Paveliuc Olariu Angela - Arta Populara Din Zona Botosanilor Ceramica Populara PDF

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ANGELA PAVELIUC-OLARIU
ARTA POPULAR DIN ZONA BOTOANILOR
CERAMICA POPULAR
www.cimec.ro
ANGELA
PAVELIUC- OLARIU
ARTA POPULAR
DIN ZONA BOTOANILOR
CERAMICA POPULAR
CO}IITETUL PENTRU CULTUR

I EDUCAIE SOCIALISTA
AL JUDEULUI BOTOANI
liUZEUL
JUDEEAN
1 9 8 1
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Coperta i supracoperta :
JUGAURS RADU
Grafic:
PLATON EMILIA
BUIMISTRIUC FLORIN
Traducere francez :
VALERIA KERNBACH
Traducere englez :
AL. PASCU
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CUVINT INAINTE
Spturi le arheologice efectuate n zona Botoanilor, cu deosebire n ultimele trei decenii, au scos la iveal un numr impresionant de aezri dovedind
practicarea meteugului olriei din cele mai vechi timpuri. ln acest finul al
Boloanilor, wprins ntre Siret i Pmt, mrginit spre miaz-zi de nlimile
Podiului Moldouenesc, urmele ceramice dovedesc o intens i neabtut locuire,
din zorii neolilicului pn azi. Mulimea slaiunilor precuculeniene i cucuteniene, a acelor din epoca bronzului, a fierului, apoi a celor din epoca de formare
a poporului roman i din diversele epoci ale evului-mediu, au furnizat o mare
bogie de material ceramic, n care, uneori, se regiisesc, trsturi ale vaselor
de pmlnl ars produse in centrele rurale i urbane pn aproape de zilele noastre,
deseori cl!iar pn azi. Hrile ntocmite iluslreazi"i tocmai aceast densitate,
a centrelor de ceramic din partea de nord-est a frii noastre, n acel inut al
"slepei" Jijiei i al numeroaselor iawri, mai puin cunoscut i cercetat de ctre
elnografi.
Marea varietate de forme a ceramicii cucuteniene descoperit la Corlteni,
Drgueni, Ghireni, Hneli, !bneti, Todireni, Tmeli, ca i frumuseea
clasic a ornamenlicii folosind doar albul, rou[ i negrul, formeaz fundalul
pe care se proiecteaz ceramica epocilor urmc11oare, cea a aezclrilor gelo-dace
de la !Joloani, Cucorni, Dngeni, H neli, Li veni, Lunea, Stinceli, datate
sec. II-III e. n. punnd interesante probleme, neelucidate ncii deplin cu pri11ire
la apartenena sau rostul celor dou tipuri de olrie aflate : ceramica mdimentar, lucrat n mare parte fr roaUi, i ceramica folosind o past mai fin,
lucrat la roat. Fost-au ele indiciul unei slralificri sociale, a unei diferene
etnice, a unor produc/ii destinate unor "piefe" diferite ? Tol aa ceramica
secolelor VII- V1 II pune problema superioritclii tehnice i deci de cillilizaie
a elementului autohton, n raport cu olria din pas/ii grosier a migralorilor.
Cu timpul, aspectele ceramicii s-au diversificat, producia loca/ii a centrelor
din secolele al X V- !ea pin el n cel de al X VII !-lea completndu-se cu o ceramicc1
de factur nu numai urban, n care se va fi oglindit i aportul unor meteri
venii din Transil11ania dar i din Polonia, ci i de cerlc1 origine orientalii,
provenind din import i ilustrind circulaia bunurilor i a oamenilor din area
vreme.
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Secolul al XIX-lea 1ede o deo~ebil nflorire a olriei din zona Botoanllor.

[ormelf n rle::vclfare ale copitaUsmului facililirrd produc/ia vaselor de pmnt
ars a/l n atelierele i ndi vi du ale ct i n cele colective i, ales, n "fabrici". Existenta unlir a.1emenea fabrici n care lucrau pn la 40 de olari, menionate la
sfritul secolului al XIX-lea i n prima jumtate a secolului al XX-lea, constituie un aspect mai putin cunoscut din istoria olriei romneti i este meritul
Angelei Olariu de a-l fi pus n cuvenita lumin. Din cercetrile ntreprinse de
autoare a re ieit c n aceast parte a rii au functional numeroase centre rurale
i urbane de ceramic, harta general a ceramicii din Romnia fiind sulstan(ial mbogiltil. Dup wm din aceleai cercetri, se poate desprinde n mod precis, i sfritul acestui strvechi meteug, dispariia centrelor i a olarilor urmnd.
relativ repede, momentului de nflorire din preajma anului 1900. Stingerea
treptat, trecerea la alte forme de productie i, odat cu acestea, la alte aspecte
ale olriei din aceast parte a (ri i, este un moment din ndelungat a istorie a
ceramicii rom1neli.
Att aspectele tehnice - materie prim, unelte, procedee, arderea n wptoare - ct i tipologia formelor prewm i decorul ceramicii "bofonene" se
ncadreaz n marea familie a ceramicii populare romneti, cu particularitile fireti, izvorte din conditii le social-istorice locale. Privind formele de capacitate, sau strchinile, unele de mari dimensiuni, nu se poate s nu se remarce
frumusetea volumelor obinute de meteri n virtutea unei tradifii milenare. Dup
cum ornamentica impresioneaz prin retinuta dispunere a motivelor geometrice
sau IJegetale pe fondul cafeniu, rocat sau alb, punctat de accente IJerzi, mai rar
albastre. Ceramica roie, smluit sau nesmlluil, ceramica negr, s-a produs
n mai toate cele circa 30 de centre de olari, ser !Jind nevoilor de IJiat ale oamenilor, unele forme ca "rvarul" sau "duruleagul" fiind expresia IIJWi mod de via
ntemeiat pe o civilizatie !iirneascll evoluaM, ca i n alte pr ti ale M oldovri.
Acestei civilizatii i este nchinat de ctre autoare i prezentul volum, urmnd altor dou deja aprute - esturile i Portul -i impunnd continuarea cu un volum dedicat casei i artei lemnului. pentru a ntregi imginea artei
populare botoenene, cre.ia Angela Olariu i-a nchinat ani de strdanii, pasiune
i competen profe~ional egalate doar de draqostea ce o poart pmntului i
oamenilor din ara de Su~ a Moldorei
PAUL PETHESCU
05, iunie, 1980
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ZONA
BOTOANILOR
- ISTORIC
Din punct de vedere geografic zona Botoanilor se situeaz n cea mai

mare parte in cmpia depresionar a Prutului mijlociu. ln partea sa nordic,
cunoscut sub denumirea de depresiunea Jijiei superioare, se ntinde ntre
Podiul Sucevei spre vest, spre nord fiind delimitat de o uYi a aceluiai
podi, care se arcuiete in lungul Prutului pn n apropiere de Horodite. 1
Spre est aceast cmpie este delimitat de Prut, iar spre sud linia de dealuri
mpdurite, dintre Coplu i Cozancea incheie cadrul geografic al zonei care
poate fi considerat ca o regiune cu aspect silvo-stepic, cu relief reprezentat
ln partea nordic printr-o zon deluroas cu coline ce nu depesc 200 m
altitudine, spre vest cu terase nalte pe malul stng al Siretului cu nlimi
mai mari de circa 300 m, iar spre sud-vest prelungirea nordic a culmii Dealului Man, atinge altitudinea maxim de 593 m. 2
Prile coborte ca altitudine i mai plane din lungul culmei Siretului,
.. eaua" Bucecea, au oferit din foarte vechi timpuri, condiii prielnice pentru
aezri omeneti, au jucat rolul unei pori de vie circulaie omeneasc ntre
inuturile de munte i cele de cmpie 3
ln urma cercetrilor arheologice s-au descoperit urme de vieuire omeneasc din paleoliticul inferior pn n feudalism.
Popularea constant a teritoriului dintre Siret i Prut este motiYat de
condi(iile prielnice vieii umane, oferite de relieful cu te1 ase joase, ape la
dispoziie i pdure mai puin (inut de step i silvostep).
Astfel, paleoliticul este dovedit prin resturile faunistice de la Darabani,
Mitoc, Ghireni, tefneti, Dorohoi i Flmnzi, prin complexele de mamut,
uneltele de silex, "ateliere" de prelucrare a silexului de la Ripiceni etc.
Ceramica, uneltele i obiectele de cult descoperite la Trueti, Drgueni,
Corlteni, Hneti etc. marcheaz neoliticul pe aceste locuri, remarcndu-!>e
intensitatea de locuire pentru aceast epoc. La Drgueni, Horlceni, Crasnaleuca etc. cultura Cucuteni este bine reprezentat prin bogate i variate resturi materiale evideniind un dezvoltat spirit gospodresc i o superioar
nelegere a artei decorative 4
Numeroasele descoperiri din epoca bronzului (unelte, ceramic i alte
materiale) de la Broscui, tefneti i 1\Jiorcani, remarcabil fiind depozitul
de unelte ~i arme de bronz de la Ilieni, comuna Santa i\Iare, documenteaz
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procesul nchegrii triburilor proto-trace. ln apropiere, 100 puncte arheologice

ntre care i cetile de pmnt de Ia Stnceti, Dersca i Cotu-Coplu snt
mrturii care ilustre.az perioada de cristalizare a civilizaiei traco-getice din
prima epoc a fierului.
Imprejurimile oraului Botoani snt bogate in materiale aparinnd
secolului 1 .e.n., - 1 e.n. (Stnceti, Ctmrti, Rchii etc.) i perioadei
carpice, corespunztoare provinciei romane - Dacia (Cucorni, Botoani,
Ipoteti, Stuceni).
Numeroasele aezri i necropole Sntana de Mure, din zon, dintre

care amintim : Dealul Crmidriei - Botoani, Nichiteni, Hneti, Miorcani
ilustreaz arheologic i antropologie populaia daca-roman, care, dup
retragerea Imperiului, evolueaz pe cuprinsul ntregului teritoriu al fostei
Dacii.
Fortificaiile de pmnt din secolele VII-XI de Ia Fundu Herii, Baranca, Dersca, endriceni, Tudora .a - atest lupta drz a romnilor
mpotriva valului trziu de popoare n migraie. In legtur cu vechile drumuri
care legau regiunile nordice ale Europei de zona mediteranean, ct i partea
occidental de cea rsritean se pun i nceputurile oraului Botoani, pe
Ia mijlocul secolului al XV-lea (1439) 5 Cercetri recente confirm acestea
prin descoperirile de Ia Hudum, n apropierea Botoanilor a numeroaselor
produse meteugreti de provenien oreneasc. i n secolele urmtoare,
negustorii romni ct i strini, vor strbate vechile drumuri ce trec pe aici,
dup cum ne-o dovedesc obiectele, monedele descoperite, dar i privilegiile
comerciale date negustorilor bistrieni, polonezi sau braoveni. Intr-un
astfel de document 6 se meniona pentru prima dat Dorohoiul (140i), loc in
care se pltea vam pentru comerul cu Lehi a nc de pe vremea lui Alexandru
cel Bun.
Pentru secolele XVI-XVII, documentele menioneaz numeroase ae
zri pentru zona studiat 7
Secolul al XIX-lea marcheaz o etap nou in dezvoltarea aezrilor
din zon.
Mai mult linite i siguran, intensificarea produciei agricole, mbun
tirea situaiei rnimii, un nceput de dezvoltare a industriei, duce Ia
apariia tirguoarelor i la o oarecare dezvoltare a trgurilor existente. Toate
acestea au dat impuls aezrilor omeneti, ndesirii Ior 8
Ocupaiile principale ale locuitorilor din zona Botoanilor au fost
agricultura i creterea vitelor- dat fiind condiiile prielnice existente.
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CERAMICA POPULAR DIN ZONA BOTOANILOR
ISTORIC
Meteug
cu o ndelungat tradiie n zona Botoanilor, olritul poate

n timp ncepnd din neolitic, epoc strlucit reprezentat prin
aezrile de la Trueti 9 , Drgueni 10 , Corlteni, !bneti, Bneti, Ghireni,
Todireni etc., unde s-a descoperit splendida ceramic de tip Cucuteni. Reprezentat n toate fazele de dezvoltare, cu trsturile caracteristice, eeramica cucutenian descoperit n zona Botoanilor, constituie un punct de
plecare n cercetarea olritului n aceast parte a rii. Am putea meniona
chiar existena culturii precucuteniene 11 , reprezentat aici n cteva aezri,
dintre care amintim Belcea 12 (Leorda) i Cucorni 1 ~, cu o ceramic cu forme
variate, n care predomin vasele cu corpul bombat, cele mari, globulare,
cu gitul scurt, capacele, strchinile cu sau fr picior, castronaele" (realizate dintr-o past de bun calitate, cu pereii subiri), cu un decor imprimat
combinat cu caneluri, incizii i aplicaii practice.
fi
urmrit
avind pasta fin, permitea realizarea vaselor cu

perei subiri i netezi, cu forme de o varietate remarcabil, dintre care amintim: vase de cult, vase binoclu, vase fructier cu picior, vase cu capac, str
chini, vase mari pentru provizii. Dintre acestea, unele mai apar i astzi.
Ceramica
cucutenian,
Ornamentica acestora, bazat pe mbinarea celor trei culori (alb, negru

n diferite variante, cu diverse motive, ndeosebi spirala, dovedete
i rou),
nentrecut
miestrie.
Meteugul olritului poate fi urmrit fr ntrerupere in toate epocile

istorice ce au urmat. Astfel perioada de trecere de la neolitic la epoca bronzului, cind se produce prima mare diviziune social a muncii, este atestat la
Horoditea
(Pltini),
Cucorni,
Bneti i
!bneti
15
Epoca bronzului, n special in ultima faz a acesteia, aparinnd culturii Noua, este atestat la Trueti, Corlteni 1 r., Ctmrti, Dorohoi,
Ghireni i VlsinetiJ 7
Ceramica descoperit la Trueti 18 , pstreaz din formele amintite
strachina cu marginea dreapt sau uor arcuit in interior, cu caneluri oblice
pe margine sau caneluri orizontale paralele i ceaca cu buza faetat, decorat pe umrul arcuit cu faetele oblice.
9
2 - Arta
popular
in zona
Botoanilor
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Ceramira descoperit n aezarea de tip "cenuar" de la Trueti ~.;i

aceea de la Corltrni, prrzint unele rlemente de tradiie din epoca bronzul uP 0
Pentru epoca fierului, spturile efectt;ate n complexul getic de la SUn(secolele VI-III .e.n. 20 ) au scos la iveal ceramic autohton de tradiie
hallstattian -- vase cu form ntlnit anterior (strchini. borcane. vase
de provizie), lucrate cu mna, dintr-o past grosier (n amestec cu diferite
resturi pisate), de culoare cenuie. Cea de a doua epoc a fierului, La Tene
(45 .e.n. - secolul 1 e.n.), este, dup cum se tie, perioada de nflorire a
culturii get o- dacice, de constituire a statului dac.
ceti
Urme de locuire dacic din perioada corespunztoare provinciei Dacia

(secolele II- III e.n.), au fost a testate la Cucorni, Stnceti, Botoani,
Dngeni, tefneti 21
Concludent
pentru aceast perioad este ceramica descoperit n ae

zarea de la Cucorni. 1\Iedeleni, care se ncadreaz n cele dou categorii tipice culturii geto-dacice : ceramica rudimentar, de uz cbmun, lucrat cu
mna i la roat, i ceramica fin (lucrat cu mna sau la roata olarului 22 ).
Culoarea cenuie-neagr, care a aparinut ceramicii dare. se perpetueaz
pn azi.
Din categoria ceramicii rudimentare, caracterizat printr-o past grosier, amestecat cu cioburi pisate, de culoare brun-cenuie, cu suprafaa
exterioar aspr, s-au gsit forme
reprezentate prin vasele-borcan de
mrimi diferite, cu pereii aproape verticali sau bombai, cu baza retezat
sau evazat, decorate cu brie, linii incizate sau butoni, precum i strchini
cu buza ndoit n interior 23
Cea de a doua categorie de vase, lucrate din past fin, de culoare cenueste reprezentat prin vase cu corpul bogat, gtul nalt, cu sau fr
toarte, prin strchini cu buza evazat i vase cu picior (fructiere). Toate
aceste vase au suprafaa exterioar lustruit, de culoare brun cenuie
ie,
24
Pentru secolele II-III e.n., perioad corespunztoare provinciei Dacia,

arheologice de la Bneti, Liveni, Lunea, tefneti au scos la
iveal ceramic cenuie din past fin lucrat la roat, ntr-o proporie mai
mic dect cea din pasta grosier. Aceste vase pstreaz caracterele reramicii
din La Tene, i elemente din import, cu unele mprumuturi romane. Cel mai
frecvent ntlnite snt strchinile i oalele.
spturile
Vorbind despre meteugul olritului pentru perioada dacic, se poate

spune: "ln cultura dacic din secolele II-III r.11., alturi de producia mete
ugreasc de olrie, documentat prin vase lucrate la roat, de tehnica superioar, ntlnim o producie casnic, reprezentat prin vase grosolane, lucrate cu mna. Cantitatea mare de vase lucrate cu mna din aezrile dacice
(secolele II- III e.n), arat c producia casnic de olrie avea nc de la data
aceea rol nsrmnat n economia gospodreasc. Spre deosebire de ceramica
amintit, ceramica din aezrile Sntana de l\Iure, lucrat cu mna apare
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cuprinznd vase de forme variate, excutate ntr-o manier foarte ngrijit,

indic un nalt grad de sr;ecializare a rr.eteugarilor resr:cctiYi. Numeroase
cuptoare de olrie descoperite doYede~c pnzena meterilor olari n cele mai
multe din aceste aezri -foarte posibil chiar n fiecare din ele. Este posibil
c n cea mai mare parte produsele erau desfcute pe loc de locuitorii aceleiai aezri. Nu se poate admite o "producie numai pentru nevoile locale" 26
Pentru o etap urmtoare, este vorba de sfritul secolului al III-lea secolul al IV-lea e.n., descoperirile de la Albeti, Pogorti, Corlteni, Stnceti, etc 26 ), ~u indentificat urme materiale ale culturii Sntana de Murc
Cerneahov.
Ceramica lucrat la roat, din past grosolan, sau cea fin, de culoare
cenuie i cu luciu, descoperit la Trueti i Ioneni 27 , cuprindea o varietate de forme: cupe, farfurii, strchini, castroane, ceti, ulcioare i oale, foarte asemntoare cu unele vase dacice. Ornamentele acestor vase se bazau
n special pe linii drepte, linii n zigzag, n form de val etc., motive vegetale (brdu, frunz), sau geometrice (rozete cu combinaii de linii punctate 2 ").
Perioada secolelor al VI-lea - al X-lea, perioad de desvrire a procesului de formare a poporului romn, este hine reprezentat n cuprinsul
zonei Botoanilor. Continuitatea de vieuire a elementului autohon i contactele culturale existente ntre acesta i elementele aloctone n perioada de
formare a poporului romn, snt evideniate de descoperirile arheologice
fcute la Lozna - Dorohoi 29
Ceramica de factur slav descoperiU1 aici (sfritul secolului al VIIlea- nceputul secolului al VIII-lea), lucrat cu n:na, i cea autohton,
lucrat la roat, argumenteaz cele afirmate mai sus. A doua categorie, eeramica lucrat cu roata, este reprezentat prin fragmente de vase tip borcan,
cu buza n)!at, anuit drept, cu umerii preoemineni i corpul bombat.
Decorul acestora este format din benzi orizontale de linii drepte sau vlurite,
stilizate, alternnd pe tot corpul Yasului 30
Perioada de desvrire a formrii poporului romn pe teritoriul studiat
se poale urmri prin studierea rezultatelor spturilor arheologice din horoditea
de la Fundu-Herii (comuna Cristineti 31 ), unde au fost scoase la
iveal dou categorii de ceramic: cea lucrat cu mna i cea lucrat la roata
cu turaie nceat i medic. Ccramica lucrat cu mna este din past grosicr,
n care snt amestecate eioburi pisate. Ca forme, ntlnim borcane i tipsii
decorale cu alveole i crestturi. Cea lucrat la roat cuprinde trei grupe
mprite dup particularitile
tehnice, i este reprezentat numai
prin borcane 32 decoralc cu benzi incizate, vlurite sau orizontale. Dup
caracteristicile de form, tehnic i decor, ceramica din aceste aezri aparine de dou faze : secolele VI II - IX i secolele IX -X. Faza cea mai veche
se caracterizeaz prin predominarea ceramicii lucrate <"U mna, iar cea de a
doua prin ceramica lucrat la roat. Acestei ultime faze i aparine cerarnica
cenuie, cu decor luslruita 3 EYolu!ia ascendent a civilizaiei locale, poate
fi urmrit pe baza resturilor ceramice descoperite n aezarea de la Hudum-
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11
Botoani,
cuprinznd materiale ce aparin secolelor al XII-lea, al XIII-lea

al XIV-lea 34 i prima jumtate a secolului al XV-lea. Fragmentele ceramice descoperite aici provin din vase de talie mijlocie, n special borcane
din past cenuie, 1ucrate la roata cu tu raie medie, avnd analogii n alte
aezri urbane i steti din ultimele decenii ale secolului al XIV-lea 36 i
inceputul secolului al XV-lea. ntr-o proporie redus s-au gsit i vase lucrate cu roata, prin culoare oxidant, de factur arhaic 36 .
Pentru secolele al XV-lea - al XVII-lea, adic faza mijlocie a feudalismului dezvoltat nu s-au fcut spturi arheologice n zon. In urma perieghezelor i a sondajelor s-au fcut mai multe descoperiri i pentru aceast perioad37. Aceste descoperiri au fost completate in urma cercetrilor ntreprinse
pentru intocmirea repertoriului arheologic al judeului Botoani 38 cu noi
puncte (Breti, Conceti, Cristeti, Albeti, Blueni, Botoani, etc).
Ceramica rural descoperit, de culoare cenuie sau brun rocat, din
secolele al XV-lea i al XVI-lea are unele tangene cu produsele oreneti.
ln afar de aceast ceramic, s-a descoperit i o alt specie de ceramic fin
de factur oreneasc i unele resturi de cahle 39 .
S-au gsit fragmente de oale cu marginile mai puin ngroate, fragmente de strchini, talere. Decorul este reprezentat de benzi adnci te orizontal,
motive tanate aplicate pe umerii vaselor. Sporesc centrele de olrie n mediul rural.
Pentru secolele al XVI-lea i al XVII-lea olria rural este descoperit,
in cuprinsul unor aezri cu resturi de ceramic oreneasc sau otoman
de import, i cu unele fragmente de cahle sau plci decoratiYe 40 (Breti,
Cristeti, Durneti, Ghireni, Bneti etc.). Aici s-au descoperit fragmente de
oale, cni, castroane, strchini, talere, tigi, ulcioare, capace lucrate din past
cenuie-roietic, decorate cu dungi drepte sau Ylurite, impresiuni aplicate
cu rotia, smaluri Yerzi, albe sau glbui.
Faza tirzie a feudalismului dezvoltat este bine cunoscut prin numeroase
descoperiri 41 S-au gsit i resturi ceramice cu caracter rural, ct i altele de
factur oreneasc sau import. Aspectul vaselor se apropie de cel actual.
i
12
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III
CERAMICA POPULAR DIN ZONA BOTOANILOR

