškių priemiestyje. Istoriniai duomenys byloja, kad Šnipiškės praeityje buvo vienas svarbiausių Vilniaus keramikos gamybos rajonų, kuriame veikė visų to meto jurisdikų amatininkai. Manoma, kad Vilniaus pypkių dirbtuvė atsirado ne anksčiau kaip XVII a. II pusėje ar šimtmečio pabaigoje ir veikė iki 1702–1703 m. Straipsnio autoriai pirmą kartą Lietuvos archeologijoje pasitelkė daktiloskopinį tyrimą, kuris, remiantis pirštų atspaudų molyje skaičiumi ir forma padėjo nustatyti pypkių gamybos technologiją. Svarbus šio metodo aspektas – pypkių gamintojų skaičiaus nustatymas, bet tai jau ateities tyrinėjimų perspektyva. Šnipiškių pypkių dirbtuvės įkūrimas buvo natūrali to meto valstybės ekonominio ir kultūrinio vystymosi išraiška. XVII a. vid. šaltiniuose tabakas jau figūravo tarp kitų prekių ir daiktų miestiečių ginčuose, jis jau buvo auginamas Vilniuje. Tai skatino pypkių poreikį. Po XVII a. vid. karų su Rusija ir Švedija bei maro dėl nepalankios ekonominės padėties atsiradusią pypkių stoką pradėjo šalinti Šnipiškių amatininkai, pamažu įsisavinę pypkių gamybos technologiją. Valdovo patvirtintas cecho statutas jiems garantavo nevaržomą naujos produkcijos, turinčios vis didesnę paklausą, realizavimą. The study deals with a unique archaeological discovery – a sole tobacco-pipe production centre in Vilnius in terms of size and degree of survival that has been known in Europe until today. Excavations have uncovered a part of the kiln and 132 rejected tobacco-pipes of five types and pipe firing and glazing holders. The workshop operated in the Šnipiškės suburb of Vilnius known for its quality clay deposits. Historical data indicate that in the past Šnipiškės was one of the most important ceramic production areas in Vilnius, with artisans of all jurisdictions of that time. The workshop is supposed to have emerged in Vilnius not earlier in the second half or at the end of the 16th c. and to have functioned until 1702–1703. The authors have presented a dactylography study for the first time in Lithuanian archaeology, which has helped to identify the production technology based on the number and shape of fingerprints on clay. A significant aspect of this method includes identification of the number of tobacco-pipe manufacturers, which is the subject of future studies. The establishment of a tobacco-pipe workshop Šnipiškės was a natural expression of the state’s economic and cultural development of that epoch. In mid-17th-c. a source of tobacco existed as a commodity in citizens’ disputes and was already grown in Vilnius. This boosted demand for tobacco-pipes. The shortage of pipes as a result of the mid-17th-c. wars with Russia and Sweden and a plague were eliminated by the artisans of Šnipiškės who gradually mastered the production technology. The status of a guild approved by the ruler guaranteed unrestricted sales of the new product that enjoyed growing demand.

