Livre - Τα κρητικά αγγεία του

SUMMARY The Research Center of the Museum of Cretan Ethnology submitted a project to the European Social Fund and the proposal was accepted. The financial support was assumed by the above-mentioned Institution as well as the Hellenic Ministry of Culture. The Research Program included a survey of traditional craft models (pottery, woven articles, basketry, furniture, metalware). These data could be used in industrial reproduction of these models. A social-economical study of private and state-owned workshops analysed the actual situation in this field. The outcome of this research was published in Six Volumes and this material is going to be thoroughly studied in the course of six-month seminars animated for the local producers. This Volume presents the whole of pots and wares fabricated in Crete during the 19th and 20th century. Eighty-eight patterns are described here, characterized by their individuality or the similarities between them as well as the wide range of their uses. Some medieval vases were added to the sample as a proof of the continuity of tradition Many of these modern types proceed from a long-range, historical process. This fact can be confirmed by a simple visit to the Archaeological Museum of Crete. This will make it clear that these forms were standardized in form and functional efficiency after having been tested by whole generations of craftsmen and consumers. It will also be an indirect way to establish the anthropological unity of Cretan population. This study is not concerned with the technical side, since the fabrication process of the little pots is known by all ceramists. However we had to describe the technique in the case of the jar and large vessels because we do not find these types in other Mediterranean or European countries. We also had to give a detailed analysis of the quantities of the material and of the special qualities of the argil amalgam in fresh, dried and final (baked) condition. These data are available in the Museum of Cretan Ethnology to all modern potters and designers. The financial side of the question is presented at large in the economical-technical research Cretan Craftsmanship: Social and Economical Study. Here the actual process of production, circulation and the main tendencies in consumption are sketched. We make some proposals on the management improvement of the workshops, for the quality control of the products and for the export possibilities for the international market, that are significant, according to the available data. As a conclusion we put forward some general remarks concerning the modern ceramists. Pottery is not a sector of application of the sculpture but rather a craft of reproduction. Some ceramists are impressed by modernist, occidental tendencies but they do not possess the necessary background for this kind of experiments. Miniature reproductions of the traditional model do not respect the structure and harmony of the original. Besides the miniaturization of the traditional art has been frequently a commercial failure. Modern potters ignore the Cretan traditional pottery. They are mainly influenced by European or other foreign models. As a counter-example of this method we can mention the well-known craftsmen of Lesbos island Kourdjis and Hadjiyannis, who, inspired by the traditional forms of Tsanakale art have created very beautiful models, varying carefully the design and the color. Another Samian master, Kontodouras has re-produced exactly the traditional forms of his ancestors having created functional domestic articles decorated by two-color flower forms. These objects are very valuable. They are sold at a price 20 fold higher than the workshop price. Cretan craftsman Chrisogelos working with the same method is largely known for his commercial success. Finally, large vessel fabrication of the «pythari» type gives some new opportunities. Besides the export possibilities, the «pythari» could also be promoted to the greek market for oil stocking use or for the maturation of the wine, provided that the old fabrication method is respected. Isolated efforts are not sufficient for the accomplishment of the aims of the Pilot-program. We should combine scientific applications of materials with the beautiful forms of the traditional crafts-men.