LA SFRITUL SECOLULUI AL XIX-LEA
Studierea ceramicii din diferite epoci ale istoriei a demonstrat nu numai

vechimea olritului pe teritoriul zonei studiate, ci i perpetuarea unor forme
i elemente de decor pn astzi. Dezvoltarea meteugului presupune existena materiei prime, implic perfecionarea modului de producie pentru
asigurarea unui surplus destinat schimbului. Pentru zona Bot oanilor se
pot aminti i ali factori care au contribuit la dezvoltarea acestui meteug:
srcia solului neprielnic pentru agricultur n unele pri ale zonei (Rdeni,
Poiana etc.), precum i existena posibilitilor deosebite de desfacere a mr
fii, asigurat prin reeaua de trguri cu piee organizate. Aceti factori au
determinat apariia a numeroase centre de olari, n Eecolul al XIX-Ira. Totodat, aici s-a putut ajunf:e mai repede dect n alte pri la o faz dr industrializare a produciei de ceramic, concretizat prin nfiinarea mai multor
"fabrici" de oale, amintite pentru secolul al XIX-lea n diferite materiale
scrise. Astfel, n "Dicionarul geografic al judeului Botoani", se menioneaz
existrna n jude a J(j fabrici de oale n 1891 42 , fr a se preciza localitile
unde acestra erau, se indic faptul c la acea dat se aflau n oraul Botoani
22 de olari 43 , c n comuna Poiana Lung (azi comuna Vorona) "o parte din
locuitori se ocup cu agricultura, iar o parte cu olria care este bine dezvoltat aici 44 ". ln continuare, n dicionar snt amintite i localitile Rdeni
(comuna Frumuica), Unsa (azi Frumuica) i Poiana (n judeul Iai), n
care o parte din locuitorii lor se ocupau cu olria. Pe lng aceste centre, n
secolul al XIX-lea existau n zon i altele care nu apar n documentele scrise.
Dintre acestea amintim: Mihileni, tefneti, Sulia, Fundu-Herii
(comuna Cristineti), Smrdan (comuna Suharu), Lina (comuna Suharu),
Pru Negru (comuna Mihileni), Tudora, Darabani, Vldeni (comuna Frumuica), Hudeti, Rdui-Prut, Cristineti, .a.
ln unele din aceste centre, producia ceramieii s-a dezvoltat ntr-o industrie local, meterii fiind concentrai n ateliere mici sau mai mari, transformate pe parcurs n fabriei de ceramic, aa cum a fost cazul la Mihileni,
Botoani, tefneti.
Faza
decaden
industrial
a meteugului a marcat nceputul unei perioade de

a ceramicii, att n ceea ce privete perpetuarea elementelor tradi-
13
www.cimec.ro
ionale rt i n privina valorii artistice a neestor produsP. Dintre centrele

amintite, astiizi sint active numai opt : 1\Jihilcni, Botoani, tefneti, Frumuica,
Sulia,
Hudeti,
Lina
Fundu-Ilerii.
Centre de olari
MIHAILENI. Trgul Mihileni care a deinut rolul cel mai importm~t ntre
toate centrele ceramice din zona Botoanilor, are o lung tradiie a metesugu
lui. Avnd materie prim (argila de bun calitate) i o pia de desfacere asigurat (1\Iihilenii fiind trg nc din 1702), aici au existat condiii r,ent ru
valorificaren olritului.
A;a se explic faptul c acest ecntru a concentrat n secolul al XIX-lea

cel mai mare nurr.r de olad (cirea 1C0--150) din zon. Olarii din Mihileni
produceau att ceramic neagr, ct mai ales ceramic roie sml uit i nesmluit, cunoscut pentru calitile sale (Pl. 1).
Acetia
au luerat indiYidual pn ctre sfritul secolului al XIX-lea,

cnd o parte din ei au fost organizai n atelier{' {"(' cuprindeau 3 rn la 10
1ucrtori (Pl. 2).
In 1n13 existau 7 aremenea ateliere: al lui Iosif Viinevschi, cu 4 lucr
tori, al lui Franz Viinevschi, cu 4 lucrtori, al lui Icu Braier, cu 10 lucr
tori, al lui trul Reghenstraif, cu 6 lucrtori, al lui Ion Manole, cu 3 lucrtori
i cel al lui Iorgu Solinschi, cu 3 lucrtori 46 ).
Numrul mme de olari, p1ecum i ceilali factori amintii mai sus, au
dus la nfiinarea la Mihileni a unei fabrici de ceramic n 1U21. Fabrica
aceasta concentra olari din Mihileni, Pru Negru (un sat ce apar!ine de comuna l\Iihileni), din Tidui-Prut i ehiar din Ce1nui. n fahricft s-a folosit
numai munca manual, pn n Hl34, cnd s-au indrodus instalaii moderne
de frmntat lutul, motoare etc. Pmntul era lucrat ns dup procedeul
obinui! : urr.ezit, frmntat, cur! aL i transformat in past, fiind modelat,
cu ajutorul roii, in vase dife1ite (strchini, oale, chiupuri, etc). Nu toi
olarii din l\lihileni erau lucrtori n fabric. Multe ateliere al}. existat paralel
cu aceasta, iar altele au aprut pe parcurs. n 1921, perfectul de Dorohoi amintea cxisten!a la Mihileni a opt fabrici de oale 4 ';), nelegndu-se prin
aceasta i atelierele care erau la acea dat.
Numrul olarilor din l\Jihileni a erescut dup primul rzboi mondial.
In Hl38 g~im aiei 11 ateliere miei, ntre eare i unele din cPie menionate
anterior, alturi c!c allele r.ou nfiinatr. Aceste atelierr aparineau lui Ion
l!ngureanu, Ilie Hortopan, Vasile l\Ianole, Franz YiineYSchi, Jorgu Solinschi,
trul TIPghenstraif, Jon l\Ianolr, i\Jihai Solinschi, To~:cler Solinschi, Mihai
Petroiu i Ion Hrrnciue 47 ).
Numrul olarilor individuali, care au existat totdrauna paralel cu micile
ateliere i eu fabrica, neepe s scad dup eri de-al doilea rzboi mondial,
www.cimec.ro
acetia fcnd
tot mai greu fa concurenei produselor de fabric. Treptat,

la a!elicrcle ilidividualc i se ncadJr:1z ca hicr~tori n fabJic.
Astzi, la Mihileni nu mr,i lucreaz r'ici un olar individual, toi fiind lncadrai la fabriea "G~ani!ul", care produce ceramic ce pstre2z doar in parte
formele tradii<nale (Pl. 3, 4).
olarii
renun
Din acest centru r,utcrnic de olrit au plecat, "roit" n secolele al XIXlea i al XX-lea mu]!i olari, (la Sulia, tefneti, Hudeti etc.), ndreptndu-se
spre alte sate din zon ct i spre alte pri ale Moldovei (Roman).
BOTOANI.
Foarte muli olari s-au stabilit la Botoani, fiind atrai de

unei argile de bun calitate, <.flat chiar la marginea oraului
(bariera Teasc), a pdurilor apropiate, precum i de po~ibilitatea de a-i desface marfa n condiii avantajoase 48 ), n piaa oraului sau la iarmarocul sp
tmnal. Acetia au format un cartier al olarilor cunoscut sub denumirea de
"Hrbrie", n sec. al XIX-lea inf. prof. N. Zaharia, Iai).
existena
Jn 1892, n ,.Dicionarul geografic al judeului Botoani" erau amintii

22 olari care locuiau n acest ora. La Botoani s-a lucrat att ceramic neagr
(pn n jurul anului 1920), ct i ceramic roie. Botoaniul, alturi de Mihi
leni, a fost unul din cele mai puternice centre c!e olrit din zon, cu o tradiie
strveche 49 ) (Pl. 5).
Meteugul s-a dezvoltat aici continuu, ajungndtHe la o faz de industrializare concretizat prin existena n HJOG a m1ui atelier mare, atelier
care avea 8 cuptoare de ars i 15 roi pentru fasonat olria.Erau 25 de lucr
tori. Gama produselor era variat: oale, strchini, cni, ulcioare, chiupuri,
t.lcele, aproximativ 800 OUO buci pe an, n valoare, atunei, de 10 000 lei.
Marfa produs se vindea la Ba<u, Roman, Brila, Vaslui, Podu-Iloaiei, lai
Paralel cu acest mare atelier existau i ateliere mai mici n care lucrau olarj
individuali mpreun cu membrii familiilor lor. Acetia erau Dumitru Pomrleanu, Mihai Va[iliu, Anton Lupacu, N. Loghin, Gheorghe Vizitiu, Ilie Vizitiu, Vasile Buerehi i alii 51 ).
50
Numrul
olarilor rmne oarecum constant n anii ce urmeaz, astfel

1915 se aflau 8 ateliere~ 2 n care este inclus i atelierul mare al lui Ostfeld
Wittal Steinberg. Intre acestea, se menin acum, doar unele din cele existente
n 1906. Aa este cazul cu atelierele lui Mihai Vasiliu (str. Crinilor nr. 4), Dumitru Pomrleanu (str. Sf. Neculai nr. 73), Anton Lupacu (str. Furtuna
nr. 1). Au aprut i altele: al lui Adolf Polak (str. Liceului nr. 23), Adam
Sandric (str. Lahovari nr. 52), Iosub Olariu (str. Lahovari nr. 54), Anton
Breintcnfeld. (str. Calea Naional nr. 260).
c-n
Pe parcursul timpului, pe msurii ce oalele de lut au cptat o ntrebuinare mai redus, industria ceramic s-a or~entat spre alte prodme, cum ar
fi: crmida, folositi\ n construeiile oreneli, i teracota, ntrebuinat la
sobele din ora~e. nc din 191G, dou ateliere produceau, alturi de oale, i
teracot.
15
www.cimec.ro
Intr-o dare de seam asupra judeului Botoani pe anul 1922-1923,

prefectul judeului amintea de existen!a a 33 de ateliere de olrie, crmi
drie i tcracot 6 ").
Datorit unor condiii speciale - printre care - concurena marilor

ateliere de ceramic, la nceputul celri de a doua jumti a secolului al XX
lea, olarii individuali renun treptat la practicarea acestui meteug. Olritul
ncepe astfel s decad n oraul Botoani i datorit faptului c produsele
de ceramic nu mai snt solicitate pe pia. Numrul olarilor scade, unii trec
la alte meserii, alii se vor ncadra n cooperativa "Progresul" care are un
atelier ce produce vase de ceramic i teracot (Pl. 6).
In prezent, n oraul, Botoani nu mai lucreaz nici un olar individual.

TEFlNETI.
Un alt centru de tradiie n practicarea olritului, este

cel de la tefneti. Acesta concentra n secolul al XIX-lea, un numr mare
de olari care aveau la dispoziie pmnt bun pe esul tirgului i posibilitatea
de a-i desface marfa, tefnetii fiind trg cu o pia sptmnal.
Aceti
factori au dus i aici, ca i-n celelalte centre amintite pn acum,

unei mici industrii care a concentrat o parte din olarii locali,
devenii salariai ai patronului Pincu Rivinsohu, ce avea n 1915 o fabric
de oale, lucru amintit ntr-o dare de seam a prefectului de Botoani 64 ).
la
nfiinarea
Aici se lucra att ceramic neagr, cit i ceramic roljie. Aceast fabric
a avut pn la circa 40 de lucrtori. Treptat, numrul acestora a sczut, muli
dintre ei ndreptndu-se ctre alte profesii mai rentabile. Astzi la tefneti
se afl doi olari, Petcovschi Gh. Constantin i Petcovschi Gh. Ilie care
cunosc meseria de la tatl i de la bunicul lor (Pl. 7, 8).
SULIA.
Conform informaiilor culese, n Sulia au existat olari ncepnd din 1900. Nu este vorba de un centru puternic, ci de existena a 1 sau
2 olari n decursul anilor. Dup 1900 a fost Gheorghe Cantoreanu pn in
1940. Dup acesta a venit de la Mihileni Constantin Petroschi, care lucreaz
i azi. Acum se lucreaz numai ceramic roie (Pl. 9).
FRUMUICA. Frumuica
este un centru vechi de ceramic, in producia

resimte influena centrului de la Botoani.
S-a lucrat doar ceramic roie smluit i nesmluit. Astzi, se afl
un singur olar, Pomrleanu Constantin, care a nvat meseria n atelierul
ttalui su, Pomrleanu Dumitru, de la Botoani (Pl. 10).
cruia
~e
HUDETI. C'n alt centru de ceramic este Hudeti, n producia cruia

se resimte influiena centrului de la Mihileni. La Hudeti au existat doar
2-3 olari, ncepnd din jurul anului 1 !:JOO. Aici s-a produs i se produce att
ceramic neagr, ct i ceramic roie. Astzi se afl un singur olar, Grigore
V. Cramariuc, stabilit aici din 1937. El a nvat meseria de la tatl su.
A lucrat un timp n atelierul lui Spiridon Vasilovschi, alturi de ali 2 ucenici,
16
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dup
care i- a fcut atelier propriu ncepnd din 1945. Are un atelier cu 3

cuptoare. (Pl. 11, 12).
FUNDU~HERII
tineti), lucreaz
i lucreaz
bani
(CRISTINETI).
La Fundu-Herii (comuna Crisolarul Airinei S. Gheorghe, care a nvat meseria la Daradoar ceramic neagr. (Pl. 13).
LINA
vrst
uit,
ln satul Lina s-a stabilit in anul 1945, olarul Caciuc Mihai (n

acum de 70 de ani), care lucreaz ceramic neagr i roie nesml
(Pl. 14).
Centre disprute
Dintre centrele de ceramic amintite, o parte astzi nu mai exist. Multe
centre, Corni, Cotu-Rui, Tudora-, Chicovata (azi comuna Vorona), Rdeni
(comuna Frumuica), Vldeni (comuna Frumuica), Rdui-Prut, Smirdan,
Darabani etc., au devenit inactive, din diverse motive, ntre care i faptul
c ncepnd din prima jumtate a secolului al XX-lea muli dintre olarii individuali din zon au fcut cu greu fa concurenei produselor de fabric aprute pe pia.
Pe de alt pa1 te, ncepnd tot din aceeai perioad, produsele de ceramic
nu mai snt solicitate pe pia dect ntr-o msur mai mic i astfel me
teugul olritului ncepe s devin nerentabil. Olarii, se vor orienta ctre alte
profesii. Pe msura trecerii timpului, tineretul s-a angajat tot mai puin n
nvarea meseriei de olar, aa c multe centre, prin plecarea sau moartea
meterilor existen!i, s-au stins (Smrdan, Corni, Cotu Rui, Cristineti etc.).
Acest proces a durat mai muli ani, ncepnd cu cea de a doua jumtate
a secolului al XIX-lea (Corni, Cotu-Rui, Critineti, Tudora), continund
cu prima jumtate a secolului al XX-lea, cnd pot fi amintite centrele de la
Chicovata (azi comuna Vorona), Protopopeni (azi comuna Poiana), Vldeni
(comuna Frumuica) i Rdeni.
Intre centrele care au devenit recent inactive, se pot aminti cele de la
Darabani, Pru Negru i Smrdan.
In centrele amintite mai sus s-a lucrat att ceramic roie ct i ceramic
cu excepia celor de la Piriu Negru i Smirdan, unde s-a produs nu-
neagr,
mai
ceramic neagr.
Materia prim
Rspndirea
zonei
pentru
3 - Arta
indic
centrelor de ceramic pe ntreg cuprinsul

materiei prime de bun calitate. Pmntul
oalelor trebuie s aib anumite caliti : s posede
tuturor
existena
confecionatul
17
popular
!n 1.ona
Boloanilor
www.cimec.ro
n compoziia sa elemente necesare care asigur posibilitatta ronfecionrii

vaselor de bun calitate. Astfel, gropile de pmnt 1jentru oale cuprind straturi bogate n bioxid de siliciu, oxid de aluminiu i oxizi ai mai multor elemente chimice dintre care nu lipsesc oxidul feric i cel feros. Arest lucru este
confirmat de ctre oi ari, care indie tot ui nite diferene existente ntre
calitatea argilei aflat n locuri diferite. Se gsete de obicei argil de dou
caliti : argJia de culoare vnt spre albastru, gras, unsuroas la pipit,
impermeabil, i argila de culoare mai galben, puin impermeabil. Cea de
culoare vnt conine un procent mai ridicat de fier spre deosebire de cea
galben, argila Ynt este mai bun pentru oalele negre i roii nesmluite,
iar cea galben este mai bun pentru oalele smluite. ln zon aceste dou
caliti de argil s-au gsit de obicei n toate centrele de olari.
lntr-un tabel coninnd numele tuturor olarilor din fostul jude Botoani,
n 1Bl5, ~e indic printre altele i locul de unde acetia 1uau pmn
tul :r;entru oale.
Comparnd situaia pe atunci cu cea de azi, se poate vedea c de cele
mai multe ori i astzi, pmntul bun pentru oale se extrage din aceleai
locuri indicate n 1915, ceea ce m:emn c exploatarea unor straturi, "vne"
de argil bun pentru oale dura de multe ori ani de-a rndul, pn la folosirea
complet a stratului respecti\".
alctuit
Astfel, i astzi, olarii din Botoani iau pmnt din apropierea

din locttl numit bariera Teasc, menionat n tabelul amintit.
oraului,
OlaJii din Poiana- comuna Deleni (azi judeul Iai) luau pmn
tul bun, n special pentru ceramic nea~r, din locul numit "Dup vie". i
astzi Poiana a rmas un centru puternic de olari care produc ceramic neagr ce pstreaz nealterate formele tradiionale. Materia prima este procuratli i din locul amintit n 1915.
La Frumuica, pmntul bun pentru oale, se g~ete n esul din apropierea trgului, la tefneti la fel, iar la Sulia acesta este luat din marginea
de rsrit a trgului. La Fundu-Herii i la Hudeti, pmntul pentru oale
~e gsete tot pe imaul satului. Olarii de la Mihileni, iau materia prim din
locul numit "La Humrie".
Unelte
ln procesul de fabricare a Yaselor de ceramic ~e ntrebuineaz mai
multe, unelte, pe care le gsim n toate atelierele din zon:
Maiul
-
enttu btut
Cutitoaia cu care
~e
lutul, lucrat din lemn de fag (Fig. 1).

taie lutul pentru a-1
curi
de
impuriti.
(Fig. 2).
- Roata olarului, compus din : roata mare i roata mic, unite ntre
ele printr- un ax de 1ransmisie fusul. n zona Botoanilor roata mic se mai
18
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numete "rglie"
(la tefneti) i "verenic" (la Hudeti), iar roata mare

e mai numete si "talp" (Hudeti i Pltini) (Fig. 3).
- Ficheul, o lopic trapezoidal, de lerrn, folosit pentru netezitul
vaselor n timpul lucrului (Fig. 4).
Srma, folosit prntru desprinsul vasului proaspt lucrat.
Hrbul - un vas l;entru ap (Fig. 5).
Lavia sau masa pentru frmntat lutul (Fig. 6).
Rnia, folosit la mcinarea coloranilor pentru angobe i ornamentare, este format dintr-un suport din lemn masiv (butuc) n care este
scobit locul pentru dou pietre mici de moar (Fig. 7).
Pe polia din atelierul olarului se mai afl: o pensul din pr de porc, cornul pentru nfiorat, linguri i linguroaie pentru turnatul vopselelor (Fig. 8-11).
Faze de prelucrare a materiei prime

ca pe ntreg teritoriul rii noastre, prelucrarea
faze.
Pmntul este depozitat n g10pi sau bdzine s~ecial spate, avnd dimensiuni i capaciti diferite, unde este udat i lsat s ~e nmoaie timp de
mai multe zile (dou zile la Fundu-Herii; 3- 4 zile la Hudeti; Mihileni
pn la 4--5 sptmni) n raport de calitatea i compozi!ia argilei respective.
Cnd a cptat consistena unt i aluat, lutul este scos din groap i pus
pe o platform de scnduri, unde se calc bine cu piciorul, pentru a se amesteca, i a deveni omogen (uneori, n acest scop se folosea maiul).
Dup aceast operaie, lutul este adunat "n calupuri", de dimensiuni
diferite, dup care, cu ajutorul cuitoaiei se elimin impuritile. Aceast
ur.ealt de forma unei lame, era altdat fcut din oel de coas, de ctre
fierarii din sate, astzi fiind cumprat din magazin. Din pmntul astfel
curat i amestecat, se ia apoi cte un ho i se frmnt din nou "la banc"
(mas lung aflat n atelierul olarului) cu dosul palmelor. Se mparte apoi
'l bouri mai mari sau mai mici n raport cu forma i volumul oalelor ce urmeaz s fie lucrate la roat.
ln zona
argilei
Botoanilor.
cunoate
aceleai
ROATA. Tehnica de modelare a vaselor cuprinde cfteva etape. Intii

se lipete houl de pmnt n centrul discului mare al roii olarului, asigurnduse apoi micarea de rotaie ntregului sistem al roii, cu ajutorul piciorului
drept. Rotirea se face n sensul invers acelor de ceasornic. Cu ajutorul degetului mare de la mna dreapt, olarul face un orificiu n mijlocul acestui bo
de pmnt. Acesta se lrgete treptat priP apsarea degetului spre exterior.
Pe parcursul nvrtirii roii, olarul formeaz vasul ntiznd lutul n
nlime cu ajutorul minii, pereii vasului subiindu-se treptat. Micarea
circular a discului roii d vasului o rotunjime egal (Pl. 15).
Mna olarului contribuie la formarea umerilor, gtului i buzei vasului.
toate acestea realizndu-se n circuitul continuu al roii. Pe parcurs, pereii
www.cimec.ro
19
vasului se netezesc cu ajutorul pieptnului (fiche). Ultima operaie const

n ataarea toartei (i in cazul oalelor i al ulcioarelor) (Pl. 16).
Strchinile i castroanele necesit operaii de modelare mai reduse n
comparaie cu vasele cu pereii nali (ulcioare, chiupuri etc).
Vasul astfel format este desprins de pe disc cu ajutorul srmei i aezat
cu grij pe rafturi de scndur, pentru uscare (n atelierul olarului n timp de
iarn, iar vara, afar la umbr).
USCAREA I ARDEREA VASELOR. Pentru uscarea n bune condiiuni se
cere o temperatur constant, de dorit n jur de 25-30. U~carea dureaz iarna pn la 3-4 sptmni, iar vara 4-5 zile (n funcie de calitatea lutului).
Dup uscare urmeaz arderea vaselor n cuptoare speciale. Dac procesul prezentat pn acum este acelai att la ceramica neagr ct i la cea
roie, arderea acestora se face diferit.
In cazul ceramicii roii, (n special oale pentru lapte i cni) acestea sint
astfel aezate n cuptor, urmrind-se ca vasele mici s fie puse la mijloc, mai
ferite de foc, iar cele mai mari ctre marginea cuptorului.
Pentru arderea oalelor se folo~ete lemnul de esen moale (plop, salcie,

brad etc.) care asigur o flacr puterr.ic, "mare i curat". Dup o ardere
de circa 10 ore, la temeratura de pn la 700-800, vasele fe las s se r
coreasc, apoi snt scoase din cuptor. Culoarea roie a ceramicii se obine,
atunci cnd jratecul i flacra la care aceasta arde, obine aer, oxigen continuu, cuptorul avnd "gur deschis". Oxigenul din aer oxideaz fierul coninut de pereii vaselor. Gazele produse la arderea lemnelor se evacueaz
rapid, iar srurile i oxizii de fier se reduc la oxidul feric. Aceasta este arderea
oxidant, care se deosebete de arderea reductoare, ntlnit n cazul eeramicii negre.
Ceramica smluit este dat de dou ori la cuptor. O dat pentru arderea culorii i a corpului vaselor, a doua oar pentru arderea smalului.
Dup uscare, vasele snt date cu caolin "ghileal", pmnt alb adus de
la Miercurea Ciuc (la Botoani) i de la Snicolaul Mare (la tefneti). Acesta
se rnete, se arr,estec cu ap pn cnd se obine o past subire ca un lapte mai gros. Uneori, vasul este introdus ntr-un recipient mai mare cu ghileal, sau alteori, ghileala se toarn pe corpul vasului.
Peste ghileal, vasul se ornamenteaz cu diverse motive geometrice
sau florale, dispuse pe umr sau pe burta acestuia, n interiorul sau in exteriorul lui. Aceste motive erau executate cu diveri colorani obinui din
pmnt, metal sau produi pe cale industrial. Culorile mai des ntlnite n
zona Botoanilor au fost: albul, verdele, albastru!, negrul i rou!.
Procedeul de preparare a culorilor este diferit n funcie de nuan i
de materia prim avut la dispoziie. Verdele se prepar astfel: o bucat de
aram (oxid de plumb), se moaie cu ap srat, se las la ruginit ntr-un vas
stropindu-se mereu cu ap. Se d la cuptor unde arde la o temperatur de
20
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circa 1 200, se scoate afar, se scutur rugina de pe metal. Aceasta este esecare se amestec in proporii diferite cu caolinul (100 gr la 1 kg) i apoi
rnindu-se de 3-4 ori, duce la obinerea unei soluii de culoare verde.
Tot din metal se obinea i culoarea neagr. Se lua o bucat de tabl i
se punea la ars. Ce rezulta se rnea i se pisa amestecndu-se cu ap obi
nnd - un negru spre cafeniu.
Culoarea roie se obinea din pmnt rou, bogat n fier i-n mangan,
proporia manganului dnd nuana mai bun. Acesta se ardea, se
rnea i
se amesteca cu ap (jumtate crud, jumtate ars).
Albastrul, cu oxid de cobalt, era o culoare scump, importat din Germania. De aceea se folosea cu economie n ornamentica ceramicii din zon.
Nuan~ele diferite n cadrul aceleiai culori se obineau prin diluarea cu
ghileal (caolin).
Dup prima ardere, va1:ele snt decorate i date cu smal, o pojghi
1ucioas i transparent care se obine din oxid de plumb (Ii targ sau glazur),
ce se macin, se amestec cu cuar 50% i ap. (lnf. olar Petcovshi Gh.
C-tin., tefneti).
"Smalul se fcea din plumb {praf rou), care se rnea, se amesteca cu
nisip cuaros de Cacica in urmtoarea proporie: 15 kg smal i 4 kg de nisip.
Acest amestec se rnete din nou, i se adaug ap pn se obine o soluie
ca un lapte mai gros". {lnf. olar Pomrleanu D-tru - Frumu~ica).
a,
Vasul se nvrte cu mna, n timp ce smalul este turnat cu polonicul.