Žemaičių aukštumos mikroregione ištirta 15 vėlyvojo neolito gyvenviečių virvelinė keramika. Iš viso surasta daugiau kaip 2000 puodų šukių, pavyko rekonstruoti 102 puodų formas. Gyvenvietes priskirtos dviems chronologiniams laikotarpiams: ankstyvajam — Virvelinės keramikos ir Pabaltijo laivinių kovos kirvių. Ankstyvosiose gyvenvietėse vyravo taurės, S profilio puodynės ir maži puodeliai, amforos. Vėlyvojo etapo — Pamarių kultūros laikotarpio virvelinės keramikos puodų tipologija kiek įvairesnė. Tai — puodai, puošti rumbais, taurės, dubenėliai, S profilio puodynės. Puodų ornamentika gana įvairi: ankstyvosios grupės paminkluose vyrauja horizontaliai įspaustų virvučių ornamentas, vėlyvosios grupės paminkluose tokio ornamento mažiau. Šios grupės pačiame vėlyviausiame paminkle virvučių ornamentu puošta labai nedaug puodų. Eglučių ornamentas dažnai aptinkamas vėlyvųjų paminklų grupėje. Puodai su rumbu randami tik vėlyvojoje paminklų grupėje, gana didelis jų procentas išlieka net vėlyviausiame paminkle. Ankstyvosios keramikos grupėje pavyko išskirti tik keturis ryškesnius ornamentikos motyvus, vėlyvojoje grupėje - net dešimt. Biržulio apyežerio virvelinės keramikos puodų formos ir ornamentika skurdesnė nei šiaurės Lenkijos ir Lietuvos pajūrio zonos keramikos. Vakarų Lietuvoje virvelinė keramikaaptinkama daugelyje tyrinėtų vėlyvojo neolito paminklą, jos neužgožia narviška keramika. Pagal puodų formas, tūrį ir ornamentiką galime išskirti dvi kultūrines - chronologines grupes, o patys vėlyviausi - Gaigalinės 1-osios ir 2–osios gyvenvietės paminklai, datuojami ankstyvųjų metalų epocha. Corded Ware pottery from 15 Late Neolithic settlements of the Samogitian Highland micro region (14 in Lake Biržulis environs and one on the bank of the Varduva river, Sarnelė village) have been analyzed. The total find comprises more than 2000 potsherds; the form of 102 pots was reconstructed. The settlements by their topography, radiocarbon data, flint, stone, bone, horn artefacts and the shape and decoration of the pots were dated to two chronological periods: early - Corded Ware pottery and Baltic ship fighting hatchets and late - Pamariai culture. To the early period belong the Šarnetė, Širmė Hill 1, 2, 3, 4 and Kalniškiai 1 settlements and to the late one the Skirmantinė 1, Ožnugaris 1, Donkalnis, Gaigalinė 1 and 2, Daktariškės 5 and Biržulis isthmus settlements. In the early settlements beakers, S-profile pots and small mugs, amphoras prevail. The typological diversity is not high; however, the conclusion is based on a small number of reconstructed pots (28). The typology of Corded Ware pots from the late (Pamariai culture) period is somewhat more diverse. These are notched pots, beakers, bowls, S-profile pots. The conclusion is based on 74 reconstructed pots. Ornamentation of the pots is rather diverse. In the early period artifacts, a horizontally impressed cord ornament prevails, whereas in the late period artefacts this motif is rarer. In the latest find of this group, a cord ornament is present only on a few pots. The fir-tree motif if frequent in the group of the late period finds and is most popular in the latest find (from the Gaigalinė 2 settlement). Notched pots are found only in the late group of sites, and their percentage is rather high even in the latest sites. Only four distinct ornamental motifs were distinguished in the group of early ceramics, while this number reaches even 10 in the late group. The forms and ornamentation of pottery in Lake Biržulis environs are poorer than in northern Poland and the Lithuanian littoral zone. However, if compared to Corded Ware pottery of East Lithuanian or East Latvian regions, Corded Ware pottery of West Lithuania is frequent in most of Late Neolithic sites studied, and it is not suppressed by Narva ceramics. By the shape of pots, their size and ornamentation, two cultural chronological groups can be distinguished, and the latest sites (Gaigalinė 2 and 2 settlements) dated to the early metal epoch could comprise a separate subgroup; however, they also follow in the tradition of the forms and decorations of the late group of sites.