din interiorul vaselor e mai subire, cel din exterior mai gros (Pl. 17).
Smalul
Va~ele smluite
erau lsate s se usuce, dup care erau date din nou la

de circa 1 000-1 200, timp de circa 10 ore. Erau
rceasc, apoi scoase din cuptor.
Smalul dat pe oala care era pus apoi la cuptor, ader prin topire la
suprafaa vasului, devenind dur i incolor.
cuptor Ia o
lsate s se
temperatur
In timpul arderii vaselor, pentru smal se produc reacii chimice care dau
acestora. Smalul (oxidul de plumb rou), format din
cristale roii, ptrate, provenit din plumbul nclzit la temperaturi de peste
480C, are duritate mrit, 9,27, numindu-se litarg - ce este greu solubil
n ap {1/7000). Smalul (litarga) are punct de topire i la temperatura de
884, dar arderea smalului n condiii optime trebuie s se fac Ia o temperatur de reste 900C. ln acest caz 's-e va obine un smal cu luciu. Ori de cte
ori nu se ajunge la aceast temperatur, smalul rmne fr luciu.
rezisten pereilor
La Botoani, ca un procedeu izolat relatat de olarul Pomrleanu Dumitru

n vrst de 80 de ani, ntlnim arderea smalului de dou ori. Prima oar
la temperatura de 3f;0-5000 timp de 10 ore. Vafele snt scoase apoi din cuptor, se dau din nou cu smal i se ard 12 ore la o temperatur de 950-1 000.
Dup dou focuri, smalul IIU mai cade la umezeal, devenind foarte
rezistent. Procedeul aresta nu este ntlnit n restul zonei din considerrnle
diver~e : economie de timp, de materiale, de lemne etc.
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TIPURI DE CUPTOARE. In urma spturilor arheologice s-;J.U desco

perit la Trueti i Botoani (Dealul Crmidriei) cuptoare de olrie apar-innd secolului III e.n. (cultura Sntana de l\Iure - Cerneahov 5 &). La Botoani, cuptorul propriu-zis era format din dou camere suprapuse ; n cea de jos
se fcea focul, iar n cealalt se ardeau vasele. Ambele erau lipite cu lut. Intre
camera de foc i camera de ardere se gsea un grtar perforat, fiind constituit
din mai multe rnduri de lipituri susinute cu ajutorul unor vergi de lemn
mpletite. La cuptorul nr. 1 de la Trueti, grtarul a fost cruat din pmnt
natural, peste care s-a aplicat un strat gros de 1ut, el fiind susinut de un
stlp central, iar grtarul cuptorului II era sprijinit de un perete median 56 ).
(Pl. 18) (Fig. 12, 13).
In cazul cuptorului de la Botoani, grtarul era susinut de un perete
median 67 ). Acelai grtar apare i aici, doar c sistemul de susinere e altul
Dup forma cuptoarelor i felul Yetrei, cuptoarele actuale de ceramic
din zona Botoanilor se mpart n dou categorii 58 ) :
1. cuptoare tronconice ;
2. cuptoare semisferoidale - ovoidale.
Cuptoarele tronconice se mpart la rndul lor n cuptoare tronconice
fr vatr organizat, n categoria crora intr : groapa de ars vase de lut,
folosit la arderea ceramicii negre (aceasta fiind ntlnit i n alte pri din
sud-estul Europei" 9 ) ; este vorba de o groap spat n pmnt la adncimea
de 1,50 m, avnd la baz diametru) de 2,50 m, iar la gur diametru) de circa
1 m. Are o singur gur de foc (50 x 40 cm), fcut din anul de acces. Este
forma cea mai simpl de cuptor. n zona Botoanilor l ntlnim numai la
tefneti. (Pl. 19, 20). (Fig. 14, 15).
Al doilea tip de cuptor tronconic l reprezint cuptorul tronconic cu
vatr organizat 6 "), ntlnit n zona Botoanilor la Hudeti, Frumuica, R
deni. La H udeti este vorba de un cuptor de format tronconic, construit la
suprafaa solului, avnd diametru) la baz de 1,60 m i sus de 1,10 m. Are
dou guri laterale, una prin care se introduc vasele (42 x 82 cm) i cea de
a doua "gura de foc" (60 x 40 cm), pe unde se introduc lemnele. Deasupra
are un co drept, nalt de 3 m. ln interior se formeaz cu ajutorul
crmizilor 4 crJi de foc ntr-o parte i 3 n cealalt. Pe prile laterale ale
cuptorului snt aezate dou "capre" (construcie de format trapezoidal,
din crmid, care poate avea sau nu brae). (Pl. 21, a, b)
Tot in categoria cuptomelor tronconice cu vatr organizat intr i
cuptorul "cu cai 01 ". Acest cuptor este ntlnit la Rdeni-Frumuica. Este
vorba de o groap spat in pmnt, la adncimea de 1,50 m, a\nd la baz
diametru) de 2 m, iar la gur 0,60 m, cu o vatr care servete drept suport
pentru aranjarea vaselor. Aceasta este construit din crmid, cu
doi "cai" din lut cruat, adic lsai din sptur (Fig. 16).
Cele mai rsp~ndite tipuri de cuptoare n zona cercetat snt cuptoarele
semisferoidal - ovoidale, care se mpart la rndul lor n cuptoare cu co i
cuptoare fr co, dup modul n care este dirijat fumul 62 ).
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ln zona
Sulia
Botoanilor
fr
co
la
intilnim cuptoare cu
Lina,
co
Rdui-Prut,
la Hudeti, Frumuica,
Darabani, Fundu-Herii,
Smrdan.
Cuptoarele ~emisferoidal - ovoidale fr horn apar ca o movil alungit,
iar n seciune seamn cu un ou" 3 ). Cum se construiesc ? nti se amenajeaz
locul pe suprafaa solului unde se construiete vatra din crmid, apoi se
construiesc pereii din acelai material. Uneori, cuptorul este parial ngropat n pmnt (Lina). Acestea au, dup cum am artat, forma unui ou culcat,
cu dou guri -gura de foc ~i gura de introdus vasele, plasate la ambele capete. (Fig. 17, 18). La o distan v ariabl (50 -60 cm) de la gura de foc n interiorul cuptorului este aezat "capra". Capra se construiete din crmid, la marginea anterioar a cuptorului. Baza caprei este lung de o crmid i jumtate,
iar corpul se lete treptat pn la 2 crmizi. Capra are de obicei 2 brae
formate la rndul lor din cte 2 crmizi ado~ate, acestea f:ind lipite cu lut.
-- Dimensiuni : nlimea caprei pn la bifurcarea braelor 0,50 m, limea
de baz 1/2 pii la 1 crmid, iar la bifurcarea braelor 2 crmizi. De la
bifurcarea braelor pn la tavan este un spaiu de 0,40 m 64 ) (Fig. 19).
De la gura de foc, de o parte i de alta a caprei snt amenajate, din cr
mizi, dou crri de foc pe ambele pri, n lungul cuptorului. Atunci
cnd cuptoarele au co, acesta este plasat pe mijloc.
La cuptoarele din Darabani i Hudeti braele caprei lipsesc. Care este
rolul caprei ? Focul fcut n gura cuptorului degaj o cldur ce trebuie distribuit ct mai uniform n interiorul acesluia, "fr ca flcrile s vin forat la oale" 05 ).
Un tip de cuptor evoluat este ntlnit n Botoani ). Acesta este apropiat
de cel cu capr sau grtar cu horn. Este zidit la suprafa, avr;d dou guri
de foc, cu horn sau co. La cuptorul de la Botoani deosebit este peretele,
grtarul cu guri i picioare, numit capr sau "stender". Aerul cald ptrunde
n interiorul cuptorului prin grtarul aflat nspre spate. Prin caracteristicile
sale este un cuptor cu reverberaie 67 ). (Fig. 20). Din studiul cuptoarelor de
ceramrca aflate n zona Botoanilor, putem trage concluzia c acestea
pstreaz n construcia lor unele elemente care se pot observa nc la cele
din epoca migraiilor, descoperite la Trueti i Dealul Crmidriei
Botoani, ce se ncadreaz i ele n categoria celor cu vatr 1' 8 ).
66
Categoriile i formele vaselor

Vasele de ceramic din zona studiat mbrac o diversitate de forme,
bazat pe funcia utilitar a acestora. Toate acestea snt folosite n gospodria
omului pentru pstrarea, pregtirea i transportul alimentelor. Obiecte des-:
tinate n special nfrumuse!rii locuin!elor nu s-au lucrat n zon. Determinate
de funcia practic pe care o ndepliresc, vasele se mpart n : vase de pstrat
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23
aiimentele; vase de preparat mncarea; vase de servit mncarea; vase de

transportat mncarea ; vase de pstrat butura ; Yase J:entru serYit butura.
In categoria vaselor pentru pstrat alimente intr gavanoasele, chiupurile i hrgile, cu un volum mare (15-201) i forma adecvat?i. funciei ce o ndeplinesc. Astfel, gavanosul, n care se stra gra<>rmea, era mai mic
dect chiupul, avnd form ovoidal, cu gura larg, gitul scurt i baza
ngust at .
CHIPCL, folosit la pstrarea murturilor i uneori a grsimilor, are
formatul ovoidal; cu urr.erii nlai, de care ~nt lipite dou toarte verticale
(specifice ceramicii moldover.eti), se ngusteaz spre o baz redus fa
de volumul vasului. Gura larg, cu buza uor rsfrnt in afar, apari ne de a[err enea tipului moldownesc. (Pl. 22).
Dat fiind funcia acestor vase, ele snt smtuite, de cele mai multe ori
neornamentate (chiupurile au culoarea crmizie, iar gavanoasele snt de
obicei colorate la fel, mai rar aYnd motive florale). (Pl. 23)
HRGAIELE dnt vase cu format tronconic cu dou toarte pe margine,
avnd o capacitate de 10-15 1. Forma acestui vas i are originea n preistorie
(hrgul fiind identic cu un vas de la Staiunea dacic Poieneti -Tecuci
aa cum arat FI. B. Florescu,
"Ceramica neagr de la Marginea",
ESPLA, 1958) (Pl. 24)
VASELE DE PREPARAT MNCAREA, constituie categoria cea mai
bir.e reprezentat. La oalele de gtit surprindem aceeai linie ca i la
chiupuri, cu un adinc filon n tradiia cerarr:icii locale -- form ovoidal,
umeri nlai, gur larg, baz ngust. Au o singur toart mic, prins
de buz.
Oala este sml uit in interior i exterior, de cele mai multe ori fiind
neornamentat. (Pl. 25).
OAlElE DE SARMALE, de format ovoidal, cu dou toarte mici pe
mar~ine, cu baza ngust, au dimensiunile: nlimea de circa3n cm; diametru\
gurii de circa 15 cm. circumferinta de circa 1 m. Ele erau nelipsite n huc
Lrh unei gosrodine i se fo\o~eau la srbtori sau alte ocazii: nuni. prnnice ttc. (Pl. 26).
1n l':llegoria va~elor de preparat mn~area intr marcoteele (penttu
mcinat macul), duruleagurile (pentt u strecurat colunaii), rvarele (pentru
frmntat coca) i oalele pentru prelucrarea laptelui.
MARCOTEELE s-au lucrat numai la Mihileni i Hudeti pn acum
30-40 ani n urm. Acestea au format tronconic, cu buza dreapt, cu fundul
drept retezat, avnd dimensiunile: nlimea circa 15 cm, diametru\ gurii
de circa 34 cm.
Ele nu snt smluite n interior, lsndu-se chiar unele neregulariti
voite pe peretele vasului, pentru a se realiza mai bine zdrobirea macului.
Nu snt ornamentate. (Pl. 27).
Dl:Rt.;LEAGURILE pentru strecurat colunaii au acelai format,
cu singura deosebire c tot corpul este gurit pentru scurgerea apei. Snt
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smluite n interior, nu snt ornamentale. (Dimensiunile -nlimea circa

15 cm, diametru! gurii circa 34 cm, diametru} fundului circa 15 cm). (Pl. 28).
RAV A RELE, strchinoaie mari pentru frmntat coca, au o capacitate de pn la 15 l. In colecia Muzeului judeean Botoani, se afl un asemenea rvar datat din 1903, lucrat la Botoani de olarul Pomrleanu Dumitru.
Are formatul troconic, cu fundul drept, cu buza dreapt, smluit n interior,
i este frumus ornamentat cu motive vegetale. Dimensiuni: nlimea de
23 cm, diametru} gurii 60 cm, limea de 4 cm, diametru! fundului 23 cm.
(Pl. 29).
OALA DE LAPTE (puior) un dintre vasele specifice ceramicii moldovede culoare neagr sau roie, avnd aceeai baz ngust caracteristic
(unchi sau cant) cu gtul alungit i gura larg (usna), care la oalele mai mari
i noi primete i un grlici (vran). Un element caracteristic apare i aici:
toarta (pipca) mic n raport cu volumul vasului. Dimensiuni: nlimea
circa 27 cm, diametru! gurii circa 15 cm, diametrul fundului circa 12 cm.
Oalele acestea snt smluite i neornamentate. (Pl. 30). Categoria vaselor
pentru transportat mincarea este reprezentat prin btc.
neti
BITCA. Acest vas, a fost lucrat numai de olarii de la Mihileni. El era

folosit pentru transportul ciorbei (borului) la cmp. Este vorba de o can cu
fundul drept, lat, cu gtul foarte ngust, cu toarta mic. In ea se turna
ciorba, sepunea un dop de mmlig i astfel se putea transporta foarte uor la
distane mari. Era smluit i neornamentat. (Fig. 21).
ULCIOARELE se foloseau pentru pstratul buturilor (vinul, uica,
apa). Cu o capacitate de 15-20 litri, avnd formatul sferoidal caracteristic, cu umerii nlai, n jurul gurii cu un "guler" de care este
prins toarta mic, gitul nalt i buza puin rsfrnt, cu baza foarte ngust.
Dimensiuni: nlimea circa 35 cm, nlirrea gtului 2-3 cm, diametru}
gurii circa 4-5 cm, diametru} fundului circa 11 cm.
Aceste vase erau
smluite i
frumos ornamentate. (Pl. 31, 32),
Pentru luat vinul de la caneaua butoiului se foloseau cni cu fundul lat,

gtul mic i foarte ngust, cu grlici (pipc), avnd o capacitate de 3 pn la
5 litri. Acestea se numeau fapcani i se lucrau la Mihileni i Botoani. (Pl. 33).
fn categoria vafelor de servit mincarea intr stra(Jhinu i talgerul.
STRACHINILE de format troncor.ic, cu buza (usna) dreapt, cu fundul
retezat, drept, se caracterizeaz prin dimensiuni mai mari dect cele
din alte pri (Muntenia, Banat etc). Au dimensiunile urmtoare: nlimea
circa 5-7 cm, diametru! gurii circa 20 cm, diametru! fundului circa 8 cm.
buza lat circa 2 cm. De obicei, erau smluite i ornamentate. (Pl. 34).
CASTROANELE (talgerele) aveau acelai format tronconic, cu buza
fundul retezat ca i la strchini - doar c aveau dimensiunile mai mari decit ale acestora. Erau smluite i ornamentale de obicei.
(Pl. 35).
dreapt, nalt i
4 - Arta
pop1lar
in zona
Botoanilor
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CANA DE BAUT APA este mai mic, cu gura larg fa de volumul

ei, cu fundul ingust, cu toarta mic. Dimensiuni: mlimea circa 9 cm, diametrul gurii circa 9 cm, diametru! fundului circa 5 cm. Aceste cni se numeau
i "filigenii" n zona Mihilenilor. (Pl. 36).
Studiind formele ceramicii produse n zona Botoanilor, se observ respectarea tradiiei care apare n linia ovoidal cu umerii nali, (la rhiupuri.
i la oale), cu buza ngust fa de corpul vaselor, gura larg, toarta mic.
Toarta mic n general, apare la chiupuri, n poziie vertical, ceea ce
constituie o not caracteristic a ceramicii tradi\ionale moldovenesti. Acelai
caracter local l surprindem si-n linia strchinilor, a marcoteelor i a duru
lcagurilor, cu forma tronconic, cu fundul retezat i buza dreapt, nlat.
Ceramica neagr produs n zon (oale, cni, strchinoaie, hrgaie etc)
forme preistorice 09 ).
Oalele pentru prins lapte, cu forma alungit, i gsesc analogii n ceramica dacic 7 ").
Repertoriul formelor ntlnite nu este la fel de bogat ca-n alte zone (Banat,
Oltenia etc.), dar prezint totui o diversitate care se ncadreaz n unitatea
tipologic caracteristic Moldovei i poate fi sesizat cu uurin. (Fig. 22).
Aceast diversitate apare mai pronunat la Mihileni, i Botoani, unde pe
parcursul timpului s-au acumulat unele categotii de vase neintlnite n alt
parte. Rvarele de pild, se lucrau numai la Botoani, iar marcoteele numai
la Mihileni, unde se mai lucrau filigene i btce.
menine
In forma i linia unor vase lucrate n zon descoperim unele caracteristici specifice. Aa este cazul strchinii tronconice care n vechime avea o
particularitate demn de semnalat n forma sa: "scaunul" (o ntrerupere n
linia care d contrul obinuit al strchinii).
Strachina "cu scaun" accentueaz o dat n plus motenirea unei trapn azi n ceramica zonei. (Fig. 23)
Pot fi sesizate i unele deosebiri ce apar de la un centru la cellalt. Aa
de pild, la Mihileni se lucrau cni cu picior, iar la Botoani aceste cni aveau
fundul lat. (Fig. 24, 25)
In general, se poate spune c formele ceramicii din zona studiat snt
adaptate perfect funciei utilitare, fiecare detaliu corespunde anumitor nece
siti practice.
diii perpetuat
26
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IV
ORNAMENTICA
Dac
n procesul de lucru al vaselor, brbatul a avut rolul primordial,

fiind vorba de o munc grea, care cere att pricepere i ndemnare ct i for
fizic, la ornamentarea vaselor, unde se cere talent i imaginaie, lucrau
mai mult femeile.
La ornamentarea vaselor se folosesc unelte cunoscute n toat ara:
cornul, pensula.
Cornul este un corn de vit folosit ca recipient, terminat la vrf cu o
pan de gsc.
Pensula, este fcut din cteva fire de pr (luate de la coada vielului)
prinse de o bucat de lemn.
Dup ce vasele erau date cu ghileal, "angobate" i lsate s se usuce,
ncepea ornamentarea lor. Pensula i cornul, se foloseau mpreun sau separat.
O alt tehnic ntlni! ii alt dat doar la Mihileni n ornamentarea
vaselor, a fost zgrafitajul. n acest scop se folosea un vrf metalic (cui)
cu care se zgria angoba vasului, n aa fel incit aprea culoarea fondului n
motive desenate. Se pare c acest procedeu a fost mprumutat din Bucovina
sau Maramure, numai de olarii din Mihileni, el nefiind utilizat de ceilali
olari din zon.
Stropitul cu culori difente, scurgerea culorilor, snt procedee ce in de
o tehnic decorativ mai nou (secolul al XX-lea). (Pl. 37).
Ceramica din zona Botoanilor se distinge printr- o sobrietate deosebit
n ornamentic, comparativ cu cea a ceramicii din alte centre din ar (Horezu,
Oboga, Negreti-Oa etc.). Ea este reinut, bine dozat, fr excese, fr
adaosuri suprtoare, ncadrndu-se n stilul unitar al ornamenticii moldoveneti prin gama de motive desfurate, prin caracterul acestora i modul
propriu de interpretare.
O not caracteristic a ceramicii de Moldova este fondul alb, pe care
snt proiectate motivele, aerat, avnd fiecare personalitate. (Pl. 38).
In general, n ornamentica veche ntlnim o gam variat de motive
geometrice, bazate n special pe linii i joc de linii. (Pl. 39). (Fig. 26-28).
Alturi de linia dreapt (dunga) apare linia vlurit. Linia spiralat se numete n termeni locali fie "colbec simplu", fie "colbec dublu". (Pl. 40).
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27
(Fig. 29, 30). Linia zig-zag, suprapus pe un registru de linii paralele, este
cunoscut n zon sub denumirea de "traif" sau "zig-zag pe ud". (Fig. 31).
In afar Ce motivele liniare, apar i altele compuse din buline. Atunci
cnd acestea sint grupate diferit, formeaz motiwle cunm:cute n zon sub
denumirea de "ochelari". (Fig 32-34).
Brduul apare frecvent in ornamentica ceramicii vechi, singur sau asociat cu alte motiw. (Pl. 41). (Fig. 35, 36).
Intre motiwle ornamentale ale ceramicii vechi, un loc deosebit l ocupau
cele cosmice (steaua, soarele), precum i cele cu caracter simbolic, dintre care
amintim crucea. Acestea apar stilizate intr-o manier caracteristic pentru
arta veche popular din ntreaga Moldov. (Fig. 37-38).
ntr-o faz mai recent g~im i motivele vegetale tratate naturalist,
ntre care didingem: flori, fructe (strugure, mr) i zoomorfe (aripi de liliac
etc). (Pl. 42). (Fi~. 39-43).
Florile prezentate pe vas nu reprezintli o anume sperie, ele nu pot fi
indentificate decit cu oarecare aproximaie.
De multe ori ntlnim o mbinare reuit a motivelor: geometrice (linii,
buline etc.), cu altele mai noi, vegetale. (Pl. 43). (Fig. 44, 45).
Remarcm c motivele zoomorfe nu apar dect incidental in ornamentica
vaselor din zona studiat. Aa dup cum artam anterior, scurgerea culorilor,
stropitul cu culori diferite, in de o tehnic decorativ mai nou care se folosea n special la Mihileni, unde se obineau vase "marmorate" prin amestecul mai multor culori. n acest scop se folosea o cutie cu mai multe desprituri unde intrau culori diferite. Vasul se nvrtea cu mna, n timp de
culorile curgeau i se amestecau n mod plcut.
Tot ntr-o faz mai recent, dup cel de-al doilea rzboi mondial, s-a
folosit pentru decorare i buretele cumprat din comer. Acesta era muiat
n vopsea i aplicat pe 'vas -intercalat cu alte motive. Rezulta un ornament plcut, dar care nu mai cerea din partea olarului imaginaie i nu mai
nsemna creaie proprie, original.
Dispunerea motivelor
Sobrietatea ornamenticii din zon este caracterizat printr-o folosire
cu maximum de economie a motivelor.
De aici poate i grija deosebit n amplasarea acestor motive, n aa fel
nct ele s fie vizibile, s poat fi puse n eviden. Exista bineneles o legtur ntre ornament i scopul funcional al ,asului creat. Ornamentul dicret, lipsit de ostentaie este amplasat de obicei ntr-o singur friz, care se
afl ntotdeauna n partea superioar a vaselor, pe umerii lor (ulcioare, chiupuri). (Fig. 46, 47).
n cazul strchinilor i strchiuoaielor, acestea au motivele ornamentale
reparlizate n interior, de obicei bazate pe mbinarea liniilor drepte, I-o
28
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zig-zag, dispusr n errcuri conerntricr, dr la buz (usn) pn la fundul strchi

nii, unde se afl adesrori un motiY central bine conturat. (Pl. 44). (Fig. 48-50).
Cnile i oalele, mai puin omamentate, de obicei, aveau motive dispuse
la "buz" i pe "burt". (Pl. 45). (Fig. 51, 52).
Dispunrrra motiYelor este aerat, cu mult spaiu de fond, fr nimic
de prisos, Utr nimic suprtor. Coloritul este la fel de sobru. Cele trei culori
- albul, cafeniu) i wrdele - snt culorile de baz ntlnite mai des. Imbinarea acestora este totdeauna reuit, fr stridene.
ln general, se poate spune c i <.ici, ca i-n celelalte genuri ale creaiei
}:Opulare, talentul i miestria ranului i-au pus amprenta.
Desfacerea comercial a vaselor

In "planificarea" muncii lor, olarii ineau cont de cele dou perioade
pe an : moii de iarn i moii de var. Pentru moi, pregteau din vreme n
n special strchir_i i ulcele, cni de diferite mrimi etc.
In afar de vnzarea efectuat cu ocazia moilor, vasele erau vndutr
n restul anului Ia iarmaroacele periodice i la trgurile orgarizate sptmnal.
La Botoani exista n 1U06 iarmarocul care inea de la 15 septembrie pn
la 10 octombrie, nfiinat nc din 1873 71
La Dorohoi, iarmarocul inea n fiecare an de la 15 pn la 25 augusF~.
Iarmarocul de la Sveni inea de la 25 iunie pn la 5 iulie, nc din
1883 73
Zilele de iarmaroc erau: miercuri la Botoani, duminic i mari la Dorohoi i duminica la Sveni.
O situaie oarecum special n zona Botoanilor este faptul c-n toate
trgurile existente n zon erau i centre de olari. n felul acesta desfacerea
mrfii era asigurat pe loc (Botoani, Mihileni, Sveni, Sulia, tefneti,
Rdu.i-Prut, Darabani).
Uneori, vasele de ceramic produse n anumite centre erau transportate
la distane mari, att n zon ct i~n afara ei. Olarii de la Sulia se deplasau la
Iai de dou ori pe an, sau mergeau la Clrai, Hlipiceni i Todireni(sate din
zon). Ceramica produs n centrul de la 1-Iudeti ajungea pn n Bucovina
i Basarabia.
Ceramica produs de fabricile din Botoani se vindea la Roman, Brila,
Vaslui, Podul lloaiei, lai' 4 ), iar cea produs la fabrica din Mihileni se vindea
la Vaslui, lai, Galai, Botoani, Piatra Neam, Cernui i Hotin.
Ceramica era transportat cu cruele, iar vasele erau vndute pe bani
sau in schimbul produselor ali menta re.
29
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V
CONCLUZII
baz
Ceramica rneasc din zona Botoanilor, constituie un element de

al culturii populare, n spaiul dintre Siret i Prut, avnd o strveche
tradiie.
Condiionat i favorizat de permanena vieuirii omeneti de-a lungul

istoriei, n inutul amintit, ceramica popular de azi, nsumeaz elemente
de tradiie, marcate de adaptri i transformri impuse de nevoile de via.
i gustul oamenilor pentru frumos. Modul de producere al ceramicii rneti,
>n zon, a pstrat elemente caracteristice, arhaice, cum ar fi de pild persistenta tipurilor de cuptoare pentru ars vasele, sau procedeul de obinere al
ceramicii negre. In privina formelor se evideniaz o mare diversitate n
care se recunosc tipurile ce-i au originea n vechea olrie roman, mprosp
tat prin contactele repetate cu Imperiul bizantin. Ornamentica sobr, reinut caracterizat printr-o dozare riguroas a mothelor i coloritul redus
la cteva nuane de cafeniu, verde, rou i mai rar albastru dau o not specific, oarecum, ceramicii de aici difereniind-o de cea a altor zone Oltenia,
Banat etc).
Cu toate particularitile fireti, impuse de realitile social - istorice
i economice existente, ceramica popular din zona Botoanilor se ncadreaz
in marea familie a ceramicii romneti att prin tipologia formelor ct i
prin aspectele de ordin tehnic.
30
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NOTE
1. V. Tufescu, D:alu Mare 1/lrlu, In

Buletinul Societii Reg. de Geografie,
LVI, 1937, pag. 50 i urmtoarele;
C. 1\larliniuc, G1ogra(ia (izir a R.P.R.,
1 955, rapit. Podiul Moldovenesc, pag.
514.
2. N. Bucur i N. Barbu, Compl' :rnl
fizico-geografic din Ngiunea masivr/or
dr/uroase
Cop/u Cozancra
Guranda, In Anale le
tiinifice
ale Uni
II, T. VII, 1961,
fascicola L, pag. 155-156.
versitii Iai, secia
3. V. Tufescu, Dea/u Mare llrlu, Bucureti, 1937, pag. 132-133.

4. M. Petrescu - Dlmbovia, Lr s pincipeaux resultats des {ouil/rs de Trueli,
In Analele tiinifice ale Universitii,
Iai, III, T. 3, f. 1 -2, 1 957 ; VI. Dumitrescu, Originea i evoluia cullurii Cucuteni- Tripolir, (1), In S.C.I.V., XIV,
1, 1963 Idem, Unrle probleme ridicate
de arzana cucutr nian de la Drgurni,
In : Din trecutul judeului Botoani,
1 964, pag. 37-39.
5. Grigore Ureche i Simion
L!lopisl{ul rii Moldovei,
1 934, pag. 20.
Costchescu,
9. Adrian C. Florcscu, anlirru/ arheologic Trufi, In "Materiale i cercetri

arheologice", voi. III, Ed. Academiei
R.P.R .. , 1 957, pag. 203.
10. Vladimir Dumitrescn, Unle probleme
ridicate de a zarea cucul. nian de la
Drguc ni, In "Din trecutul judeului
Botoani", 1 974, pag. 36 i urmtoa
rele.
11. Silvia 1\larinescu-Blcu, Cultura precucutr ni tn cmpia Moldovei, in "Din
trecutul judeului Botoani", 1 974,
pag. 52.
12. Idem, pag. 52
1:i. Ibidem
14. Ibidem
Zaharia, M. Petrescu-Dimbovia,
din Moldova de la palw/ilic
pn la secolul al X V 11 1-/ea, Bucureti
1 970, pag. 26 i urmtoarele.
15. N.
Aezri
Craiova,
Documrntrle mo/donenrti nainte de trfan ce[ :Mare, vol.t,

(1 374 -1 437) ; voi. II (1 438-1 456),
Iai, 1 931-1 932 ; Idem, Documente
de la ir fan el[ Jl.fare, Iai, 1 9.48; Idem,
Documenlrle mo/dovrnti de la l/ani
f voicvod, (1 517-1 527), Iai 1 943;
Seria
8. V.Tufcscu, Tirguoarc/e din Moldova

i importanta lor 1conomir, n Buletinul
Societii Reg. de geografie, tom. LX,
1 941, pag. 128
Dasclu
6. C.C. Giurscu, Dinu C. Giurscu, Istoria romdnil or din cde mai vechi timpuri ptn astzi, Bucureti, 1 971, pag.
223.
7. M.
Documenta Romania llislorica,

A, voi. I-II, Bucureti, 1 975.
16.
* *
Istoria Romniei, voi. I, pag. 131.
17. N. Zaharia i colaboratorii, opera

pag.42-43
citat
18. Adrian C. Florescu, anlierul arheologic Trueli, n "Materiale i cercetri

arheologice", voi.III, 1 957, pag.210.
19. Ibidem, pag. 213
20. Adrian C. Florescu, Simion Ra, Comp"
p/exul de cel/i lraco-g: lice de la Sfin"
ceti Botoani, In "Studii i materiale"
www.cimec.ro
Sl
culegere editat
1 960, pag. 9.
de
Muzeul Suceava,
21. N. Zaharia i colaboratorii, opera citat, pag 65.

22. Silvia Teodor, Contributia cercetrilor
arheologice de la Cucorni, In .Din trecutul judeului Botoani" 1 974, pag. 66
i urmtoarele.
23. Ion
Horaiu
Crramica daco-gr1 968, pag. 8
24. Silvia Teodor, opera
citat,
pag. 69
25. Ion Ioni, Contributii cu privire la cultura Sntana de Murt-Ccrnraholl, pe

trritoriul R.S.R., n .Arheologia Moldovei", voi. IV, Bucureti, 1966, pag. 219.
26. N.
Zaharia i
pag. 79.
colaboratorii,
opera
citat,
27. Ion
Ioni,
42.
w. C. Ndejde, 1. Tiu, Dicionar al

judrtului Botoani, 1891, pag. 37.
43. Ibidem, pag. 48.

45. Informator Horopciuc Constantin.
Crian,
tic, Bucureti
41. Alex. Punescu, Paul Sadurschl, Vasile

Chirica, op<'ra citat, pag. 385.
opt'ra
citat,
pag. 201.

29. Dan Gh. Teodor, Ion Mitrea, Crrc<lri
arheologice n a zarea prr (e uda/ii de la
Lozna, In .Arheologia Moldovei", voi.
IV, pag. 282.
31. M. Petrcscu-Dtmbovia, Dan Gh. Teodor, Victor Spinei, Principalele rezultate ale spturilor arllwlcgice din Horodit a, de la Fundu Hrrtii In .Din trecutul judeului Botoani", pag. 78 i
urmtoarele.
46.
Expunerra siluatiri judetului
Doroboi pe anul 1921, pag. 6.
47. Informator Horopciuc Constantin, olar
din 1\lihilenl.
48. Corina Nicolescu, Paul Petrescu, Ceramica romllm asc traditionald, Bucu ..
reti, 1974, pag. 23.
49. Arhivele
Statului
Botoani,
Fond Prefectura judeului Botoani,
Dosar 18/1915, pag. 176. n 1970, cu
ocazia sprii unor fundaii s-a descoperit In Botoani un cuptor de ars
oale din secolul al XVIII-lea (informator Paul Sadurschi, muzegraf principal,
Muzeul judeean Botoani).
50. Dare de s~amd asupra strii
economice a jud, trlor din Bot~ani,
Dorohoi, Suceava, Botoani 1906, pag.
205.
51. Informator Pomlrlcanu
din Botoani.
52. Arhivele
Fond Prefectura
1915, pag. 152.
32 ldem, pag. 88
33. Idem, pag. 93
34 Victor Spinei, Hodica Popovici-Ball,
R<zullatc alr sdpdturilor de la lludum,
din anii 1 970-1 972, In ~Din trecutul
judeului Botoani", 1974, pag, 114 i
urmtoare le.
Dumitru, olar
Statului
Botoani,
Botoani,
dosar 18/
53. D. Wizanthy, Situatia jud {ului Botoani

pe anul 1922-192.1 Botoani,
1923. pag. 38.
54. Petru Irimescu, Situaia judetului Botoani pe anul 19'!0, Botoani 1920, pag.
29.
36. Ibidem
55. Ion
37. N. Zaharia, P. Petrescu-Dtmbovia Emilia Zaharia, olJera citat, pag. 165
38. Alex. Punescu, Paul Sadurschi, Vasile

Chirica, Repr rtoriul arheologic al judrtului Botoani, voi. 1, Bucureti 1976,
pag. 39, 44, 47, 50, 58, 68.
39. N. Zaharia
pag. 65.
colaboratorii, opera
citat,
32
www.cimec.ro
opera
citat,
pag. 198.
57. Ibidem
58. Arta popular
cureti 1969, pag. 44.
romllnrasc,
Bu-
59. Florea Bobu Florescu, Evolutia cuptoarelor de ceramic din 111o/dova In

.studii i cercetri de etnografie i
art popular", Bucureti 1965, pag.
160.
40. Ibidem.
loni,
60. Arta populari! romdn~ascll,

Bucuretl1969,
68. Ibidem
pag. 544
lar,
Arta
citat,
Airinel P. Gheorghe, olar

comuna Cristine,u.
Hcrii,
66. Florea Bobu Florescu, opera

pag. 186, 187.
67. Ibidem
5 -
popular
in zona
Bucureti
70. " Arta
63. Florea Bobu Fiorescu, opera

pag. 73.
64. Ibidem
65. Informator
din Fundu
Sltineanu,
69. Barbu
61. Ibidem
citat,
notoanilor
Bucureti
Studii de arid popu1972, pag. 331.
popular
romtln ascif,
1969; pag. 552.
71. Dare de s am asupra strii econ?mice a jud tr lor Botoani, Dorolwi,

S ucrava Botoani, 1906, pag. 262.
72. Ibidem
73. Ibidem
www.cimec.ro
BIBLIOGRAFIE SELECTIV
1.
Bneanu
gova,
2.
Bneanu
ra
3.
Tancred, Cr ramica din Glo1956.
Bucureti,
Oaului,
Tancrcd, C<ramica din

Bucureti, 1958.
Butur
Valrr, Etnogra{ia poporului romn - Olritul, Cluj-Napoca, 1978.
12. Petrescu Paul, .a., Arta populard In

R.P.R., Ctramica, E.S.P.L.A., Bucureti, 1958.
13. Petrescu Paul, .M< li ve d corativ: celebre, Bucureti, 1975.
Maria, M teugul olritu

lui la Bini, In SI ud ii i comunicri
clnografic-istorie,
Caransebc,
1975.
1-1. Pelrovsky
4. Busuioc Elena, C r ramica de uz ccmun

nesmlfuil
din a doua
jumtate
a s<-
co/ulzti al XV-Ira de la Suc1ava, S.C.T.V.

XVIII, 1967.
15.
5. Bucur Corneliu, M i- ugul olritului

ilustrat fn Muzr u/ 1< !micii populare
din Dumbrava Sibiului, In "Cibinium"
1967-1968.
16.
6.
7.
8.
1\lihilescu Liviu, Caraclrristici ale eeramicii din sud-vestul Romniei, In Studii

i comunicri, etnografic-istorie, Caranscbc, 1975.
1\Iozc
Tcrt'Za, Cr ramica
Cria na, O rade a, 1967.
popular
34
Barbu, C ramica (euda/{r.

originile r i, Bucureti,
1958.
17.
Sltincanu
c,
18.
19.
Barbu, C' ram ira romllnras1938.
Bucureti,
Sltineanu
Barbu, I'igurinr de cera"Arta i tehnica grafic", 1939, nr. 7.

mic
din
9. Nicolcscu Corina, Ceramica smlfuil

din srco/ole X-X l' fn lumina ultimrlor
cercetri arlleologicr, S.C.I.A., VI, 1959.
Sltineanu
romn:asc
Dunre
Nicolae, Bielz Iulius, Arta

popular din l"alra Jiului, Cr ramica,
Bucureti, 1963.
Sltincanu Barbu, Contribufii la studiul originii crramicii romllnti, "Convorbiri literare", mai-iunie, 1933.
de
tradiie popular,
Sltineanu
Barbu, Plci de ceramicd

din s<colul al X V 1 II-lea,
Revista istoric romn, nr. 8 (1938).
romneasc
20.
Sltincanu
Barbu, Trei plci de ceradin secolul al X 1' J-1< a, Revista

istoric romn, 5/6, (1935. (1936).
mic
10. Nicolescu Corina, Ce ramica decorativ

in arhitrctura veche romneasc, "Arhitectura in H. P. Romn", 1951.
21.
11. Nicoil'scu Corina, Petrescu Paul, Ceramica romn:asc tradifional, Bucureti, 1974.
22. Zderciuc Silvia, Pastor Mihai, Gheorghe

Mihai, Aezri d~ olari pc valea Oltt(ului,
1n Revista 1\luzcclor, nr, 2. 1969.
www.cimec.ro
Vlduiu
Ion, Etnografia
1973.
romrimasc,
Olritul, Bucureti,
COL BEC
DURULEAG
FUS
FICHE
FILIGENIE
GHlLEAL
can de ceramic, cu gllul foarte Ingust i toart mic folosit

pentru transportat ciorba la cimp.
motiv geometric realizat dintr-un joc de linii curbe.
vas de ceramic, de format tronconic, lucrat cu guri, pentru
scurgerea apei.
ax de transmisie dl' la roata olarului.
lopic de lemn, de form
trapezoidal,
folosit de olari lo
netczirPa pereilor vaselor, In pxterior.
can mic, cu gura larg, plnlrn but ap.
past sul.Jire, obinut prin amestlc din pmlnt alb, rinit i
ap.
GLAZUR
smal
pPntru vase dl' ceramic obinut din oxid de plumb (Pb O)

(Si0 2 ) Cl' se gsete n starl' amorf (nisip).
vas de format tronPonic cu dou tori pc margine avind, o capr.
citate de 10-15 1.
fost cartier al olarilor din Botoani
oxld al plumbului, obinut prin topirea i lnclzirea mctalului
In al'r, ntrebuinat la ceramic.
vas de ceramic, de form tronconic, nesmluit, utilizat la
pisarca macului.
motive decorative lntllnite pc ceramic din zon, realizate din
combinaie de buline.
oal de lapte, din ceramic cu buz lngust, git alungil i gura
i cuar
HRGU
HRBRIE
LITARG
MARCOTE
OCHELARI
PUIOR
larg.
PIPCA
RAVAR
RO !RE
RGLIE
TRAIF
TALGER
APCANI
USNA
UNCHI
VERENlC
denumire local indicind toarta vasdor de ceramic.

vas mare de ceramic, de format tronconic, avind o capacilatl'
de 15 1. pentru frmlntat coca.
plecarea unor olari dintr-un centru de ceramic In alt localitate pentru a-i practica meseria.
denumire local (tefneti) pentru a indica discul mic al roii
olarului.
motiv geometric Intilnit In ornamentica ceramicei din zon!l,
realizat dintr-o linie In zig-zag, suprapus pe un registru de
linii paralele.
vas de ceramic de format tronconic (castron) cu buza dreapt
i fund Ingust.
cni pentru vin, din ceramic, cu gitul mic i foarte ingust, cu
o capacitate de 3-5 litri.
gura larg a oalei de lapte.
baza lngust a oalei de lapte.
denumire local (Hudcti) pentru a indica discul mic al roii
olarului.
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1
AREA OF
BOTOANI
HISTORICAL SURVEY
From a geographical point of view thP arPa of Botoani is situated in the deprPssion fields
of the middle part of the river Prut. In its northern part known undPr the name of the depression of
upper Jijia it is bordered by the plateau of Suceava, and to the north by a part of the same plateau
which arches along the river Prut up to the limits of Horodiste 1 To the east part it is lirnited by
the river Prut, and to thP south by a line of wooded hills bPtween Copalau and Cazancea enclosing
the geographical frame of the area which may be considercd as a region with a silvo-steppe aspect
of a hilly northern relief with heights not exceeding 200 m altitude, with high plaleaus on the left
side of the river Siret with hights of owr 300 m, and with northern extensions of the height Dealu
Mare with a maximum altitude of 593 m to the south \vesP.
The lower and plane smfaces along the river Siret namcd' the saddle of Bucecea' offered from
early tirr.es good conditions for human Eettlements, and played the role of agate for the traffic from
the rnountair_s to the valley regions 3
After archc:eological investigations traces of human inhabitation sir:.ce inferiour palaeclithic
until feudal period were discowred.
The constant inhabitation of the territory betwePn the two riwrs Siret ard Prut is reasoned
by the good conditions for hurn~m life offered by the relief with lcw 1erraceE, \\aters and luss woods
(this being a steppe and silvo-ftepr.e region).
Thus the palaeolithic is evidenced by the reminiscPnccs of fauna in Darabani, ~litoc, Ghireni,
Dorohoi and Flrr,1nzi, by man:moth cor11plcxrs silex tools, "workshops" d silex proces~ing in Ripiceni, etc.
Ceran:ics, cult tcols and objects di~cowred in Trwc~ti, DragusPni, Corlateni, Hane~ti, etc.
marked 1he neolithic on this area, remarking the intensity of tie iEhabit<,.tion on this territory.
In Dragm:eni, Horlaceni, Crasnaleuca, etc., the culture of Cucuteni is \Yell IeprPfCJiied by rich and
various material relics bringing into cvidence a developPd hauseholding spirit aud a superiour understandiJ~g of deconltiYe art.'. The numerous discoYeriPs telonging to the Bronze A1-,e (tools, ceramics
and other materialE.), in B10scauti, Stefneti, l\li01crni and lli~eni, lelonging to the comn;une Santa
Mare, are documer,ts for the process of the formation of proto-Thradan tribef. On aln~ost 100 archaeologic sites among whieh me the earhen cities of tefneti, Dersca, Cotu-Copalau are testimonies
w hich illustrate the peiiod cf Thraco-Gr.etic civilizati an of the first Iron Age.
tefneti,
The surroundings of thP eity of Botoani ar!' 1ich in ma1erials belonging to the 1' 1 century
b.C. and I' 1 century of onr era (Siiueesli, Catamareti, Haehii, etc.) and to the Carpic period, rorresponding to the Roman province of Dacia (Cucorari, Botoani, Ipoteti, Slaucem).
37
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and nccroples in Sir.tana de Mure among which we remind Dealul