Kalniškių kapinynas yra išskirtinis V–VI a. archeologijos paminklas Lietuvoje aptiktos keramikos gausa. Abiejų lyčių suaugusiųjų ir vaikų kapuose rasti 25 gerai išlikę puodai, 3 jų ornamentuoti. Šie indai papuošti gnaibymo žymėmis ir nagų įspaudais sekant vakarų baltų - sūduvių puodžių tradicijomis. Ten tokiu būdu buvo ornamentuojamos urnos sudegintų mirusiųjų palaikams supilti. Kalniškių kapinyną palikusi centrinės Lietuvos etnokultūrinės srities aukštaičių bendruomenė turėjo tiesioginių kontaktų su sūduvių etnokultūriniu arealu ir iš jų perėmė šiuos puodų puošybos būdus. Tačiau Kalniškių kapinyno puodai buvo savitai panaudoti laidojimo apeigose. Tai viena centrinės Lietuvos etnokultūrinės srities gyventojų aukštaičių naujųjų laidosenos elementų inspiracijų. Pottery artefacts are the main finds in Lithuanian hillforts and settlements dated to the Iron Age. But they are quite rarely found in cemeteries and barrow cemeteries. Therefore the Kalniškiai cemetery (Raseiniai district, Ariogala parish) is an exception with unbroken pots found in 25 burials. The purpose of this article is to notify of the richest pottery collection in Lithuania dated to the 5th-6th centuries, which was detected in the Kalniškiai cemetery, and to disclose the relationship between cultures of Baltic tribes. Unbroken clay pots were found in 24 burials. One of them was a stray find. In burial 95 the features of wooden pot were no ticed. It is the only group o f cemeteries in Lithuania dated to the Migration Period where so many unbroken pots were found. The pottery was detected in eight male burials, in six female burials and in three child burials. The artefacts were placed at head and at feet o f burials. The sex of buried individuals in other 8 burials was unclear, due to the poor anthropological material or to disturbance. All pots found in the Kalniškiai cemetery were hand-thrown. According to their shape, they can be classified into four types: 1) ribbed pots; 2) bucket-shaped pots; 3) jars and bowls. According to their surface decoration, they are classified into pots with rusticated surface and pots with plain burnished surface. Clay mass was mixed with fine-grained, medium-grained and coarse-grained granite temper. Walls of pots were up to 1.6 cm thick. Pots were of medium size, their height being from 7.5 cm to 16.5 cm, and the diameter o f orifices from 13 cm to 24 cm; their bases from 7.5 cm to 15 cm in diameter. Kalniškiai's pots are likely to have been fired in open fire, since their colour is not solid: black, grey, brown, tawny, deep brown and pink. The colour of pots reflects the environment of firing, firing temperature and quality of pottery. Other finds detected in most burials where the pots were found, have a routine chronology in the Lithuanian archaeological materials. They are headbands, neck-rings. They are of three types: a) with coiled wire terminals and with loop-and-hook clasp; b) double pronounced with long terminals, profiled with loop-and-hook clasp c) moulded headband. Brooches are o f four types: a) crossbow decorated with ringlets; b) crossbow with bent foot; c) crossbow with long foot and moulded clasp; d) crossbow with triangular foot. Bracelets were found in 5 burials. They were with thickened terminals, sash-like and spiral. Iron crook-like pins and pins with flask-shaped head were found in 4 burials. Kalniškiai burials with pot finds can be dated to the period between 400/450 and 500/550 BP according to comparison and dating of finds. In the burial traditions in the territory of Lithuania potters was used quite seldom during the Migration Period. The custom to place vessels in burial places was not very well established. In Sudovia, the southern neighbour of the Uplander, the burial traditions were quite different. The individuals were buried in urns after cremation. The pottery was very important in the Sudovian spiritual culture. It was quite widely used in these territories.. The bones o f cremated individuals were placed in smartly decorated urns. The analogue ornament was also detected on pots found in the Kalniškiai cemetery. It implies that the Uplandcrs could have used the same motifs of urn decoration as the Sudovians. These motifs were used for decoration of their own pots. Placement of pots into burial places of Kalniškiai cemetery might have been a peculiar interpretation of western Baltic burial traditions. The Kalniškiai cemetery contains in a distinctive archaeological site in Lithuania o f the 5th-6th centuries due to abundance of pottery finds. Vessels were pinched-im-pressed and decorated by making dents with nail according to traditions o f western Baltic and Sudovian potters. They used the same method for decoration of urns for cremated human remains. The community of the Laplanders had direct contacts with the Sudovian ethno-cultural habitat and took over the methods for pot decoration. But pots from the Kalniškiai cemetery were used in burial rites. It is one of inspirations of new burial elements in tire ethno-culture of the Uplander.