Nichiteni, Haneti, 1\'iorcani illustrate archaeologically and anthropologically a Dacian- Romc:r. population wtdch, after the withdrawal cf the Empire devcloped on the terribJry of Dacia.
Tte emthen fo1ticalions in the /th to 1 lth centuries frcm Fundu-He1\ii, Baranca, Dersca,
endriceni, Tudora prove the audacious struggle of Romanians against the !ater wave of migratory
reoples. In com~ectirn with the cld roads which offered the passagc from tl1e north regions of Europe
to the 1\Iediterrr.nean areaf, as well a~ those which connected the Western world with the Eastern
places the beginings of the town of Botoani is placed at the middle of 15th century (143~) 6 Recent
investigations confi!rred this orilon by the discoYery in Hudum near Boto:;.ani of numerous manufactured products of urban oli!:,in. In the centwies which follc.wed Romanian merchants and foreigners passed on the old ways as it is proved by the discovered objects and coins, as well as the documents
by which numerous commercial privilegcs were ~:inn to the merchants from Poland, Bistria and
Braov. In such a docurr.entG the town of Dorohoi w:.;s n:entior.ed for the first time (1407) a place
where the custorr.s was paid the commerce with Poland dllling lhe reign of Alexandcr the Good.
There are many documents testifying numerous villages in this area 7
The 19th century marked a new stage in the development of the villages. Quietness and
safety, intensified agricultura! activity, the improven:ent of peasants'situation, a begining of industii al developrr.ent led to the appearance of small towns and the development of the exisling ones.
These facts detenrined an impul~e to the settlements and their increase in number 8
The main activities of the inhabitants of the area of Botoani were agriculture and breeding animals partly due to the existing good conditions of this region. There is evidence that since
the neolithic the inhabitants of this 1egion primitively grew plants and bred animals.
Numerous
~ettlerrents
Crrr.idriei, Botor.ni,
38
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FOLK CERAMICS IN
BOTOANI
AREA
A trade with a long tradition in Botoani area, the art of pottery may be followed in time
beginning with the r.eolilhic-an era brilliantly repre~ented by inhabi1ed places like Trueti 9 , Dr
guenP0 Corlater.i, !bneti, Haneti, Ghireni, Tcdireni a.o. wlwre the splendid ceramics of Cucuteni
type was discovered. Represented in ali its stages of developrr.ent, with distinct characteristics, the
Cucutenean ceran ies diEcowred in Botoani are a constitutes a st::rting roint in the research of the
art of poltery in this part of the country. We could also rr.ention even the existence of a pre-Cucutenean11 culture repre~ented here in some human settlements among which we mention Belcea (Leorda)13 and Cucorani 13 with ceramic pieces of various shapes where the vases with bulging bodies
and the big ones with a short neck, the Iids, legged or unlegged plates, the bowls 14 (made of high
quality paste with thin walls) decorated with imprinls combined with grooves, incisions and practica! app!yings predominate.
The Cucutencan pottery, being made of refined paste, allowrd the achievement of vases with
thin and smooth walls, with shapes of a remarkable variety of which we mention: vases for cult,
binoculars, legged fruit trays, vases with lids, plates and large containers for victuals. Some of them
also appear nowadays.
Their ornaments which are based on the use of three colours (white, black and red) in different
variants and with various mo1ins especially the spiral line proYe an unequalled craftsmanship.
The trade of the art of pottery can be traced unintenuptedly in ali the other epochs that
followed. The period of transition from the neolithic to the epoch of hronze when there occurs the
first great diYision of labour is attested at Horoditea, (Paltinis), Cucorani, Hanesti and IbnetP 5
The eroch of bronze and especially its last pha~e helonging 1o "Noua" eul ture is attested at
CorlatenP", Ctmreti, Dorohoi, Ghireni, and Vlasineli 17
Trueti,
The ceramic pieces discovered at TruetP 8 maintain among the aboYe mentioned shapes
the plate with str:1ight margins or Elightly curved to interiour with sloping grcows on the margins
or parallel horizontal lines and the cup with faced rims decorated on the curved shape with sloping
f aces.
The ceramic pieces discoYered in the oet11ement of "ashery" (place containing ashes) type
from Trueti and that from Corb,testi show some tradititonal elements from the epoch of bronze 19
(6
111
For the epoch of iron, the diggings canied out on the Thracc-G::etic complex in Stincesli
and 3'tJ centuJies B.C.) 20 lnought traditional HaiiEtattean native ceramic pieces- vases with
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39
shapes mentioned previously (plaies, bowls, contaii.ers for victuals) handmade el a rough paste
(mixed with \'aricus pounded rerridscences) of bn.w;_ colour. The second iron epoch, La Tene (450
B.C. to 1' 1 century A.C.) is- as it is already known - a floweJiEhing period of Gaeto-Dacian culture,
and it was the tirr:e wl.cn the Dacian slave state was founde~.
Traces of Dacirn life during the reriod corresponding to the province of Dacia (2n" and 3''
our era) have leen attested at Cucorani, Stinceti, Botoani, Dingeni, tefneti 21
The ceramic pieces diEcovered at Cucmani, Medeleni which fali into the two categories charactedstic for the Gr.etoD8cian culture are conclusi\e: rudimentary rieces for common use handmade
on 1he wheel and refii ed cerarr ies (handmade or on the potter's wheel) 22 The brownblack colour
that had been w:ed by Dacians is maintained until nowadays.
Out of the category of the rudimentary ceramics, charac1erized by a raw paste mixed with
pounded fragments of dark brown colour and with rough surface there have been found various
shapes represented by bowls of vmious forms, with almost vel1ical walls or curved walls with cut
bases orned with girdles incised Iir.es or buttons as \vell as plates with rims curved toward interiour11
The second category of vafes worked with fine paste, brown, is represented by pots with
a rich body, high neck, with or without handles and plates with large rims and fruit trays with legs.
Ali these pieces of pottery have the exterior surfaces polished of brown grey colour 2 c.
For U.e 2n!l and 3'1l centuries o.e., a r-eriod corresponding to the provin ce of Dacia, the archacologic diggings from Banesti, LiYeni, Lunea and tefneti produced brown ceramic pieces of fine
paste and modelled on the wheel in a smaller proportion than the ceramic made of gross paste. These
pieces maintain the characteristics of Tene ceramics and also some imported elements and some
Roman influences. The most frequent pieces are plates and pots.
Speaking about the art of pottery for the Dacian period one can say; "Within Dacian culture
of the 2n11 and 3'!l centuries o. e., besides the production of the pottery documented by vases worked
on the wheel with a superior technique, it is met a household production represented by rough handmade vases. The large quantity cf handmade va~es found on the Dacian territory (the 2n11 and 3'11
centuries o.e.) shows that the household production of pottery played at that time an important
role in the household econcmy. In contrast with the above mentioned pottery, the one found at
Sintana on Mure is handmade and compri~es vases of various shapes worked in a very careful
manner which points to a high degree of specialization of the respective artisans. Numerous pottery
kilns discovered prow tl:e presence of artisans in most of the inhabited places - possible in each
of them. It is also possible that the largest part of the products were sold by the inhabitants among
themselves in those very places. One cannot admit a "production for only local necessities" 26
For a next ~tage, i.e. the end of the 3'd -4 111 century o.e. the discoveries from Albeti, Pogorasti, Corlateni, Stinceti etc. 26 identified malerial traces of the eul ture Sintana on Mure-Cerniahov.
The ceramic worked on wheel of gross pasate or of fine one, polished and brown in colour
discovered in Trueli and Ionaeni 27 comprised a large variety of shapes: cups, plates, dishes, pots
which are very similar with certain Dacian vases. The ornaments on these vases based especially
on straight Ii nes, or in ziggzagg, waved etc, vegetal motiYes (firtrees, leaws) or geometric ones
(rosette with combinations of dots)2 8
The period of 6 111 and u111 centuries - a period of the completion of the process of Romanian
people's formation is well represented on Botoani area. The continuity of existence of the abori-
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ginal element and the cultural contacts between this one and the aboriginal elements in the
period of Romanian people's formation are brought into relief by the archaeological discoveries of
Lozna-Dorohoi 20
The ceramics of Slavian origin discovered here (the end of 7'" and the beginning of the 8 111
century) is handamade and the native one worked on the wheel are eviciences for the as~ertions
made abow. The second category - the ceramic pieces modelled on the wheel - is represented by vases of bowl type with raised rims, straightly bowed, with prominent shoulders aud swallen body. Their ornaments are formed by horizontal strips of straight or waved sty lised li nes
which alternate on the whole surface of the va[e3.
The period of the completion of Romanian people's formation on the territory under inves
tigation may be followed by 1:tudying the findings of the archaeological diggings from Horoditea
and Fundu-Hertii (Commune of Cristineti) 31 where were found two categories of ceramic pieces :
handmade pieces and pieces worked on the wheel at slow and medium speed of rotation. The handamade pieces are made of gross paste mixed with bounded glass. They are mainly bowh
and dishes orned with cells and notches. The pieces worked on the wheel consist of three groups
divided according to their technical peculiarities and is represented only by bowls 32 decorated with
incised strips horizontal or waved. According to their characteristics of shape, technique and decoration the ceramic pieces in these places l:elong to two phases; 8 111 - 9111 centuries and 9 111 -10 111
centuries, respectivcly. The early phase is ck.racterized by the predominance of the handmade
ceramics and the latter one by the ceramic ~ieces worked on the wheel. To this latter phase the
brown polished pieces belong33 The evolution of the local civilization may be followed on the hasis
of the ceramic reminiscenccs discovered at Hudum-Botcani, consisting of materials found in the
12 111 , 13 111 and 14 111 centuries" 4 aud the fir~t half of the 15 111 century. The ceramic fragments discovered here come from vaEes of medium size especially bowls of brown paste worked on the wheel
at medium speed of rotation, being analogous with ceramic pieces in other towns and vilages in the
last decades of the 14'" century 35 and the beginning of the 15 111 century. ln a reduced proportion
there were found vaEes wo1ked on the wheel by oxidizing culour of archdc nature 85
For the 15 111 and 17 1" centuries, that is the intermediay phme of the dewlopcd feudalism
no archaeological diggings have been performed. As a consequence of some soundings lhere have
been made some discoveries Cot this period, too 37 These discoveries have been cowpleted after
investigations carried oul for the archaeological repertoire of the county of Botoani 38 with new
sites (Brieti, Conceti, Cristeti, Albeti, Baluseni, Botoani, etc).
The discovered rural ceramic pieces of brown and dark red colour of the 15 111 and 16 111 centuries
have some common features with urban pieces. Besides this ceramics it was discovered another
species of fine urban ceramics and some rerniniscenees of tiles 39
There were also found fragrnents of pots with slightly enlarged rirns as well as fragments
of dishes and trays. The decoration is fOI rned of deepened horizontal strips, standard rnotiws on
the shoulders of the va~es. It is a time when the number of the pottery centres in the rural milieu
is highly increased.
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in zona
Botoanilor
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For the 16 1" and 17 1" centuries the rural pottery art is disronred in some places with remini~
cences of ceramics of urban or Ottoman origin and fr:1gments of tiles or decorative plates 40 (Breti,
Cristeti, Durneti, Ghireni, Hneti, etc). Here there we1e discovered fragmer t.s of 1.ds, jugs,
dishes, trays, pans and lids made of brown-reddish paste decorc.ted with waved ar straight stripes
and imprints applied with a notched ring, green, yellow or white enamel.
The later phase of feudalism is well known by numerous discoveries 41 There have been
found both ceramic reminiscences of rural character and urban or imported ones. The general aspect
of these vases is similar with the present vm;es.
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III
FOLK POTTERY IN BOTOANI AREA in 19th CENTURY
The investigation of the ceramies in various epcchs of history rroved not only the oldness
of pottery art on the territory of the area ur.der inve~tig~,tion but also the continuity of certain
shapes and decorative elements until nowadays. The developn~ent of the J.JOtlery art supposes the
existence of the raw material, it implies a continuous improvement of the manner of producing
the pieces, in order to secure a surplus meant for the ma1ket change. For the area of Botoani one
can recall some other facto1s 'vhich rontributed to the dewlopment of this art- the scarcity of
gocd agricultura! land in so1r.e pai ts of the are a (Rade ni, Poiana, etc). as well as the existence
of fair posribilities secmed hy a netwnrk of orgaPized market in small towns. These factors determined the settlerr.ent of PUBH'rous rentres of pottery artisans in the Hl 111 century. At the same
time it could reach more rapidly a phase of induslrialization of ceramic production than in some
other parts of the rountry hy the foundation of many "pottery mills" mentioned in various written
documents in the 19 111 cent ury. Thus, in th "Geographic Dictionary of the County of Botoani"
it is mentioned the exislence in this county of 16 pottery mills in 1891 42 without mentioning the
places were they could be found but it is given the number of 22 pottery arti~ans in the town of
Botoani 43 , and it is alw said that in the rommune Poiana Lunga (today Vorona) "a part of the
inhaUtants are occupied with agriculture, and another part with pollery making which is well developed here" 44 Further on in this Diclionary are mentioned the villages of Radeni (Commune Frumuica), Unsa (Frumuica today) and Poiana (in lhe county of Iai) in which a part of the inhabitants de alt with pottery making. Besic'es the~e centres, in the 1S111 century on the are a of Botoani
there were some others which are not mentioned in the docUIEents. Among them we ren1ind those
in 1\Iihileni, trfneti, Sulia, Fundu-Herei (comrnune CJistr,eti) Smardan (corn. Suharau),
Lina (corn Suharau), Piriu Negru (rom. l\Iihileni); Tudora, Darabani, \'Ideni (corn. Frumuica),
Hudeti, Hdui Prut.
1n some of these centres the production of ceramics developcd into a local industry, the artisans being concentrated into workshops changed gradually into mills as it was lhe case of the pottery rrills in Mihaileni, Botoani and tefneti.
The industrial phase of pottery making marked the beginning of a period of decay of ceramics both as regards the continuity of the traditional elements and the artistic value of such products. Of the above mentioned centres, today only eight are still active -Mihileni, Botoani, te
fneti, F1umuica, Sulia, Hudeti, Lina- and Fundu-Herei.
MIHILENI. The fair-town of 1\!ihileni which played the most important role among ali the
centres of ceramics in the are a of Botoani has got a long tradition of this art. Having much raw material
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43
a available (clay of !{ood quality) and a market already secured (l\lihaileni had hreu a fairsince 1702)
there were thus conditions for the cewlopmrnt of pottery making.
1n this way it is explaii:ed U.e fact that this centre concentr ated the largrst number of artisans du ring the l\) 1h century (about 100 -150). The potlers of Mihilrni produced both black ceramics and especially red enameled and simple ceramics well known for its qualities. (PI 1). The~e
potters Worked indiYidually untiJ lhe end of tJ:e 1Vh century when a number of them \Ve re organized
into workshops with three to ten workers. (Pl. 2).
1n 1913 there were sewn work~hops like that -- the workshop of Iosif Visinevschi
with 4 workers, of Franz Vifinevcchi with 4 workers, of Itcu Braier with 10 workers, of Strul
Reghenstraif with G workers, of Ion Manole wilh 3 workers and that of Iorgu Solinschi with 3 workersn.
The large number of pGtters a1. well as the other factors mentioned above Ied to the foundation in l\Jihileni cf a ceramic miii in 1921. This miii coucentrated rotters from l\Jihileni, PruNegru (a village telonging to the commune l\Iihileni), Hdui-Prut and even from Crrnauti. In
this factory il was m:ed only U:e hand working un tii 1934 when it was endowed with modern equiprnents for moulding the c!ay, various rr:otors etc. The clay was stil! worked in the usual manner it was wet, moulded, cleaned and chanred ir.to a paste and then modelled on the wheel into various
vases (dishes, pots, vases, cups, etc). N ot ali the poUers from Mihileni were at the same time workers for that factory. There were many workshops that produced rottery in parallel and some
others appeared aflerwards. 1n 1921 the Prefect of Dorohoi mentioned the existence in l\Iihileni
of eighl pottery mills 46 meaning by these the worhhops.
The number of the potters from Mihileni increased after tl;e first world war. n 1P38 there
were here 11 small workshops among which some mentioned above and the others founded on the
way. The~e workEhops belonged to Ion Ungureanu, Ilie HortoraP, Vasile 1\Ianole, Franz Visinevschi,
Iorgu Solir;schi, Strul Reghenstreif, Ion Manole, Toader Solinschi, Mihai Solinschi, l\Iihai
Petroiu and Ion Ibreciuc 47
The number of individual potters which existcd always in parallel with the small workshops
and the miii Lrgan decreasing :::fter the second world war ~s tt:e potters could not stand the competition of industrial production. Gradually the potters gave up their individual workshops and went
as workers into the factory. Today in l\1ihiled there is no indh-idual potter aii being integrated
111 the factory "Granitul" which produces ceramics which maintain only partially the traditional
shapes. (Pl. 3, 4).
From this powerful pottery centre there went many potters du ring the 1\/h and 20teth centuries to other Yillages cf this area as well as other parts of Moldavia (Roman).
Many potters established themEelws in Botoar.i being attracted here by the existence of
a good clay in the very outski1ts of the town ('feasc barrier), by the near forests and by the possibi!ity to seii their geeds in advantageous conditions' 8 in the Towu's market or at the weekly Fair.
These potters formed a potters' district of the town known under the name "1-lirbaria" (Potsherd)
ln 1891, in the "Archaeologic Dictionary of the County of Bdoani" there were mentioned
the names of 22 potters who lived in thi~ town .. In Botoani it was produced both black ceramics
(until about Hl20) and red ceramics. BeEides Mihileni, the town of Botoani was one of the most
powe1ful pottery centres of the area with an ancient tradition 4 ". (Pl. 5).
Here the pottery art dewloJ=ed continuously reaching in the end a phase of industrialization
marked in Hl06 by a large workshop with eight kilns and 15 wheels for modelling the pottery.
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There were 25 worker~. 'J he ~:cale of the products was varied - pots, dishes, cups, jugs, rontainers
for \'ietuals, bowls \\ilh a production of about 800000 piecesperyear worth 400001ei at thevalue
of the time. The pieces were sold in Bacu, Roman, Brila, Vaslui, Iai Podu-Jioaieiu. In
parallel with this large shop therr were small workshops run by indiYidual potters together with Lhe
membres of lheir familirs. They were Dumitru Pomarleanu, Mihai Vasiliu, Anton Lupacu, N.
Lcghin, Gheorghe Vizitiu, Ilie Vizitiu, Vasile Buterchi a.o. 51
The number of the potters remains somewhat constant in the following years, thus in 1915
there were eight workfl10ps 52 including the large workshop of Ostfeld Wittal Steinberg. Among
them in Hl15 there were only some existent in Hl06, for example, the workshops of Mihai Vasiliu
(4, Crinilor street), Dumitru Pomarleanu (73, St. Neculai street), Anton Lupacu (1, Furtuna street)
Thcre also appeared some othcrs likc those of Adolf Polak (23 Liceum street) Adam Sandric (52,
Lahovari street), Josub Olariu (54, Lahovari street), Anton Bratfeld (260, Calea National street).
Gradually, as the clay pottery were less used the ceramic industry oriented itself to some
olher products such as - brirks, used in urban buildings ,terra-cotta, for the stoves in urban rooms.
As early as 1!J15 there were lwo workshops whirh produced terra-cotta besides pottery.
In a document on the county of Boloani in 1!J22-1923, the Prefect of the county mentioned the exislence of 33 workshops for pottery, bricks aud lerra-cotta 53
Due to certain special conditions - among which we mention the competition between the
large ceramics workshops - at the beginning of the second half of the 20 1m1 century, the
individual potters gradually giYe up practicing this art. The pottery art starts thus
decaying in the town of Botoani also due to the fact that the ceramic pieces are no longer solicited by the market. The numbcr of the potters decreases, some change their jobs, others will
be inlegrated in the cooperative "Progresul" (the Progress) which has a workshop producing
ceramic pottery and terra-cotta. (Pl. 6).
Nowadays in the town of Bot0ani there is no longer any individual potter.
TEFNETI Another traditional centre of pottery making is that in tefneti. This
o ne concentrate el in the 1~p century a large number of potters who haei much good clay available
on the plain in front of the locality anei the opportunity to sell their goods, tefneti being a Fau
with a weekly market.
These factors led also in this place like in the other centres menlioned above to the settlement of an industry which concentrated a part of the local potters, as employed by Pincu Rivinsohn, who in 1915 owned a pottery mill - a fact mentioned in a document of the Prefect of Botoani64.
Here it was produced both black ceramics and red ceramics. This miii had almost 40 workers.
Gradually their numbcr decreased, many of then getting more profitable jobs. Today, in tefneti
there remained only onc potter, Petcovschi Gh. Constantin aged 58 who knows the job from his
father and his grandfather. (Pl. 7, 8).
SULIA. According to the information gathered in Sulia there were potters starting with
1900. One cannot say it was a powerful pottery centre as there were one or two potters in the
co urse of time. For example after 1900 it was only Gheorghe Cantoreanu un tii 1940. After him
Constantin Petroschi carne from Mihileani, a potter still working nowadays. Today they work
only red ceramics. (Pl. 9).
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FRU:MUICA. Frumuica is an old ceramic centre in whose pieces one feels thc influence
of the centre of Botoani. They worked only rcd enameled and unenameled ceramics. Today there
is only one polter, Pomrleanu Constantin who learned this art from his father, Pomrleanu
Dumitru from Botoani. (Pl. 10).
HUDETI Another potlery centre is Hudeti in whose production one can feei the influence
of the centre of 1\Iihilcni. In Hudeti there heYe been one to three potters starting with 1900. Here
thcy produced and still produce both black and red ceramics. Today, here there is only one potter,
Grigore V. Cramaniuc established here since 1937. He learned this art from his father. He worked '
for a while in the workshop of Spiridon Vasilovschi together with two other apprentices after which
he built his own workshop in 1945. He bas a workshop with trec kilns. (Pl. 11, 12).
FUNDU-HERII In Fundu-Herii (corn. Cristeti) it is only Airinei S. Gheorghe who w1 rks
pottery ; he learned his art in Darabani and works only black ceramics. (Pl. 13).
LINA. In the village of Lina, in 1945 lhe potter Camic l\Iihai settled; he is now 76
years old and he still works black and red unemeled ceramics. (Pl. 14).
Disappeared centres
Among the above mentioned ceramic centres some disapp('ared. l\Iany centres fuch Corni.
Tudora, Chiscovata, (Today corn. Vorona), Rdeni (corn. Frumuica), Vldeni (corn,
Frurriuica), Rdui-Prut, Smrdan, Darabani, etc. are inactive due to severa! motives among
wich the fact that starting with the first half of the 20 1cth century, many of the potters of the a rea
could hardly stand the competition of the factory products which appeared on the market.
On the other hand starting with the same period, the products of ceramic are no longer
solicited in the market but at a lesser extent and thus the art of pottery starts being nonprofitable. The potters oriented themselves to other professions. With time the young people engaged
themselves in a smaller number to be trained for the pottery making profession so that many
centre extinguishcd by being either diserted by potters or their own disappearance. (Smrdan, Curni
Cotu-Rui, Cristineti, etc).
This process lasted for seve rai years starting with the second half of the 19 1" century (Corni,
Cotu- Rui, Cristineti, Tudora) continuing with the first half of the 20 1 111 century, when o ne can
mentio n the centres of Chiscovata (today corn. Vorona), Protopopeni (corn. Poiana), Vldeni (corn.
Frumuica) and Rdeni.
Among the centres that recently became inactive one can mention the ones of Darabani,
Rdui-Prut, Pru-Negru and Smrdan.
In the above mentioned centres they worked both red and blaei~ ceramics except those
of Pru-Negru and Smrdan wher they produced only black pottery.
Cotu-Rui,
Raw materials
The somewhat uniform spreading of the centres of pottery making on the whole arca points
oul accurately the cxistence of the raw material of a good quality. The clay for the pots must
have some qualities : to have in its composition certain necessary elements which are able to
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secure the possibility of vases making. Thus the hules in the clay for the pots consist in many layers rich in silicon, alurr.ir.ium oxide ar.d some oxiC:es of severa! chemical elements among \\hich
there are the feric and ferous oxides. This thing is confirmed by the potte1s themselves who r-Lint
out son'te differences between the quality of the clays in various places. There is usually clay of two
main qualities, dark blue to blue, fat, greasy, impermeable, and a clay of a yellow colour less impermeable. The dark-blue clay contains a higher percentage of iron in contrast with the yellow clay, the dark blue clay being far better for the unenameled red and black pots, and the yellow
one is good for the enameled pots. In this area these two qualities of the clay were found usually in ali pottery centres.
ln a table containing the names of ali the potters of this area - a table sketched in Hll5
-among other things it is indicated the rlace where they would take out the clay for their pols.
Comparing the situation in thco~;e times with today 's situation, one can easily see that today the clay good for pots is extracted from the same places as in old times. This means that
the exploitation of ~ome layers "seams'' of elay good for pottery lasted many times years and
years until their exhau~t.ion.
Thus it is also today that the potters of Botosani take the clay from the neighbourhood of
the town, from the place called "Teasc Banier" rr.entioned in the above rr.entioned table.
The Potters of Poiana - Commune Radeni (today in the county of Iasi) took the clay especially good for black ceramic from a place narr.ed "Beyond the Vidard" ("Dupa via"). Today Poiana stil! remained a powerful centre of potters who produce black ceramics which maintain unaltered traditional shapes. The raw material is taken frcm the place menticned in 1915.
In Frumusira the clay good for pottery may be found in the plain before entering the
village. The same is in Stefanesti, and in Sulita it is taken from the east limit of the village. In
Fundu-Hertii and Hudesti the clay for pottery may be found in the same plain of the village. The
p~tters from Mihaileni take the raw .naterial irom a place named "La Humarie" (At the clay-place).
Tools
In the process of making pottery they use severa! tools which may be four.d in ali the work
shops of this area :
the wooden hammer for moulding the clay made dof beech wood. (Fig. 1).
- the long knife for cutting the clay to be cleane (Fig. 2).
- the potter's wheel consisting of a large and a narrow wheel joined together by means
of an ax1s named "spindle". In the area of Botosani the narrow wheel is also named "ragalia"
(in Stefanesti) and "veresnic" (in Hudesti) and the large wheel is also named "talpa" (Hudesti
and Paltinis). (Fig. 3).
- "fichesul" is a triangular small spade made of wood used to smooth the vases during
their proceeding. (Fig. 4).
"Sirma" (the wire) used to disjoint the pot freshly worked.
"Hirbul" - a bucket for water. (Fig. 5).
"Lavitza" - the table used to mould the clay. (Fig. 6).
"Risnitza" - used to ground the colours for ornaments it is formed of a wooden support
("butuc") in which there is a hole for two miii stones. (Fig. 7.)
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On the support in the potter's workshop there are also: a brush made of pig hairs, the horn
used for the ornaments, small and large spoons used to pour the colours and paints. (Fig. 8, 11).
In the are~ of Botoani like on the whole territory of our country the proceeding of the
clay has the same phases.
The clay is deposited in holes or basins specially dug out with various dimensions where the
clay is wetted and left lo get the composition of a paste for severa) days 2 days (in Fundu-Herii,
Rdeni) 3-4 days (in lludeti, Mihileni), 4-5 \Veeks according to the quality and the composition of the respective clay. When the clay gets the consistency of a dough it is taken out of
the basin and spread on a board platform where it is trodden upon by the potter in order to get
well mixed and homogenons (sometimes for this action they used the wooden hammer).
After this stage the clay is gathered under the shape of moulds of various sizes and thcn
the impurities are removerl with the long knife. This tool under the form of a long blade was in
earlier times of the stcel taken from the peasant's 1.cythe and prepared by the iron smiths of the
villages and today it may be bought from any iron shop. Out of the clay prepared in this manner
the potter takes the mould and tempers it on the bench which is in fact the long table in his
workshop with the back of his palm~. It is then divided into other moulds which are small or large
according to thc pot to be roade on the wheel.
THE \\'HEEL The technique of modelling the pots consists of some steps. First of ali the
mould is stuck to the center of the large disc of the pottcr's wheel, and with his right foot he
rotates the whole system of the wheel. The rotation is contrary to the rotation of lhe hans of a
clock. With the thumb of the right hand the potter makes a hole in the middle of the mould.
The hole is gradually enlarged by pressing the finger to the exterior of it.
As lhe wheel rotates the potter gives the shape of the pot hy extending the clay with his
both palms and the walls of the pot get thinner and thinner gradually. The circular movement
of the pot gives an equal roundness to it. (Pl. 15).
The potler's hand contributes to shape the shoulders of the pot, and to achieve ali its other
parts during the continuous rotation of the wheel. When the pot is already shaped its outer walls
are smoothed with the "fiches". The last step is when the handle is attached to the pot. (Pl. 16).
The dishes and the trays need a reduced modelling operation in comparison with thc pots;
and high vases (jugs, bowls and other containers for victuals).
When the pot is ready it is disjoined from the disc with the help of the wire and carefully placed
on wooden shelves to get dried (in winter they are dried inside the workshop and in summer they
are placed outdde in shade).
DRYING AND BURNING OF CERAMICS. For a good drying it is necessary a constant
temperature of about 25-30C. The drying lasts for 3-4 weeks in winter and 4-5 days in summer
arcording to the quality of the clay.
When they are dried, the pots are burnt in special kilns. While the process of moulding,
shaping and drying are tl.e same for the black and red ceramics, the process of burning is different,
For red r-ots, the vases (especially rr.eant for keeping milk and some jugs) are today no Ionger placed into the kiln wl ere the small pots are put in the rr.iddle and the large ones are on the
side of it.
In burning the pots the fire is made wit.h wood of soft essence (poplar, willow, fir) which
gives strong flames named" large and clean" by the Romanian potters. After burning for about
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ten hours ata temperature of 700-SOOoC the pots are left in the kiln to cool and then are taken
out. The red colour of this cC'rarnics is ohtained under the flanws wilh a stream of air the kiln having its door open. The air strearn oxidises the iron content in the clay. The gas produced by
the wood fire is rapidly evacuated and the iron salls and oxides are reduced to ferous oxide. This
is the so caiJed oxizing burning which is different from the reducing burning used for the black
ceramics.
The enamelled pots is twice burnt; once for burning the colour and the body of the pot and
the second time for burning the enamel.
When the pots are dried they are painted with kaolin "ghileala" - as it is called by potters
- which is a white porcelain earth brought from l\Iiercurea Ciuc for Botoani and from Sinicolaul
Mare for tefneti. This earth is well grounded and mixed with water until il is obtained a thin
paste like rnilk. Sometimes the pot is introduced into a large container with "ghileala" aud other
times it is poured over the pot.
Upon the kaolin the pot is decorated with various geometric or flora! ornaments both inside and outside of it. These ornaments were made in old times with colours obtained from earth
metals or industrial products. The most frequcnt colours WC'rc in the arra of Botoani white, green,
blue, black and red.
The manner of preparing the colours is different according to the tiut and to the available
material. The green colour is prepared in the following way; a piece of red copper (lead oxide)
is introduced into salted water and left there to get stained. Then it is burned at a temperature
of about 1 200C, is taken out and the stain is removed from the metal. This is the essence which
is mixed with kaolin in various proportions (e.g. 100 gr in 1 kgr) aud when grounded for three
or four times it is obtained a solution of green colour.
1
The black colour is alw obtained from metal. A piece of iron sheet was burnt and then
grounded a black colour being thus obtained.
The red colour was obtained from a sort of earth rich in iron and manganese a large proportion of the latter mineral giving a nicer tiut. The earth was burnt and then grounded and mixed
with water (half crude aud half burnt).
The blue colour with cobalt oxide was rather expensiYe and usually importcd from Germany.
That is why it was rare in the ornaments of the ceramics of this area.
The variety of the tints wilhin the same colour were obtained by the mixture with kaolin.
After the first burning the Yases are decorated and painted wi lh enamel - a thin transparent crust obtained from lead oxide named "liarga" or "glazura". This oxide \vas grounded
for two or three times and then mixed with quarz 50% and water. (tefnesti)
The enamel was obtainied from lead (red powder) which was grounded and then mixed
with sand rich in quarz which could be found in Cacica. The proportion were the following - for
15 Kgr of enamel they used 4 kgr of sand. It is grounded in mixture and water is added until
it is obtained a solution like thick milk. The container is rotated while the enamel is poured by
means of a large spoon. The enamel from inside is much thinner than the one used on the exterior walls. (Pl. 17).
.
The enamelled pots were left to get dried after which they were introduced into the kiln
again at a temperature of about 1 000C for app. ten hours. They were left to get .cool and then
taken from the kiln.
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The enamcl on thr pot to be introduced into thc the kiln ~dlwrrs lo the surface of the
pot by melling becoming hard ~nd transparent.
During the burning process in the enamel there occur certain chemical reactions which result
in making the walls of the pot vcry resist~nt. The enamel (the red lead oxide) formed of red square crystals resulted from the lead warmed at temperatures of over 480C obtain an increased hardness of 9 to 27 and it is namC'd "litarga"; it is hardly soluble in water (1/7000) and has a melting
point at 884C.
The burning of the enamel under good conditions must be done at a temperature of over
900 C. In this caE:e the enamel will be shiny. Whenever this temperat ure cannot be reached the
enamel remains opaque.
In Botoani, as an isolatcd proceeding reported by a potter Pomarleanu Dumitru, aged 78,
we encountered the burning of the enamel for two times. The first tirr.e at the temperature of
300-500 for ten hours. The va~es are then taken out from the kiln, are reenamelled and are burnt
for 12 hours ata temperature of 950--lOOoC.
After two burnings the enamel could not be remowd when kept in wet conditions being very
resistant. This procedure is not encountered in the rest of the area for various reasons; it saves
time, material, fuel, etc.
TYPES OF KJLNS. After archaeological diggings in Trueti and Botoani (Gatamarastilor
Hill) there were discovered kilns from the 3"t century o.e. (Sintana on l\Iure culture - Cerneahov) 65
The kiln was formed of two rooms one upon the other; in the lower room the fire was done and in
the upper o ne the pots were burnt. Both of them were joined with clay. Between the fire room
and the burning room there was a grill. It was formed of severa! lines of stuck clay sustained by
some woven wooden sticks (Botoani). At the kiln nr. 1 in Trueti the grill was preserved and
it was formed of natural earth covered with a thick layer of cl~y ; it was supported by a central column and the grill of the kiln nr. 2 \Vas pl~ced against a middle wall 60 (Pl. 18). (Fig 12, 13).
For the case of Botoani kiln the grill was supported by a middle wall 67 Thc same shape
of the grill appears also in this !ace but the supporting system is diffcrent.
According to the ~hape of the kiln and the kind of the hearth the present kilns for ceramics
In the arca of Botoani are divided into two categories68 ;
- 1. kilns in the share of a truncated cone,
- 2. semi-spheroid-ovoid kilns.
The kilns in the shape of a truncated cone are divided into kilns without a well organized
hearth; to this category there belong the following kilns - the ground-hole to burn clay vase used
for black ceramic" pieces (this sort of kiln is also encountered in some other south-east parts of
Europe 69 ). It is a ground-hole dug out in the earth 1.50 deep with a diameter at the base of 2.50
and 1 m at its mouth. It has ony one fireplace (50 x 40 cm) made in the groove. It is the most
simple sort of a kiln. In Botoani arca we encountered it only in tefneti. (Pl. 19, 20). (Fig 14).
The second type of this category is given by the kiln with organized hearth 60 tobe found in
Botoani area in Hudl'ti, Frumuica, Radeni. In Hudeti there is a kiln in the shape of a truncated
cone on the surf ace of the earth with a base diameter of 1.60 m aud 1.10 m at its top. It bas
two lateral mouths; through one the vases are introduced into the kiln (42 x 82 cm) and a fireplace (60 x 40) through which the fuel is introduced. At its top there is a furnace. Inside four
rooms are made of bricks on one side and three on the other. On the lateral sides of the kiln twc
,.trestles" are placed. (Fig. 15).
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In the same category of kilns o ne can also find the so-called "the kiln with horses" 61 This
one can be found in Radeni, Frumuica. It consists of a ground-hole 1.50 m deep with a base diameter
of 2 m and the top diametcr of O.f:O m with a hcnrth mcant as a surrort for the arrnngemrnt
of the vases. It is built of bricks and with a path in the middle. (Fig. 16).
The most frequent types of kilns in the investigated area are those in the second category
i.e. the semi-spheroid-ovoid kilns which are divided into kilns with and without furnace, according
to the way in which the smoke is oriented 62
In the area of Botoani we encounter kilns with furnace in Hudeti, Frumuica and without
furnace in Lis!'a, Radaui-Prut, Darab:mi, Fundn-Hertii, Smardan and Sulita. (Pl. 21 a, b).
The semi-spheroid-ovoid kiln without furnace appears as a knoll and it looks very much
like an egg in a cross section 63
Let us see the way they are built. First of ali the place must be prepared on thc surface
of the ground on which the hearth is placed, then the walls are built of the same material. Sometimes
the kiln is partially buried into the ground (Lisna). These ones have as it was mentioned before the
shape of a Iying egg with two lateral mouths - one for fire and one through which the vases are
introduced into the kiln. Ata variable distance (50-60 cm) from the fire mouth a trestie is placed.
The trestie is built of bricks at the front part of the kiln. The hasis of it is made of one and
a half brick and its body is gradually thickencd to two bricks. It usually has two arms formed by
two bdcks stuck with clay. (Fig. 17, 18).
At both sides of the trestie at the fire mouth two paths for the fire are prepared on both
sides along the kiln. When the kilns are with furnace this one is placed in the middle 64 (Fig. 19).
At the kilns in Darabani and Hudesti the arms of the trestie are absent. Which is the role
played by the trestie ? The fire made at the mouth of the kiln gives a warmth that must be distributed as uniformly as possible in the inside of it, without the flames to reach the vases 66
A type of advanced kiln is encountered in the Potters' District of Botosani 66 This one is
very much Iike the kiln with a trestie or with grill and furnace. It is built at the surface and has
two fire-mouths and a furnace. As a distinct part of the kiln found in the area of Botosani is the
wall, the grill with holes and legs named trestie or "stender". The warm air gets inside the kiln throough the grili.By its characteristics it is a kiln with reverberation 67 (Fig. 18). Out of the study of
the kiln sfor ceramics tobe found in Botoani area we can draw the conclusion that these ones
keep in the way they are built some elcments that may be observed at the kilns built in the
epoch of migrations discovered in Trusesti and Dealul Caramidariei (Botosani) 68 which enframe
themselves in the category of the kilns with hearth. (Fig. 20).
Categories and features of the pots