Straipsnyje, remiantis gamtinių, archeologinių bei osteologinių tyrimų duomenimis, aptariami Pamarių kultūros bendruomenių ūkinės gyvensenos ypatumai bei šios kultūros įtaka gamybinio ūkininkavimo plėtrai kaimyninėse Rytų Pabaltijo viduriniojo ir vėlyvojo neolito kultūrų bendruomenėse. Naujausių archeologinių tyrinėjimų duomenimis, Pamarių kultūra susiformavo viduriniojo neolito antrojoje pusėje. Jos susidarymui ir raidai didelės įtakos turėjo Piltuvėlinių taurių, Rutulinių amforų, Virvelinės keramikos ir miškų neolito (Narvos, Nemuno) kultūros. Ši kultūra egzistavo 3350-2000 m. pr. Kr. siaurame Pietryčių Baltijos pajūrio ruože. Ankstyvojoje Pamarių kultūros vystymosi stadijoje (viduriniajame neolite) ūkininkavimo pagrindą sudarė žvejyba, medžioklė (ruonių, briedžių, šernų), gintaro rinkimas, apdirbimas ir mainai, šios kultūros gyventojai artimai bendravo su Piltuvėlinių taurių ir rutulinių amforų kultūrų žmonėmis, su jais mainė gintarą, ruonių taukus, žuvis į javus ir naminius gyvulius, todėl patys gamybinio ūkio neplėtojo. Jų mainus iliustruoja gyvenvietėse aptinkami didžiuliai puodai. Šiuo laikotarpiu kontinentinės dalies Pamarių kultūros gyventojai pradėjo plėtoti gamybinį ūkį. Vėlyvajame raidos etape Pamarių kultūros gyventojai pradėjo kultivuoti javus ir auginti gyvulius, vėlyvojo neolito laikotarpiu jie buvo gamybinio ūkininkavimo tarpininkai tarp agrarinio (Rutulinių amforų kultūros) ir miškų (Narvos ir Šukinės-duobelinės keramikos kultūrų) neolito bendruomenių. Based on the data of natural, archaeological and osteological investigations, the paper discusses features of the economic life of communities of the Baltic Coastal Culture and the influence of this culture on the development of production economy in the neighbouring Eastern Baltic cultures of the Middle and the Late Neolithic periods. According to the latest archaeological studies, the Baltic Coastal Culture emerged in the second half of the Middle Neolithic period. Its formation and development were greatly influenced the Funnel Beaker, the Globular Amphora, the Corded Ware and the Forest Neolithic (Narva, Nemunas) Cultures. The Baltic Coastal Culture existed in 3350-2000 BC on a narrow strip of the south-eastern Baltic Sea coast. In the early stage of the Baltic Coastal Culture development (the Middle Neolithic period), economy was based on fishing, hunting (of seals, moose and wild bore), gathering, processing of and trade in amber. People of this culture had close contacts with residents of the Funnel Beaker and the Globular Amphora Cultures, exchanging amber, seal fat and fish for grain and domestic animals, which explains the undeveloped production economy in the Baltic Coastal Culture. The barter trade is evidenced by large ceramic vessels found in their settlements. That period saw the beginning of development of production economy among people of the continental part of the Baltic Coastal Culture. In the late stage of their development, people of the Baltic Coastal Culture began to grow crops and animals. In the Late Neolithic period, they were mediators of production economy between the agrarian and the forest Neolithic communities.