The ceramic pieces in the investigated area are found under a large diversity of shapes based
on their usage. AII of them are used in the household for prescrving, preparing and the transport
of the victuals. In this area they do not us~ to make certain objects meant for decoration of the
houses. Determined by their practica! usage these pieces are divided into; containers for preserving victuals ; vases for the preparation of the food ; vases to serve the food in ; vases for food
transport; vases to keep thc drinks; pots to serve the drinks.
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The category of the pots for keeping victuals consists of - pots named "gavanoase", "chiupuri" and "hargaile" with a large volume (15 --20 kg) and the shape appropiate to the function
they have. Thus, the "gavanos" in which the fat was preserved was smaller than the "chiup" with
an ovoid shape with a large mouth, short neck and the base very narrow.
The "chiup" used for preserving the pickles and sometimes to keep the fats is ovoid in shape
with raised shoulders to which two perpendicular handles are attached which are specific for Moldavian ceramics. This pot gets narrower to the base. The large mouth belongs also to the Moldavian type. (Pl. 22).
Due to the function fulfiled by these pots they are usualy enamelled and without ornaments
(the "chiup" is of a reddish colour and the "gavanos" are usually green and very rarely orned with
flora! motives). (Pl. 23).
"Hargaul" is a cyllindric pot with two lateral handles and it may contain 15 kg. Its shape
has its origin in pre-historical times ("hargaul" being identica) with a ~ot from the Dacian archaeological spot in Tecuci-Poenesti as it is mentioned by FI. V. Florescu in "Ceramica neagr de la Marginea" ESPLA, HJ58. (Pl. 24)
The best represented category of pots is that of the pots used for the preparation of the
food. These pots hm.e almost the same shape as the "ehiup" which is deeply traditional in this
area, maintaining ali the characteristic of such kind of pots, i.e. raised shoulders, large mouth, narrow base et'2. They have only a small handle attached to the lip (margin). This pot is enamelled
both inside and outside and most of the times it lacks any ornaments. (Pl. 25).
The pots for "sarmals" (mixed meat enveloped in cabbage leaves) with ovoid shape with
two small handles and narrow base have the following dimensions - 30 cm high, 15 cm the diameter of the mouth, 1 m the largest diameter. It was ever present in the kitchen of the women and
was used for festivals and other domestic occasions - weddings, etc. (Pl. 26).
"1\Iarcotetul" is another pot that falls in the same category of the pots used for food preparation (usually for grinding the poppy),, "durusleagul" is used for preparing the "coltunasul"
(meat or cheese enveloped in dough), "ravarul" used to prepare the dough and the pots for milk processing.
"Marcotetul" was made only in Mihaileni and Hudesti till some 30-40 years ago. lts
shape is in the form of a truncated cone its margin is straight and the base is smooth with the
following dimentions - 15 cm high, mouth diameter 34 cm and the base diameter is about 15 cm.
(Pl. 27).
They are not enamelled inside, some rough surfaces of the walls inside being kept like this
voluntarily so that the poppy could be better grounded. 1hey are not decorated.
"Durusleagul" is used to prepare the "coltunasul" and has the same shape with the only
distinction that its whole body is perforated so that the water could get through. They are enamelled inside and lack ornaments. The dimensions are exactly Iike the ones of the pot described
above. {Pl. 28).
"Ravarul" me large pots for preparing 1he dough. They .can contain to 15 kg. In the collection of the l\Iuseum of the county of Botoani there is such a "ravar" which was made in 1~03 by
a potter named Pomarleanu Dumitru. It has a shape in the form of a truncated cone with straight
margins and base enamelled inside and it is beautifully orned with vegetal motives. lts dimensions
are-23 em high, mouth diameter 60 cm, base diameter 23 cm. (Pl. 29).
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One of the pots specific for Moldavian ceramics is the milk jug, named also "puior" (chicken)
(pl. 30) which is black or red with the same characteristic narrow base, (with elongated neck and large
mou th -" usna"- to which a "grlici" or "vrana" is att[:ched. HPre another characteristic e!e w.ent arpe ars - the handle named "pipca" according to the volume of the rot. Dimensions - 37 cm high,
15 cm mouth diameter, base diameter about 12 cm. These rots are enamelled and without ornaments. The category of lhe containers for victuals is repre~ented by "bitca". (Fig. 21).
~
This pot was made only by the potters in Mihileni. It was used to transport the "ciorba"
(a characteristic Romanian wup) or "borsh" to the field. It is a sort of a cup with straight wide
base, with a very narrow neck and a small handle. "Ciorba" was poured in and it was plugged with
"mamaliga" (Romanian sort of porridge) and in this way it could be carried long distances. It
was enamelled and without ornaments.
For the preservation of the drinks (wine, water, brandy) "ulciorul" was uscd which is still
produced today. It can contain 15-20 kg with a spheroid characteristic shape, with raised shoulders and a collar round the mouth on which the small handle is attachcd the large neck and the
margin outside and with a very narrow base. Dimensions - 35 cm. high, 45 cm the mouth diameter,
11 cm the base diameter.
These pots were enamelled and beautifully orned. (Pl. 31, 32).
To take th,e wine from the spigot of the barrel cups with wide bases wcre used. Their necks
were small and narrow with small handles ("girlici", "pipca") with a capacity of 3- 5 kg. These
cups were named "tapcani" and were made only in Mihaileni. (Pl. 33).
In the category of the pots used to serve the food there are "strachina" and "tai gerul".
In the shape of a truncated cone with straight margin (" usna"), with a straight base these
pots of the area are characterized by larger dimensions than the pots in other places (Muntenia,
Banat, etc). They have 1he following dimensions - 5-7 cm high, 20 cm the mouth diameter, 8
cm, the base diameter, and the margin was 2 cm. widc. Usually lhey were enamclled and orned
(Pl. 34).
"Castroanele" ("talgere") were of the same shape as the prnious pots described here except
their dimensions which are larger. They were also enamelled and orned. (Pl. 35).
The cup used to drink water is smaller wilh a large mouth as lo ils wholc volume and a
narrow base and a small handle. Its dimensions are - 9 cm. high, moulh. diametcr 9 cm, and
base diarr.eter about 5 cm. These cups were also named "filigeni" in the area of Mihileni. (Pl. 36).
Studying the shapes of the pots made in the arca of Botoani one can poticc the preservation of thc tradition which appears in the ovoid line with high shoulders (in ,,chiup" and olher
pots), wilh narrow upper margines, large mouth and small handlc.
The generally small handle appear in "chiup" in a vertical position a fact lhat constitutes
a characteristic fealure of the traditional Moldavian potlery. The same local character is noticed
in the shape of the plaies, of the "marcotetelor" and "duruslegmilor" that is thc shape of a truncated
cone, the straight base and high margins.
The black ~eramic pieces produced in this arca (pols, cups, plall's, "hirgac") mainlain prehistorical shapessu.
The pots used for cloddy milk of elo~gated ~hape havc analogies 'vith Dacian CeramiCS 70
The variety of the shapes found here is not as rich as in some other areas (Banat, Oltenia, etc).
but there is however a diversity which is enframed in thc typological unily characteristic for Moi-
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dada and may be easily noticed. This diwrsity b more to he seen in Mihileni and Botoani where
in time there were acumulated more categories of pots which are not encountered in the other
parts of the country (Fig. 22). For example the "ravarul" was made only in Botoani and "marcotetul" only in Mihile ni aud it is also here they used to make "filigene" and "bitci".
In the shape and the line of some pots made in this area we di~cover wrr,.e specific features.
This is the case of the plates in the shape of a truncated cone which in old times had a peculiarity worth mentioning, that is the presence of a "small chair" (an interrupted line which usually
gives the habitual line of the plate).
The plate with the "chair" additionally slresses upon the inheritance of a tradilion which
is still to be found in the ceramics of this arca. (Fig. 23).
There can be also noticed differences which appear from a ceramic centre to another. For
example, in Mihaileni they made cups with one leg and in Botosany the cups were without it.
(Fig. 24, 25).

In general, one can say that the shapes of the ceramic pieces from the area under investigalion are adapted to thc funrtion they have to fufil each detail corresponding to certain practica! needs.
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IV
ORNAMENTS
If in the process of pottery makmg the man played the main role, as it was a hard work
which needs both skill and physical power, the women worked the ornaments which require talent
and imagination.
To orn the pots they used tools weli known ali over the country - the horn and the
brush.
The horn is taken from the cattle and it is used as a container ended at ils point with a
goose feather.
The brush is made of some hairs (taken from a calf's tail) and tied at the point of a thin
and small stick.
AHer the pots were painted with "ghileala" they were "angobate'' and Jeft to get dried and
then they started orning therr. The hom and the brush were used both together or separated.
Another technique encountered only in Mihileni was "sgrafitti". For this they used a metal
point (a nail) with which the "angoaba" of the ot was scratched so thal on the background coIour it appeared the motives drown. It secms that this manner was borrowed from Bucovina or
Maramure only by the potters of Mihileni as it has nol been used hy the potters in other areas.
To sprinkle or lo Jet the colour be drained are ways of ornamenting the

to a decorative technique which is ralher new (the 20icth century). (Pl. 37).
pots belonging
The poltery in the area of Botoani is distinguished by a distinct temperate ornament as

compared with the ceramics of other parts of the country (Horezu, Oboga, Negreti-Oa, etc). It
is quiet, well dozed, without excesses, in agrcement with the unitary Moldavian ornaments through
the scale of the rnotives their characteristic and through ils O\Yn way of interpreting them.
A characteristic note of the ceramics of 1\Ioldavia is the white background on which the motiws are drown, each of them having its own personality. (Pl. 38).
In general, in the old ornaments we rneet a varied scale of geometric motives especially based
on straight and waved lines. The winding line is called in local trrms either simple "rolbec" or
douhle "colhec". The zigg-zc>gged line whieh is drown abow some para! lei Iines is known in the area
under the name of "straif" or "wet zigg-zagg". (Pl. 39). (Fig. 26-31).
Besides the line motives there are others under the f01 m of dots. (Fig. 32-33). When they
are arranged under different groups they [orm the motive Ju;own in the area under the name
of "ochelari" (spectacles). (Fig. 34).
The fir-tree frequenily appears in the ornaments of old ceramics being it either alone or
in association with other motives. (Pl. 41) (Fig. 35-36).
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55
Among thc ornamental motives of the old cerarni~s a distinct place was held by the cosmic
ones (the star or the wn), as well as those with a syu:bolic character of which we mention the cross.
They are stylized in a characteri~tic manner for the old Moldavian folk art. (Fig. 37, 38).
In a more recent phase we also find vegetal motives which are naturalistically treated. We
notice among them flowers, fruits (apple, pear) as well as zoomorphous signs (bat's wings) (Pl. 42).
The flowers painted on the pots do not represent a certain specirs although they can be identified
wi th approximation. (Fig. 39-43).
It is frequent we meet a very sucressful combination of the molives - geometrica] (lines
or dots etc). and some newer ones as the wgetal motives are. (Pl. 43). (Fig. 44, 45).
We remark the fact that the zoomorphous motives appear but accidentaly within the ornaments of the investigated arca. As it has bcen mentioned above the manner of letting the coulour
drain or to splash it belong to a decorating technique which is newer and it was used in Mihileni
where they obtained the so called "marbled" pots out the mixture of several colours. In this
aim they used a box with several rooms full of different colours. The pot was rotated by hand
while the colours drained on it mixing and producing a very pleasant colour.
It is also in a recent phase, after the second world war that the sponge bought from the
shop was. used to paint the pots. It was introduced in paint and then applied on the surface of the
pot. Sometimes it was inserted with other motives. It resulted a pleasant motive but which no
Ionger required the potter's imagination meaning that the result was no longer an original creation.
The temperate ornament of lhis area is characterizcd by a very economica) use of the
motives.
It is here the reason why there was a certain care for the placement of these motives so that
they could be visible and to get into relief. There was certainly a connection between the ornament
and the functional purpose of the pot c1eated. The discrete ornament is usually placed in only
one stripe which is on the upper part of the pot or on its shoulders (jugs, high pots). (Fig. 46, 47).
In the case of the plates or "strachinoaielor" they have motives drown on the inside walls
and are usually based on the comhination of straight lines, zigg-zagged lines or under the fonn
of concentric circles from the margin to the very base of the plate where there is usually a central
well defined moti\ e. (Pl. 44). (Fig. 48-50).
The cups and the pots which are less ornamented have the molives placed on the margins and on
the middle part of their bodies. (Pl. 45). (Fig. 51, 52). The distribution of the motives is not crowded wilh large spaces in the background with nothing boring. The ~olours are sober and elegant.
The three colours - white, brown and green are the basic colours which are the most frequent.
The combinalion of them is always successful wilhout harshness.
In general one can say that here as in ali the other genres of folk creation the talent and
the mastership of the peasant left their piint.
Ceramics trade
In the "planning" of their work the potters took into account the two periods of the year
- the winter and summer traditional Fairs. For this occasion they used to prepare ali sorts of
pots, various kinds of jugs etc.
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Besides the sale on this occasion the pots were sold during ali the year at periodic fairs.
In 1906 there was in Botoani a fair which lasted from 15 of September to 10 October; it had
been founded in 1 873 71
In Dorohoi the fair lasted yearly from 15 to 25 of August? 2
The fair of Saveni lasted from 25 June to 5 July since 1883 73
The days of a fair were - Wednesday in Botoani, Sunday and Tuesday in Dorohoi and
also on Sunday in Sveni.
A somehow situation in the area of Botoani is the fact that the centres of pottery art were
not at distances so that the pottery pieces could be sold on the spot nen not far from the workshops themselves. (Botoani, Mihileni, Swni, Sulia, tefneti, Rdui-Prut, Drabani).
Sometimes the ceramic pots produced in certain centres were transported to long distances
both in the area and outside it. The potters of Sulia used to go to Iai twice a year or went to
Clrai, Hlipiceni and Todireni ("illages of the area). The pieces produced in the centre of Hudcti
reached Bucovine and Bessarabia.
The ceramic pieces produced by the mills in Botoani were sold in Roman, Brila, Vaslui,
Podu-lloai~i, Iai", and those produced in Mihileni were sold in Vaslui, Iai, Galai, Botoani,
Piatra Neam, Buco"ine (Cernui) and Bessarabia (Hotin and Lipiceni).
The ceramic pieces were transported by carts and the pots were sold for money or in exchange
of -victuals.
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CONCLUSIONS
The folk ceramics of the area of Botoani is a basic element of the folk culture in the space
between the river of Siret and Prut with an ancient tradition. Conditioned and favoured by the
permanence of human living along history, in the above mentioned a rea, the nowadays folk ceramics sum up the traditional elemcnls, marked by adaptations and transformations imposed by
life needs as well as by the taste for bcauty of the people. The way of producing of folk pottery
in the area preserved rharacteristic elements which are mainly archaic as for example the preservation of the types of the kilns for fi ring pottery or the way of obtaining black potlery. As to the
shape of such poltery it is evidenced a great diversily in which one ran recognize some which have
their origins in the prc-historical times (bowls, containers for food, plates etr). Wilh ali the
peculiariarilies of the area thc folk pottery in the area of Botoani is enframed within the large
family of Romanian pottery through its typology of the shapes and ornaments as well as through
their technical aspects.
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GLOSSARY
BITCA
COL BEC
DURULEAG
FUS
FICHE
FILIGENIE
GHILEAL
GLAZUR
HRGU
HlRBRIE
LITARG
MAR COTE
ceramic jug with narrow neck and

small used by women to carry the
soup to land labourers.
geometric motive achieved tbrough
curved lines.
<:eramic vase of a shape of a truncatcd come with holes for watt>r
axis for the pottcr's whcel.
a small wooden spade used by pol
ters to smooth the cxtcrnal part
of the vascs.
small jug with Iarge moulh for
water drinking.
thin paste obtained by mixing with
clay grounded and watcr.
enamel for ccramic vases oblained
from Iead oxide and quarz which is
nalurally found in sand.
cyllindric vase wilh two marginal
handles wilh a capacity of 10-15
liters.
Botoani poller's district.
Iead oxide obtaincd from melting
a metal in air used in ccramics.
ceramic vase of a truncated cone
shape not enamelled used for grinding.
OCHELARI
decorative motives encountered in

the are a achieved through a combination of round spols.
PUIOR
jug for milk narrow mouth, long

neck made of ceramic.
PIPCA
local term dcnoting the handle of

ceramic vases.
RAVAR
large ceramic container of truncated

cone shape containing 15 liters for
dough making.
ROIRE
the movemcnt of potters from a

place to another where to practice
their jobs.
RGLIE
local term (tcfneti) denoting the

small potter's wheel.
STRAIF
geomdrie ornamcntal motive in thls

arca formed of a ziggzagged line
over parallel lines.
TALGER
ceramic vascs of a truncated cone

shape and with small handles.
TAPCANI
jugs for wine with narrow small

neck holding 3-5 liters.
USNA
the Iarge mouth of the milk jug.
UNCHI
the narrow lip of the jug for mllk.
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59
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1
LA ZONE DE
BOTOANI
HISTORIQUE
Du point de vue geographique, la majorite de l'etendue de la zone de Botoani se situe dans

la depression de la plaine du Prut moyen. Dans la direction du nord, qu'on connait sous le nom
de "depression de la Jijia superieure", la zone s'etend vers l'ouest entre le plateau de Souceava,
etant delimitee au nord par une bande etroite de terre du meme plateau, qui se courbe en arc le
long du Prut jusqu'aux environs de Horodite 1 Vers l'est, ceHe plai ne est delimitee par le Prout,
cependant qu'au sud les rollines boisees entre Coplu et Czancea, enrlosent le cadre geographique de la zone qui peut etre consideree comme une region ayant !'aspect d'une steppe boisee et
un relief represente au nord par une zone de collines qui ne depassent pas 200 m d'altitude. A
l'ouest il y a des terrasses hautes sur la rive gauche du Siret, ayant une altitude d'environ 300 m,
tandis que vers le sud-ouest, le prolongement nordique de la cime de Dealu Mare, atteignant un
maximum d'altitude de 593 m 2
Les regions basses et les plaines existant le long de la cime du Siret et la depression de Bucecea,
offrirent depuis toujours des conditions propices aux etablissements humains, jouant le role d'une
porte de \'ive circulation humaine entre les zones de la montagne et celles de la plaine 3
Comme une consequence des recherches archeologiques, on a decouvert des vestiges de "ie
humaine deja depuis le paleolithique inferieur et jusqu'a l'epoque feodale.
Cet etat d'habitation constante entre le Siret et le Prout est motive par les conditions propices a la vie humaine, offertes par le relief a terrasses basses, par les cours d'eau et par les
forcts peu nombreuses (region de steppe et de sylvo-steppe).
Ainsi, les restes de faune de Darabani, Mitoc, Ghireni, tefneti Dorohoi et Flmnzi, attestent le paleolithique par les complexes de mammouth, les outils en siler, les "ateliers" de l'usinage
du silex de Ripiceni, etc.
La ceramique, les outils et les objets de culte decouverts a Truesti, Drgueni, Corleni,
Hneli, etc., marquent le neolithique dans ces parages, se remarquant par l'intensite de l'habitation
a cette epoque. A Drgueni, Horlceni, Crasnaleuca, etc., la culture "Cucuteni" est remarquablement represntee par les restes materiels riches et varies, qui mettent en cvidence une ample aptiturle pour la bonne administration des biens et une superieure comprehension de l'art decoratii'.
Les nombreuses decouvertes de l'epoque du bronze (outils, ceramique et autres materiaux)
de Bros':ui, tefneti ct Miorcani, parmi lesquelles le remarq uable depfJt d'outils et armes en
bronze d'IIi~eni, commune Santa Mare, servent a documenter le processw; de formation des tribus
j.Jroto-thraces. Il y a a peu-prcs 100 points archeologiques, parmi lesquels les etablissements de te
fneti, Dersca et Cotu-Coplu, ou l'on trouve des tcmoignages qui illustrent la pcriode de cristallisation de la civilisalion thraco-gete de l'epoque precoce du fer.
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61
Les environs de la viile de Botoani sont riches en matl-riaux appartenant nu dernier siecle
avant notre ere et au premier fierle de notre cre (Stnceti,Ctmrti, Riichii, etc.), aus&i bien
qu'a la periode carpique qui courespond a Ia provinre romaine - la Da,:ie - (Cucorni, Botoani,
Ipoteti, Slureni).
Les nombreux Hablissements et necropoles "Sntana de Mure" de la zone, dont nous mentionnons: Dealu Crmidtiei-Botoani, Nichiteni, Hneti, 1\liorcani, representent du point de
vue archcologique et anthropologique, la popula1ion daco-romaine qui, aprl>s la retraite de l'empire, cvolue sur toute l'ctendue du territoire de l'ancienne Dacie.
Les fortifications bties en terre des siecles VII-XI de Fundu-Herei, Banmca, Dersca, en
driceni, Tudora, etc. - attestent la lutte acharnce du peuple contre l'invasion tardive des peuples
migratoires. Relati\ement aux vieilles routes qui faisaient la liaison entre les regions du IiOrd ce
I'Europe et la zone mediterraneenne, elles li~ient egalement l'occident a l'orient vers le milieu du
XV-eme siecle, epoque qu'on suppose etre le moment de la fondation de la viile de Botoani (1439)6.
Les recherches recentes confirment cette hypothese par la decouverte a Hudum, aux environs de
Botoani, de nombreux produits du metier des artisans de provenance citadine. Aux siecles suivants
les commen;ants roumains, autant que les etrangers, traYerseront eux ausi.i les Yieilles routes qui
se croisaient la bas et la decouverte des objets, des monnaies, ainsi que les prhileges commerciaux
accordes aux commer~ants de Bistria, de la Pologne ei de Braov, en attestent cette actiYite.
Un tel document" mentionnait pour Ia premiere fois la viile de Dorohoi (1407), Iieu ou I'o1 o payait
la douane pour le commerce avec la Pologne, deja du temps d'Alexandre le Bon.
Pour les siccles XVI-XVIII les documents 7 mentionnent de nomhreux etabalissemenls dans
Ia zone etudiee.
Le XIX-eme siecle marque une nouvelle etape dans le developpcmenl des etablissements de
Ia zone.
A cette epoque on constate plus de calme el se surete, une intensification de la production
agricole, I'amelioration de la situation des paysans, le debut du dCveloppement de ]'industrie qui
mene a l'apparition des petits bourgs et a .un certain dewloppement des bourgs deja existants.
Tout cela conlrihue a un eswr des etablissements humains, a un accrossement de leur nombre 8
Les ocrupations principales des habitants de Ia zone de Botoani furent l'agriculture et
l'elevage - etant donnees en ce sens les conditions favorable existentes.
Des temoignages en faveur de la cultivation primitive des plantes et de l'elevage, existent
deja depuis le neolithique.
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II
LA CERAMIQUE POPULAIRE
HISTORIQUE. Metier d'andcnne tradition dans la zone de Botoani, la poterie peut Ctn:
SUIVle Je Jong des temps a partir du neoJithique, epoque briiJamment representee par Jes CtabJissements de Tru~eti 9 ), Drgueni 10), Corleni, Ibneti, Hneti, Ghireni, Todireni, etc., oi1 l'on
a Mcouvert la splendide ceramique de type Cucuteni. Reprefentee dans toutes ses phases de developpement, a"ec ses traits caracteristiques, la ceramique de Cucuteni decouverte dans la zone
de Botoani constitue un point de depart dnns la recherche de la poterie de ce rfJte du pays. On pourrait meme mentionner l'existenre de la culture pre-Cueuteni 11 ) ctecouverte dans quelques etablissements, parmi lesquels nous mentionnons Belcea 12) (Leorda) et Cucornii 3 ) avec une ceramique de
formes variees, les formes predominantes ehmt celles des pots bombes, des grands pots globulaires, des pots a col court, des couver-:les, des ecuelles avec ou sans patte, ces bols 14 ) (realises d'une
pte de qualite, aux parois minces), ayant imprimee une Mcoration combinee aux cannelures, incisions et applications pratiques
La ceramique "Cucuteni" etant realisee d'une pte fine, permettait la production des recipients aux parois minces et lisses, ayant des formes d'une variete remarquable, parmi lesquels nous
mentionnons: vases sacres, vases jumelles, vases a fruits, vases a couvercle, ecuelles, grands recipients a provisions. Parmi ceux-ci, quelques-uns se sont perpetues jusqu'a nos jours.
L'ornementation des vases, ayant a la base la combinaison des trois couleurs (le blanc, le
noir et le rouge) en variantes et motifs divers, la spirale surtout, temoignent d'une adresse sans parei!.
Le metier de la poterie peut etre suhi sans interruption pendant toutes les autres epoques
historiques qui se succederent. La periode de transition du neolithique a l'epoque du bronze, lors de
la premiere grande division sociale du travail, fut attestee a Horoditea (Pltini;-.), Cucorni, H
neti et IbnetiH).
L'epoque du bronze et notamment sa derniere phase, appartenant a la culture "Noua", fut
attestce a True"ti, Corltenii 6 ), Ctmrti, Dorohoi, Ghireni et Vlsinetii 7 ).
La ccramique Mcouverte a Trueti 18 ) conserve, parmi les formes mentionnees, l'ccuelle au
bord droit ou legerement courbe a l'intt~rieur, a cannelures obliques sur le bord, ou cannelures horizontales paralleles, ainsi que la tasse au bord a facettes, Mcoree sur l'cpaule courbee, de facettes
obliqucs.
La ccramique decouverte dans l'etablissement de type "cendrier" de Trueti, aussi bien que
celle de Corlteni, pn~sentent certains elements de tradition de l'epoque du bronze 19 ).
Pour l'epoque du fer, les fouilles effectuees dans les complexes thraco-getes de Stnceti
(les siecles VI- III avant notre ere 20) ont devoile une ceramique autochtone de tradition hallstat63
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tienne - comme par exemple Ies recipients ayant des formes rencontrees anterieurement (ecuelles,
bocaux, recipients a provisions), travailles a la main, en pte grossiere (mclangee de differents dechets broyes) couleur de cendre. La deuxieme epoque du fer, "La Tene" (450 avant notre ere - I-er
siecle de notre ere) est, comme l'on sait deja, Ia periode de l'epanouissement de la culture getodace, dont la derniere pbase fut le moment de la conf>titution de l'etat dace.
Certains vestiges de l'babitation dace pendant la periode correspondante a Ia province Dacie
(les siecles II- III de notre ere), furent attestes a Cucorni, Stnceti, Botoani, Dngeni, tefnetin).
Edifiante pour cette periode c'est la ceramique decouverte dans les etablissements de Cueorni, Medeleni, qui s'encadre dans les deux categories typiques de Ia culture geto-dace : Ia ceramique rudimentaire, d'usage commun, travaillee a Ia main, aussi bien qu'a la roue, et Ia ceramique
tine (travaillee a la ~ain ou a la roue du potier) 22 ).
La couleur noi re- cendree, appartenant a la ceramique dace, s'est perpetuee jusqu'a nos jours.
La categorie de la ceramique rudimentaire, caracterisee par une pte grossiere melangee de
tessons broyes, de couleur brune-cendree, ayant la surface extericure reche, est representee par des
vases-bocaux de dimensions differentes, ayant les parois a peu-pres verticaux ou bombes et Ia base
tranchee-net ou evasee, decores de bandes, de lignes incisees ou de boutons, et par des ccuelles ayant
la base courbee a l'interieur 23 ).
La deuxieme categorie de recipients, travaillcs en pte fine, couleur de cendre, est reprcentce
par des vases au corps riche et le col baut, aYec ou sans anses, par des ecuelles au corps evase
et par des vases a patte pour fruits. Tous ces recipients ont Ia surface exterieure polie et sont de
couleur brune-~endrce 24 ).
Pour les siecles II-III de notre ere, periode correspondant a la province Dacie, les fouilles
archeologiques de Hneti, Liveni, Lunea, tefneti ont mis en eYidence une ceramique couleur
de <:endre en pte fine travaillt~e a la roue, en quantite moindre que la pte grossiere. Ces recipients
conservent les caracteres de la ceramique de la periode "La Te ne", aussi bien que des elements im~
portes et certains emprunts romains. Les objets le plus frequemment rencontres sont les ecuelles
et les pots.
En parlant du metier du potier pendant la periode de la Dacie, on peut affirmer: "Dans la eulture dace des f>iecles II- III de notre ere, a cote de Ia production artisanale de la poterie, documentee par des recipients executes a Ia roue, de tehnique superieure, on rencontre (galement une production menagere, representee par des recipients grossiers, fa<;onnee a la main. La quantite importante de recipients tra'\'ailles a Ia main trouves dans Ies Ctablissements daces (les siecles II- III
de notre cre), demontre que la production mcnagere de poterie avait deja des cette epoque-la un
role important dans I'economie domestique. A I'encontre de Ia ceramique mentionnee, Ia ceramique
des etablissements Sntana de Mure, fa<;onnee a la main, se presente sous des formes variees, executees d'une maniere tres soigr..ee, et par cela demontrant un baut degre de specialisation des artisans respectifs. Les nombreux fours de poterie decouverts, temoignent de la prcsen~e des ouvrierspotiers dans la plupart de ces etablissements - probablement meme dans chacun d'entre eux. II
est possible que dans leur grande majorite ces produits fussent vendus immediatement pa1mi les habitants du meme Ctablissement. On ne peut pas admettre une production "destinee uniquement
aux besoins locaux"u).
Dans une etape suivante (il s'agit de la fin du Ili-e siecle et le IV-e siecle de notre ere),
par ies decouvertes de Albesti, Pogorti, Corlteni, Stnceti, etc. 26 ), on a identifie des vestiges materiaux de la culture Sntana de Mure-Cerneahov.
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La ceramique exccutee a la roue, en ptc grossicrc ou fine, couleur de cendrc et polie, dCcomerte a Trueti et Ioneni 27 ), etait d'une grande varieL& de formes: coupcs, assiettes, ecuelles,
bols, tasses, cruches et pots, ressemblant beaucoup a certains recipients daces. L'ornementation
de ces recipients avait a la base la ligne droite, la ligne en zig-zag, la ligne sinueuse, etc., les motifs
vcgetaux (petits sapins, feuilles) ou geometriques (rosettes combinces aux lignes pointillces) 28 ).
La periode d'entre les siecles VI-X, pendant laquelle a lieu l'achevement du processus de
formation du peuple roumain, est representee de maniere satisfaisante dans le pcrimetre de la zone
de Botoani. La continuite de ''ie de l'elcment autochtone et les contacts culturels existants entre
celui"'ci et les elements allogenes pendant la periode de formation du peuple roumain, sont mis en
evidence par les ctecouvertes archeologiques (:c Lozna-Dorohoi 29 ).
La ceramique autochtone et la ceramique de tradition slave decouvertes a Lozna-Dorohoi
(la fin du VIl-e siecle -le debut du VIIl-e sircle), la premiere executee a la roue et la seconde executee a la main confirment ce qu'on a argunente plus baut. La premiere categorie exeeutee a la roue
est representee par des fragments de recipients type bocal, avec le bord rehaus~c, courbe droit, les
epaules proeminentes et le corps bombe. La decoration en est realisee de bandes horizontales, de
lignes droites ou sinueuses, stylisees, alternant sur toutc la surface du recipienta 0 ).
La periode d'achevement de la formation du pcuplc roumain sur le territoire Ctudie peut
etre suivie en etudiant les resultats des fouilles arch&ologiques de Horoditea et de Fundu-Herei
(commune de Critineti) 31 ), ou l'on a drcouvert deux catl~gories de ceramique : la ccramique realisee a la main et la ceramique executee a la roue a tour lent et moyen. La ceramique travaillee a
la main est en pte grossiere, mclangee de tessons hroyl~s. Comme formes, on rencontre les bocaux
et les plateaux decores a alvcoles et incisions. Eu ee qui concerne la ceramique exccutce a la roue
on distiugue trois groupes divises d'apres les particularites teehniques, repreesentee uniqucment
par bocaux 32 ) decorcs de bandes inci~ces ou horizontales. D'apres les caracteristiques de forme, de
technique et de dCcoration, la ceramique de ces Ctablissements appartient a deux phases: l'une
des siecles VIII-IX et l'autre des siccles IX-X. La phase ancienne est caracterisee par la prcdominance de la ceramique executce a la main, cependant que l'autre par la eeramique travaillce a
la roue. La ceramique couleur de cendre a ctecoration polie appartient a cette dernicre phase 33 ).
L'evolution ascendente de la civilisation locale peut etrc poursuivie en Ctudiant les restes ccramiques decouverts dans l'etablissement de Hudum-Botoani, conteuant des materiaux qui appartiennent aux siccles XIII-XIV 34 ) et a la premiere moitic du XV-e siecle. Les fragments ceramiques qu'on y a decouverts proviennent de certains recipients de taille moycnne, surtout de bocaux
en pte couleur de cendre executt~s a la roue a tour moyen, ayant des analogies en d'autres etablissements urbains et villageois des dernicres decennies du XIV-e siccle 35 ) et le debut du XV-e. On
y a trouve cgalement, mais en moindre quantitc, des recipients travailles a la main, cuits en milieu
oxydant, de facture archai'que 36 ).
Pour les siecles XV-e-XVII-e, c'est-a-dire la phase moyenne de la feodalite avancee, on
n'a pas fait des fouilles archeologiques dans la zone. A la suite des recherches de surface et des
sondages, on a fait plusieurs ctecouvertes pour cette periode aussP 7 ). Ces decouwrtes furent completees par les rechcrches entreprises pour l'elaboration du repertoire archcologique du district de
Botoani 38 ), elargi de nouveaux etablissements dCcouverts a Breti, Conceti, Cristeti, Albeti,
Blueni, Botoani, etc.
La ceramique rurale qu'on y a dCcouverte, de couleur cendree ou brun-rougetre, des siecles XV -XVI, a certaines tangenccs avec les produits citadins. En dehors de cctte ceramique, ou
65
9 -
Arta
popular
in zona
Botoanilor
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a decouvert egalement une autre especc de ceramique fine de facture ritadi!ie, ainsi que rertains
restes de terre cuite 39).
On a trouve aussi des fragments de pots aux bords moins epais, fragments d'ecuelles, d'assiettes. La decoration est representee par des bandes entaillces horizontalement et par des motifs
matrices appliques sur les cpaules des rccipients. A l'epoque, se multiplient les centres de poterie
dans le milieu rural.
Aux siecles XVI -XVII la poterie rurale est decouverte dans le perimetre de certains etablissement~, a cote de restes de ccramique citadir.e ou ottomane d'importation, ~timi que certains
fragments de terre cuite ou de plaques deroratives 40 ) (Breti, Cristeti, Durneti, Ghireni, Hneti,
etc.). On y a ctecouvert aussi des fr~gments de r-ots, tasses, bols, ecuelles, assiettes, casseroles,
cruches, couvercles, realises en pte cendn~e- 10ugetre, Mcores de raies droites ou sinuemes, d'impressions appliquees la ro~ette, d'emaux verts, blancs ou jauntres.
La phase tardive de la feodalite developpce, est bien ronnue grce aux nombrew;es decouvertesu). On a trouve des restes ceramiques caractere rural, autant que d'autres de facture citadine ou importes. L'aspect des recipients se rapproche de !'aspect actuel.
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III
LA CERAMIQUE POPULAIRE DE LA ZONE DE BOTOANI
A LA FIN DU XIX-E SIECLE
L'etude de Ia ceramique dans Ies diverses epoqucs de l'histoire a demontre non seulement
l'anciennete de la poterie sur le territoire de Ia zone etudirr, mais aussi Ia perpetuat ion de certr.iEes formes ct elen:ents ele derorution jmqu'a r,os jours. Le dheloppement du metier suppose I'existence de Ia matiere premiere et implique le parfectionnemcnt du mode de production pour s'assurer
un exccdent destine au change. Pour Ia zone de Botoani on peut mentionner aussi d'autres facteurs qui ont contribue au drYeloppement de ce melier: Ia pauvrete du sol, peu propice a l'agricultu;c dans certains endroits de Ia zone (Rdeni, Poiana, etc.), aussi bien que I'existence des possibilitt~s parliculicres pour la vente de Ia marchandise, assuree par le reseau de bourgs ayant des
marches organifes. Ces facteursontdetermine l'existence de nomhreux centres de potiers au XIX-e
siecle. En mrme temps, dans cette zone onest arriYe pluWt qu'en d'autres, a une phase ele l'industrialisation de Ia production ceramique, concretif:ee dans Ia creation de plusieurs "fabriques" de
pots, mentionnees, pour le XIX-e 5iccle, en divers m<tteriaux ecrits. Ainsi, dans le "Dictionnaire
geograpllique du district de Botoani'', on mentionne I'existence dans le district de lll frtbrif]lles de
pots en 1~\!1 ), mais sun~ nr,mmer les localites ou elles etaient emplacees; de meme, on indique
qu'a cette date, dans la viile de Botoani il y avaient 22 potiers 43 ) et dans Ia commune Poiana Lung
(aujourd'hui dans Ia commune Vorona) "une partie des habit<ints etaient o~cues dans l'agriculture,
tandis qu'une autre travaillaient dans Ies ateliers de poterie qui aYait un developpement remarquable dans la n>gion" 44 ). Par Ia suite le clictionnaire mentionne aussi Ies localites Rdeni (commune
Frumuica) et Poiana (district de Iai) dont une partic des habitants pratiquaient Ia poterie. A cote
de ces centres, au XIX-e siecle il y cn avaient dans la zone encore d'autres qui n'apparaissent pas
dans les docurr.ents ccrits.
Parmi ceux-ci nous mentionnons Mihileni, tefneti, Sulia, Fundu-Herei (commune Cristineti), Smrdan (commune Suharu), Lina (commuue Suharu), Pru Negru (commune Mihileni),
Tudora, Darabani, Vldeni (commune Frumuica), Hudeti, Rdui-Prut.
Dans certains de ce centres Ia procluction ccramiquc s'est tnmsformef; en industrie
locale, les potiers Ctant concentres dans des ateliers petits ou grands, transformes avec le Lemps en
fabriques de ceramique, comrne ce fut le cas a 1\lihileni, Botoani, tefneti.
42
Centres de potiers
l\IIHILENI.
La phase industrielle du mcher marque le debut cl'une periode de ctecadence

de la ceramique, autant cn ce qui concerne la perpetuation des elements traditionnaux, qu'en ce
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qui concerne la valeur artistique de ces produits. Parmi les centrcs mrntionnrs il n'y cn a quc huit
qui soient actifs a preEent: Mihileni, Botoad, tefneti, FIUmusicu, Sulia, Hudeti, Lina et
Fund u- Herei.
Le bourg de Mihileni qui detenait le role le plus important parmi les autres centres ceramiques de la zone de Botoani, avait une longue tradition du metier. Possedant la matirre premiere
(une argile de qualite) et un marete de vente assuree (Mihileni datait commc bourg Mja depuis
1702),. les conditions pour Ia mise en valeur de la poterie etaient favorables.
C'est ainsi qu'on explique le fait que ce centre a concentre pendant le XIX-e siecle le plus
grand nombre de potirrs (environ 100-150) de Ia zone. Les rotiers de l\Hhileni produisaient autant
la ceramiquc no!e, que surtout la ceramique rouge emaillre et non emailler. connue pour ses qualites. (Pl. 1).
Ces potiers ont travaille individuellement jusque \'ers la fin du XIX-e siecle, quand une partie
en furent organises en ateliers qui renfermaient 3 jusqu'a 10 omriers chacun. (Pl. 2).
En Hl13 il y en avaient 7 ateliers: celui de Joseph Viinevski awc 4 ouveriers, celui de Franz
Viinevski avec 4 ouvriers, celui de Itzco Braier avec 10 ouvriers, celui de Strul Regenstreif a"Vec 6
ou\riers, celui de Jean Manole awc 3 ouvriers et celui de Iorgou Solin~ki avec 3 ouvriers4").
Le nombre appieciable de potiers, ainsi que les autrrs facteures mrntiounes plus haut, menerent a Ia fondation d'une fabrique de ceramique a Mihileni, en 1921. Cette fabrique concentrait
les potiers de Mihileni, Priu-NegiU (un village qui appartenait a la commune de Mihileni), R
dui-Prut et merr.e de Czernowitz. La fabrique .n'utilisait que le tra\ aii manuel jusqu'en 1934,
quand on introduisit des installations modernes pour malaxer l'argile, des moteurs, etc. Cependant
l'argile etait travaillee d'ap1es le procede habituel: humectee, malaxee, nettoyee et transformee en
pte, etant modelee a l'aide de Ia roue en diverses formes (ecuelles, pot~. jarres, brocs, etc). Les :potiers de Mihileni ne travaillaient as tous a la fabnque. Beaucoup d'atehers ex1staient parallelement
a Ia fabrique, cependant que d'autres se constituaient chemin faisant. En 1921le pr~fet de Dorohoi
mentionnait l'existence a Mihileni ce huit fabriqueus de pots 4"), y compris Ies ateliers existants
a cette date.
Le nombre des potiers de Mihileni augmenta apres Ia premiere guerre mondiale. En 1~38
on y trouvait 11 petits ateliers, parmi lesquels certains de ceux men1ionnes anterieurement, a cote
d'autres recemment constitues. Ces ateliers appartenaient a : Jean Ungureanu, Jules Hortopan,
Basile Manole, Franz Viinevski, Iorgcu Solinski, Strul Regenstreif, Jean Manole, Michel Solinski
Theodore Solinski, Michel Petroiu et Jean lbresciuc 47 ).
Le nombre des potiers indhiduels qui existaient depuis toujours parallelement aux :petits
ateliers et a Ia fabrique, commenc;a a diminuer apres la seconde guerre mondiale, resistant toujours
plus difficilement a la concurrence des produits de fabrique. Peu a peu les potiers renoncerent aux
ateliers individuels et s'engagerent comme ouvriers a la fabrique. Aujourd'hui a Mihileni il n'y
a plus de potier qui travaille indhiduellement, tous etant encadres a la fabrique "Le Granite", qui
produit une ceramique ne conservant qu'en partie les formes traditionnelles. (Pl. 2, 4).
C'est de ce puissant centre de poterie que de nombreux potiers prirent leur essor aux siecles
XIX et XX (Sulia, tefneti, Hudeti, etc), se dirigeant \ers d'autres villages de la zone, aussi
bien que vers d'autres endroits de la MoldaYie (Roman).
BOTOANI. Beaucoup de potiers se sont etablis a Botoani, y etant attires par l'existence
d'une argile de qualite qui se trouvait a la peripherie meme de la ville (la barriere "Teasc") et a l'o-
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ree des bois voisins, ainsi que par la pos~ibilite de vendre leur marchandise dans des conditions
avantageuses 48 ), sur le marche de la viile ou a la foire hebdomadaire. Ils constituaient un quartier
de potiers t:onnu sous le nom de "Pot cas~e.
En 1891 le "Dictionnaire archrologique du district de Botoani" mentio'Jnait 22 potiers qui
habitaient la viile. Botoani on produisait autant la ceramique noire (jusqu'environ l'am~ee 1920),
que la ceramique rouge. La viile de Botoani, a cote de Mihileni, fut un des plus puissants centres
de poterie de Ia zone, ayant ur,e tradition tres andenne 49 ). (Pl. 5).
Le metier a evolue dans Ia zone de maniere continue, arrivant a une phase d'industrialisation concrCth:ee par I'existence, en 1006, d'un grand atelier qui avait 8 fours pour cuir la ceramique et 15 roues pour fa~onner la poterie. Il y a\ aient 25 ouvriers. La gamme des produits etait
variee: pots, rcuelles, tusses, cruches, jattes, brocs, aproximathement 80 000 pieces par an, qui
valaient a l'rpoque 40 000 lei. La mnrchandise produite etait vendue a Bncu, Romnn, Briln, Vaslui, Podu Iloaei, Iai 60). Parnllrment a ce grand atelier il y avaient egalement des ateliers plus
petits, ou travaillaient des potiers individuels avec leurs membres de familie. Ils Ctaient: Demetre
Pomrleanu, Michel Vasiliu, Antoine Lupa~u, N. Loghin, Georges Vizitiu, Jules Vizitiu, Basile
Buerchi et d'autres 61 ).
Le nombre des potiers reste plus ou moins constant pendant les annees qui suivent, ainsi
qu'en Hl15 il y avaient 8 ateliers 62 ) y compris le grand atelier de Ostfeld Wittal Steinberg. Parmi
ceux-ci il n'y avait plus en 1915 que peu des ateliers de 1906. C'est le cas des ateliers de Michel
Vizitiu (Rue des Lys no. 4), Demetre Pomrleanu (Rue St. Nicolas no.73), Antoine Lupacu (Rue
de la Tempete no. 1). D'autres ateliers surgirent: ceux d'Adolphe Polak (Rue du Lycee no. 23),
d'Adam Sandric (Rue Lahovary no. 52), de Joseph Olmiu (Rue Lahovary no. 54), d'Antoine 0
Breitenfeld (Rue Nationale no. 260).
Peu a peu a me~ure que l'utilisation de la poterie est devenue moins frequente, !'industrie
de la ceramique s'est orientce vers d'autres produits, comme par exemple: les briques utilisees dans
les constructions citadines et la terre cuite pour la construction des poeles dans les maisons des
villes. Deja des 1915, deux ateliers produisaient, a cote des pots, la terre cuite aussi.
Dans un compte rendu sur le district de Botoani pour l'anu(e 1U22-1\J23, le prcfet du district mentionnait l'existence de 33 ateliers de poterie, de briques et de tene cuite 53 ).
A eause de certaines condilions speciales-parmi lesquelles la eoncunenee cles grands ateliers erramiques-, au debut de la seconde moi tie du XX-c siecle, lrs potiers indi' iduels renoncerent peu a peu a la pratique de ce metier. La poterie de la viile de Botoani eommence a regresser aussi a eause du fait que Ies produits ccramiques n'Ctaient plus sollidtcs sttr le marche. Lr nombre des poliers baisse, certains rmbrassant d'autres metiers, cert ins autres s'engageant a la coop(rative "Le Progres" qui par son atelier, produisait des rccipients de ceramique et de terre
cuite. (Pl. 6).
prcsent, dans la viile de Botoani il n'y a plus de potiers individuels.
TEFNETI. Un autre centre de tradition dans le metier de la poterie
c'etait le centre
de tefneti, qui cone('ntrait au XIX-e sierle un grand nombre de potiers, qui avaient a leur
disposition une argile c!e qualitc dans la piaine du bourg, et la possibilite de \endre leur marchandise, le bourg de t('fneti ayant un marchc hebdomr.daire.
Ces facteurs menrrent la aussi, comme dans les antrC's centres mentionn{s plus haut, a la
<:onstitution d'une industrie qui concentrait une partie des potiers locaux, deYenus les engages du
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69
patron Pmcu Rivinwhd qui a\ ait en HJ15 uLc fabriquc de 1=ots, mentionnee dans un compte-renuu
du prefet de Botoani 64 ).
On y fabriquail autant la ceramique noirc, que la chamique rouge. Cettc fabrique utilisait
jusqu'a enYiJOn 40 OLYriers. Peu a peu leur nombre en diminua, bcaucoup d'entrc eux se dirigeant
vers d'autres metiers plus rcntables. Aujourd'hui a tefr:eti il y a un Eeul rotier, Petrovski
Gh. Constantin, ge de 58 ans, qui a heJitr le metier <le wn pere et de son grand-pere. (Pl. 7, 8).
SULIA .. CoHfoimcir.ent aux infonnations oLLenues, les rotiers de Sulia n'existent qEe
depuis HJOO. Il ne s'agit pas d'un centre puissant, mais de l'existe11Ce de 1 ou 2 potiers au cours
des annees. Apres HlOO il n'y aYait qt:e Georges C:mtoreano, jwqu'en 1U40. Son succesE:eur fut
Constantin Petro\Ski, Yenu ~e 1\lihileni, qui travaille encore a preE:ent. Aujourd'hui on ne travaille
1-'lus qce de la ceramique rouge. (Pl. 9).
FRUMUICA,
centre de
est un ancien centre ceramiqur, dont la product10n est influencee par le
Botoani.
On n'y travaillait que de la ceramique rouge em~llee et non-emaillee. A present iln'y a qu'un
Eeul potier, Pomrleanu Constantin, qui a appris le metier dans )'atelier de son pere, Pomrleanu
Demetre de Botoani. (Pl. 10).
HUDETI, est un autre centre ceramique, dont la production est influencee par le certre
de Mihileni. A Hudeti il n'y avaient que 2-3 potiers, a partir c:e l'annee HJOO environ. Ce centre
produisait et produit encore a present autant la ceramique noire, que la ceramique rouge. Aujourd'hui il y a un seul potier, Gregoire V. Gramariuc, etabli la-bas en HJ37. Il a appris le metier
de chez son pere. Pendant quelque temps il a travaille dans l'atelier de Spiridon Vasilovski. a
cte d'aut1es apprentis, apres quoi il a orgamnise son propre atelier a partir de Hl45. Dans son
atelier il y a 3 fours. (Pl. 11, 12).
FUNDU-HEREI (Cristinrti).
A F\Jnclu
Her!ii (wmmune Cristir;eti) il n'y a qu'un Eeul

potier, Airinei s. Georges, i'gc de 61 ans, qui a appris son metier a Darabani, et ne travaille que
de la ceramique noire. (Pl. 13).
LISNA. Dans ce village s'est etabli r-n Hl451e potier Camic 1\Iichel (ge maintenant de 76 ans)
qui traYaille la ceramique noire non-emaillee. (Pl. 14).
Centres disparus
Un nombre des centres mentionnes n'existent deja plus aujourd'hui. Beaucoup de centres
comme Corni, Cotu-Rui, Tudom, Chicovata (a preEent commune Vorona), Rdeni (communc
Frumuica), Vldeni ((Orr>mune Frumuica), Rf!dui- Siret, Smrd~n. Darab~ni, etc., out ces~e
Ieur activite, entre autres parcc que de nombrc ux potiers individuels, a partir de 1~ premiere moi tie
du XX-e siecle n'ont pas pu resistcr a la concurrcnce des prodl'its de fabrique prescnts sur le marchC.
D'autre part, a partir toujours de la rrcme pcriode, les p10duits ceramiques ne sont plus
sollicites sur le marchc comme avant, et c'est aind que le metier de la poterie commence a devenir
non-rentable. Les potiers s'orienteront dorenavant "e1s d'autres metiers. A mesure que le temps
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pa~se, la jeunesse s'apprete toujours moins a apprendre le mctier du potier et 'est ainsi que beaucoup des centres existents disparaissent, wit par le depart, soit mcme par la mort des anciens ouvriers qualifies qui en dirigeaient le proeessus de l'elaboration de Ia ceramique (Smrdan, Corni,
Cotu-Rui, Cristineti, etc.).
La disparition le!J.te des centres potiers dura plusieurs annees, a partir de la deuxieme moitie du XIX-e siecle (Corni, Cotu-Rui, Cristineti, Tudora) et continuant avec la premiere moitie
du XX-e siecle, quand on peut mentionner la disparition des centres de Chicovata (aujourd'hui
commune Voronay, Protopopeni (aujourd'hui commune Poiana), Vldeni (commune Frumuica)
et Bdeni.
Parmi les centres qui devinrent inactifs recemment, on peut mentionner ceux de Darabani,
Rdui-Prut, Pru-Negru et Smrdan.
Les centres mentionnes plus haut produisaient la ceramique rouge, autant que la noire, a
l'exception des ateliers de Pru-negru et Smrdan, ou l'on ne produisait que la ceramique noire.
La matiere premiere
La diffusion plus ou moins uniforme des centres ceramiques sur toute l'etendue de la zone,
indique avec precision l'existence de la matiere premiere de qualite. L'argile pour la confection des
J::Ots doit avoir certaines qualites: contenir dans sa composition certains elements necessaires qui
puis~ent assurer la realisation des vases de qualitl~. Les fosses d'argile pour les pots contiennent
des sediments riches en bioxyde de silicium, oxyde d'aluminium et les oxydes de plusieurs elements
t:.'himique~. dont l'oxyde de fer el l'oxyde ferreux ne s;,b;;enlent pfls. La chose est confirmee par
les potiers, qm pourtant affirrnent qu'il y a des differences dans la qualitc des diverses argiles qu'on
trouve dans certains endroits. En gencrall'argile qu'on rxtrait est de drux qualites: l'argile de couleur gris tirant sur le bleu, grasse, graisseuse au tou~her, impermeable, et l'argile de couleur jaune,
permeable. L'argile de couleur grif:e a un taux plus eleve de fer, a l'encontre de l'argile jaune. L'argile grise est meilleure pour la confection des pots noirs et rouges non emailles, tandis que l'argile
jaune est meilleure pour Ies pots emailles. Les deux qualites d'argile se troment d'habitude partout
dans les centres potiers.
Un tableau contenant le nom de tous les potiers de l'ancien district de Botoani, dresse en
1915, indique, entre autres, la source ou ces potiers s'appro,,isionnaient de la maticre premiere pour
leurs pots.
Si l'on compare l'ancienne situation a la situation prcsente, on constate que le plus souvent,
aujourd'hui comme autrefois, l'argile pour les pots est extraite des memes endroits indiques en 1915.
Cela veut dire que l'exploitation de certaines ,,veines" d'argile pour les pots durait souwnt de norr:breuse~ anr.{es, jusqu'a l'erui~ement complet de la cou~he respecti\e.
Ainsi, aujourd'hui encore, les rotiers de Botoani extraient l'a1gile des emiJons de la viile,
de l'endroit nomme "la barriere Tea~c", mentionne dans le tablcau susdit.
Les potiers
pour la ceramique
puissant centre de
traditionnelles. La
de Poiana - commune Rdeni (aujourd'hui district de Iai) prenaient l'argile

noire, de l'endroit nomme ,.derriere la vigne". A prcsent aussi, Poiana reste un
poliers qui produisent une ceramique P.oire qui con~erve non-alterees les formes
matiere premiere provient toujours du Jieu rr.entionne en 1915.
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71
A Frumuica on trouve l'argilr adcquatc fOUr les pots dans la plair.e des ell\irons du bourg;
de mcme a tcfneti, cependant qu'a Sulia on en prend a la peripheJie-est du bourg. . FunduHerei et Hudeti l'argile pour les pots se trouve dans les pturages du village. Les potiers de Mihileni prennent la maticre premiere de l'endroit nommc "a la terre glaise".
Outils
Dans le proccssus de la fabrication des recipients de c(ramique on cmploie plusieurs outils,
qu'on trome dans tous les atelicrs de la zor,e:
Le maillet pour battre l'argilr, rn bois de hetre. (Fig. 1).
- La plane pour trancher l'argilc et la rettoyer d'impmetcs. (Fig. 2).
- La roue du potier, composee de la grande roue et la petite roue, unies entre elles par un
axe de transmission, l'essieu. Dans 1~ zone de Botoani la petite rouc s'appelle aussi "rglie" (a
( tefneti) et "veienic" (a 1-Iudeti), la grande roue s'appelant "talp" (Hude ti et Pltini). (Fig. 3).
- "Ficheul", une truelle trapezoi:dale eu bois, utilisee pour le lissage des pots pendant
le travail. (Fig. 4).
Le fii de fer, utilise pour le detachement du pot fixe a laroue.
Le tet- un recipient pour l'eau. (Fig. 5).
Le banc ou Ia table pour pHrir l'argile. (Fig. o).
Le moulin a bras, utili~e a la mouture des colorants pour les "engobes" ("ghileal")
et pour l'ornementation; il est forme d'un support en bois massif \ une buche) ou l'ou creuse um
place pour deux retites meules. (Fig. 7).
Sur l'Ctagere de !'atelier du potier on trouve !'galement un pinceau en soie, le corne pour
faire les ornements, la cuillcre et le cuiller pour verscr les couleurs. (Fig. 8-11).
Les phases de l'usinage de la matiere premiere

Dans la zone de Boto~ani. comme d'dlleurs sur tout le tcrritoire de notre pays, l'usinage de
l'argile subit les mcmcs piOced(s.
On met l'argile drns les fosses ou bassins speciaux ayant des dimensions et des capacites
differentes; la clic est hun:edee et lais~ee quelques jours pour s'imbiberd'eau (deux jours a FunduHerei, Hdeni), 3-4 joUis a 1-Iudeti, Mihftileni et meme jw:qu' 4-5 semaines, d'apres la qualite
et la composition de l'argile respectiw.
Quand l'argile acquiert la -::onsistance d'unc pte, elle est retiree de la fosse et mise sur une
plateforme en bois ou elle est fortement foulee pour la melanger et devenir homogene (on utilise
p arfois dans ce but, le maillet).
Apri.s cette opcralion, la terre glai8e est ramaE~ee "en moules" de dimensions variees, apresquoi, a l'aide de la plane on elimine Ies impuretes. Cet outil ayant la forme d'une lame, etait autrefois coufeeliOill.C en Hier de faUX par les forgerons CCS \')b;ges; a pre~ent eJie est 2.eheh~e au roagasin. De cette pte ainsi ml1kngee el nettoyee, on eu prend unc boule qu'on pUtiit de nouveau "::tu
banc" (lorgue table qui ~e houve dans )'atelier du potier), avec le reYCrs des mains. La boule est
72
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divisce ensuite en boulettes, plus g1andes ou plus petites, conforrr.cment a la forme et au "Volume
des pots confectioner la roue.
LA ROUE DU POTIER. La technique du modelage des recipients comprend quelques etapes.
On attache d'abord la boule d'argile au centre du grand disque de la roue du potier l'aide du pied
droit. La rotation doit s'executer dans le sens inverse des aiguilles de Ia montre. A l'aide du pouce
de la main droite le potier fait un orifice au milieu de cette boule d'argile. Cet orifice s'elargit
graduellement par la pression du pouce vers l'exterieur.
Tout en tournant la roue, le potier fa~.:onne le recipient, rehaussant l'argile l'aide de la main,
les parois du recipient s'amincissant graduellement. Le mouvement circulaire du diEque de la roue
donne au recipient une rondeur egale. (Pl. 15).
La main du potier contnbue la formation des epaules, du colet du bord du re-:ipient, tout
cela se realisant par le circuit continue! de Ia roue. Chemin faisant, les parois du recipient deviennent
lisses l'aide de la truelle. La derniere operation consiste dans la fixation de l'anse ~au cas des pots
et des cruches). (Pl. 16).
Les ccuelles et les bols necessitent un model::~ge plus simple par comparaison aux recipients
nux parois hauts (cruches, jattes, jarres, etc.).
Le recipient ainsi forme, est detacbe du disque a l'aide du fii de fer et pofe soigneusement
sur les et::~geres en bois, pour fecher (durant l'hiver, dans !'atelier du potier; pendant l'ete, dehors
a l'ombre).
LE SECHAGE ET LA CALCJNATIOl\J DES RECIPIENTS. Une condition pour un bon
c'est la temperature constante d'environ 25-30. Pendant l'hiver le sechage dure jusqu'a
3-4 semaines, tandis qu'en ete, 4- 5 jours sont suffisants (en fonction de la qualite de l'argile).
sech::~ge
Apres le se-:h::~ge suit Ia calcination des recipients dans les fours speciaux. Si le processus
prcsente jusqu'ici est le meme autant pour la ceramique noire, que pour la ceramique rouge, la calcination en est differente.
Au cas de la ceramique rouge, on tient corupte de l'arrangement des recipients dans le four,
surtout en ('e qui concerne les pots pour le lait et les tasses, ayant soin que les petits soient au
milieu, proteges contre le feu, et les grands vers la marge du four.
Pour la caldnation des pots on utilise du bois mou (peuplier, saule, sapin, etc.) qui assure
une flarnmc puissante, "grande" et "pure". Apres une combuslion d'environ 10 heures, a une tem
perature de 700-800, on laisse Ies pots refroidir, puis on les retire du four. La couleur rouge de
la ceramique est obtenue par l'oxygenation continuelle du four pendant la cuisson, le four ayant
"la gueule ouverte". L'oxygene de l'air oxyde le fer contenu dans les parois des recipients. Les gas
produits par la comhustion du bois sont rapidement evacues, cependant que les sels et les oxydes
de fer sont n~duits en oxyde ferrique. C'est la ~ombustion oxydante qui differe de la combustion
reductrice rencontree dans le cas de la ceramique noire.
La ceramique ernaillce doit etre cuite deux fois. Une fois pour l'obtention de la couleur et
du corps des recipients et une seconde fois pour l'obtention de !'email.
A pres le sechage les pots sont mouilles dans du Kaolin, "engobe", maticre terreuse blanche
apportee Botoani de Miercurea-Cine et tefneti, de Snnicolaul Mare. L'engobe est moulue
et melangee ensuite avec de l'eau, jusqu'a ce qu'on obtienne une pte delayce, cornme un lait
dense. On introduit le vase dans ce melange ou, parfois, on verse l'engobe sur le corps du pot. (Pl. 17).
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10 -
Arta
popular
In zona
Botoanilor
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En dessus de l'engobage le 'ase est ornemente de dhers motifs gcometriques ou floraux, disposes sur l'epaule ou sur le ventre, a l'interieur ou a l'exterieur, Ces motifs wnt executes avec divers
colorants, obtenus de la terre, du metal ou par voie industrielle. Les couleurs rencontrees le plus
souwnt .dans la zone de Botoani wnt: le blan~, le wrt, le bleu, le noir et le rouge.
Le procede pour la preparation des couleurs est different en fonction de la nuance et de la
matihe premiere dont on dispo1::e. Le vert est ainsi preparc: un morceau de cuivre (oxyde de
plomb) est mouille daus de l'eau salee et laisse 5e couvrir de ro mile dans un 'aisseau ou on J'asperge sou-vent a l'eau. Ensuite il est introduit dans le four a une temperature d'environ 1200, apres
quoi on l'en retire et on detache la rouille. Ce qu'on en obtient, c'est l'essence, qu'on melauge, en
proportions differentes avec le kaolin (100 gr. pour 1 kilo de kaolin); moulu3-4 fois, ce melange
devient ur>e solution de couleur wrte.
La couleur noire est obtenue toujours d'un metal. On met un rr.orceau de tle dans le four
en l'y Iaissant quelque temps. Le resultat est moulu et broye; on eu obtient un noir tirant \ers le brun.
Le rouge est obtenu d'ure te ne rouge, riche en fer et en mangancse, la proportion du dernier donnant la nuance desirer. On rret cette terre au four, ou moud et on melange a l'eau (mi-cru,
mi-brule).
Le bleu de l'oxyde de cobalte est une couleur qui coute eber, etant importl\ de l'Allemange.
C'est pourquoi on l'utilise avec economie dans l'ornerrentation de la ceramique de Ia zone.
Les nuances du bleu on les ohtient par la dilution avec du kaolin (engobe).
AprC>s une premiere cuisson, Ies vases sont Mcores et enduits d'email (une couche mince, luisanie et transparente, qu'on obtient de l'oxyde de plomb: la litharge ou la gla!;ure). Celle-ci est
rr.oulue 2-3 fois et melangee de quartz et d'eau en proportion de 50% (tefneti).
L'email est ohtenu du plomh (poudre rouge), moulu et melange de sabie quartzeux de Cacica
dans Ia proportion suivante: pour 15 kg d'email on met 4 kg de sabie, on moud de nouveau le melange et on ajoute de l'eau jusqu'a en ohtenir une emulsion comme un lait plus dense.
On tourne le VM:e a la main, tandis que I'email est vers(
des \ases est plus mince que celui de l'exterieur.
a la
louche. L'email de l'interieur
Les vases emailll\s sont mis a secher, apres quoi ils sant de nouveau mis au four a une temperature d'emiron 1 000-1 200, pendant a peu pres 10 heaures. On les retire du four quand ils
sont refro idis.
Durant les 10 heurs qu'ils rcstent au four, l'email adhere par fusion a la surfare des vases,
denuant dur et incolore.
Pendant la cuisson des pots pour la fixation de ]'email, des reactions chimiques ont lieu,
qui donnent de la resistance aux parois des vases. L'email (oxyde de plomb rouge), forme de cristaux
rouges carres, provenant du plomb rechauffe a une tenperature depassant 480C, acquiert une durete accrue (9,27) et s'appelle litharge - difficilen:ent soluhle a l'eau (1/7 000); !'email (la litharge)
peut atteindre le point de fusion mcme a la temperature de 884.
La condition optimale pour la cuisson de !'email c'est une temperature depassant 900oc.
Dans ce .cas OII obtient un email luisant. Toutes les fois qu'on n'arrhe pas a cette temperature.
l'email reste sans eclat.
. Botoani, .comme procede isole relate par le potier Pomrleanu Demetre ge de 78 ans,
on rencontre la douhle cuisson de ]'email. La premiere fois a unc temprrature de 300-500 pendant
10 heures. Apres cet espace de temns, on retire les vases du four, ou les enduit encore une fois avec
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de l'~mail et on les met une seconde fois au four pendant 12 heUJl'S,

950 -- 1 000C.
une
temp~ralmt'
de
Comme rcsultat de cette doul1le operation, !'email ne s'ecaille plus a l'hun,idite, devenant
hes resistent. Ce procede n'est pas rencontrc dans le reste de la zone, pour diwrs n:olifs: hor.omie de temps, de materiaux, de bois, etc.
TYPES DE FOURS A la suite des fouilles archeologiques, on a drcouvert a Trueti et Botoani (la colline de Ctmrti), des fours pour la J:Oterie appartenant au troi~ieme siecle de notre
ere (culture Sntana-de-Mure-CerniahoY) 5 "). Le four p10prement dit ei<til fonr.e de deux chambres
superosees; dans la chambre d'en bas on alh,mait le feu et dans l'autre 011 brtlait les pots. Les
deux etaient enduites de terre glaise. Entre la chamb1e du feu et la chamb1e de cuisson il y avait
une grille perforee. La glille etait fe>ite ce plusieurs courhes de terre glai~e soutenues a l'aide de pluEieurs '<erges de bois entrelacees (Botoani). Au four no. 1 de Trueti la grille etait dressee en
terre naturelle, au-dcsous de laqulle on avait aprliquc une couche ep<1isfe de tene glaise, ayant
un pilier central de soutrnernent; la grille du four no. 2 etait appuyce a un mur median 66 ). La rncme.
grille apparat a ce four egalernent, rnds anc un autre systen;e de soutenemenP 7 ). (Pl. 18) (Fig. 12, 13).
D'apres leur forme ct le type de l'tre, les fours actuels pour la ceramique de la zone de
Botoani sont de deux categoJies 68 ).
1. Fours ay ant la forme d'un tronc de cone
2. Fours s~mi-spheroidaux-ovoides.
Les fours en forne de tronc de c6ne se di' isent a leur tour en fours en forme de tronc de
c6ne sans tre organise qui consiste eu une fosse pour la cuisson des vases d'argile, utilisee a la cal69
cination de la ceramique noi re, qu'on rencontre egalement en d'autres zoncs du sud-est de l'Europe );
il s'agit d'une fosse cremcc dans la terre, ay unt m:e profondeur de 1,50 m avec un diametre de
2.50 m qui se retrecit \ers la gueule jusqu'a 1 m. 11 a une seule rouche a feu (50 x %0 cm) cremee
dans le fosse d'acces. C'est la plus simple fo1 me de four. Dans la zone de Botoani, on ne le rencontre qu'a tefneti. (Pl. 19, 20). (Fig. 14).
Le deuxien:e type de four en forme de tror;c de cne esl rcprcsentc par le four ayunt l'tre
organisc 6 ), rencontrc dans la zone de Botoani a Hudeti, Frumuica, Rdeni. A Hudeti il s'agit
d'un four en forrre de tronc de cone, construit a la smface du wl, ayant un diametre de 1,60 a
la base et de 1,10 m en haut. Il a c!eux bouches lat~rales, l'une pour l'introduction des vases
(42 >~ 62 cm) et l'autre con;Jre "bouche a feu" (GO x 40 cm), par laquelle on introduit le bois. Au
dessus il y a un tuyau droit, haut de 3 m. A l'int(~rieur on construit, en briques, 4 rangees de
flammes d'un cote et trois de l"autre. Sur les ctes laterales du four il y a deux constructions de
forme trapboidale, cn briques, qui peuYent aYoir ou non, des bras (Fig. 15).
1 oujours dans la catrgolie de~: fours eu forn:e de tronc de cor.e, a tre organise, entre aussi
le four "a che\ aux" 61 ). On rencontre ce four a Rdeni-Frumuic[!. Il s'agit d'une fosse creusee
dans la lerre ayant une profondeur de 1,50 m, et un diun:rtrc de 2 m a sa base; le diamHre
de la bouche est de 0,60 m et un tre qui sert aussi de suppor t r:our l'arrangement des vases.
L'tre est construit en briques ayant un se-ntier au milieu. (Fig. 16).
Les types de fours les plus repandus dans la zone recherchee sor;.t les fours semi-spheroidauxo'<oides, qui a Jeur 1our Se diYi~ent en fours a tuyau ct fours ~ans tuyau, suivant la maniere dont
est dirigce la fumee" 2).
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75
Dans la zone de
tuyau
on renconlre des fours it Luyau a lludeli, Frumuica, et sans

Daral:ani, Fundu-Herri, Smrdan et Sulia. (Pl. 21 a, b).
Botoani
Lina, Rndui-Prut,
L.es fours semi-spheroidaux-ovoides sans tuyau ressrm1Ient a des amas de lerre allonges,
ce1;endant qu'en section ils onl la forme d'un oeuf" 3). Quelle en est la metho<!e de conslruclion?
On pr~pare d'abord la place sur la wrface su sol, ou l'on construit l'tre en briques; on construit
ensuite les n.urs du meme materiei. Parfois le mur est. partiellem{'nt enterre (Lina). Le four a, comme on l'a deja dit, la forme d'un oeuf renverse et <!tux bouches: la houche a feu et la bouche par
laquelle onintroduit les vases. Les louches sonl placers aux deux extremiles. (Fig. 17, 18). une
distance va riant rntre 50-60cm a partir de la };ouche a feu, a l'interieur du four, on installe
",a chevre". Elle est ronstruite en briques, a l'exlrcmite anterieure du four. La base de "la chhre"
a une longueur d'une brique et demie, son corps s'elargissant graduelh>ment jusqu'a deux briques.
"La chcvre" a d'ordinaire deux bras, formes a leur tour de d{'UX briqurs adossees au mur et
en duites ce terre glaise 64 ). (Fig. 19).
En partant de la bouche a feu, d'un eule et de l'autre de "la chC\ re", on construit, en briques, le long du four, deux senliers pour la p{netration des flamn:es. Quand le four a un tuyau,
il est place au milieu.
Les fours de Darabani et Hudeti ont des "chcvres" sans bras Quel est le rille de "la chevre"?
Le feu mis au bord du four, dCgage une chaleur qui doit ctre diffusee le plus uniformcment possible
a son interieur, "pour que les flammes arrivent sans effort aux pols"" 5 ).
Dans le quartier des potiers de Botoani on rencontre un type c\'olue de four"").
II est semblable an four "a chevre" et grille a tuyau. II est bti a la surface, ayant deux bouches
a feu et un tuyau. Ce qui differencie le four de Botoani des autres, c'est le mur, la grille a orifices
et pieds, c'est-a-dire "la chevre" ("stender''). L'air chaud peuitre a l'interieur du four par la grille
intallee vers le fonei. Par ses caracteristiques, c'est un four a re\erberation 7 ). (Fig. 18). De l'etude
de ces fours pour la ceran;ique existants dans Ia zone de Botoani, on peut tirer la conclusion
qu'ils con servent dans leur construction certains rlrments qu'on peut obsscrver deja des l'epoque
des migralions, dCcouverts a Tructi et Dealul Cnrmidftriei-Boloani, qui s'{'ncadrent eux
aussi, dans la categorie des fours a tre"~). (Fig. 20).
Les categories et les formes des recipients

Les recipients de rcramique de Ia zone etudiee revetent une diversitc de formes, conformemeni a leur fonction utilitaire. Tous ces recipienls sont utilises dans le rm'nage, pour la preparation,
la consenation et le transport des aliments. Des objets destines en geniral a l'embellissement des
habitalions, n'en furent pas confectionrs dans la zone. D'aprcs la fonclion pratique qu'ils remplissent, les recipients se divisent en: recipients rour la conservation des victuailles, recipients pour
la preparation de la nourriture, recipients pour suvir le manger, recipirnts pour le transport des
aliments, reripients pour conserver )es boissons, recipients pcur servir la l:oisson.
Dans la categorie des reciJ=ients pour ronse1ver les aliments entrent: les bocaux, Ies jatles
et les jarres, recipients volumineux (15- 20 1) et de forme adequate a la fonction qu'ils remplissent. Ainsi le bocal ou l'on conservait Ia graisoe, Clait plus pdil que la jalle, de forme ovoidale,
ayant le bord large, le col court ct la base relrccie.
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La jatte, ulili;(r pour la conservation drs legumrs saumurrrs et parfois de Ia gr<tisse, a uue
forme ovoidalr, anc lPs TaulPs rPh:msto(es sur IP1iquelles il y a dcux anses :perpendiculaires specifiques
pour Ia ceramique moldaH. La jatte est retrede vers sa base, qui est petite par rapport au volume
du recip_ient. La bouche Iarge, avec le bord lcgcremcnt retrousse en dehors, appartient egalement
au type moldave. (Pl. 22).
f:tant donnt'e la fonction de ces rccipients, ils sont emailles, le plus souvent sans ornements
(les jattes sont de couleur bJique, les bocaux etant (rhabitude colorcs de vert, rarement :JVec des
rrotifs floraux). (Pl. 23).
Les jarres (hrgaiele) wnt des H;eipients de forme cylindrique, avec deux anses sur le bord,
ayant une capacite de 10-15 1. La forme de ce recipient dont !'origine remonte dans Ia prehistoire
ctemontre etant identique a un reeipient appartenant a la Station dace Poieneti-Tecuci, ainsi que le
(hrgul" FI. B. Florr~cu dans "La rer~mique noire de .Marginea", E.S.P.L.A., 1!'58). (Pl. 24).
Le mieux representee c'est la cah;gorie des recipients rour preparer la nourriture. Surprenante ces pots c'est Ia mrme ligne des jattes, ay ant un profond filon dans la tradition de Ia ceramique locale: forme 0\'oidale, rpaules rehaussces, ou,erture Iarge, base retrccie et une petite
anse attachee au Lord.
Le pot est rmaille a l'intcrieur et a l'extcrieur, le plus souwnt sans ornements. (Pl. 25).
Les pots pour bouillir les boulcttes de viande hach(e enveloppees dans des feuilles de vigne ou
de chou, de forme ovoidale, ont deux J:e1ites anses sur le Lord et Ia base retrecie. Comme dirr.ensions, ils ont 30 cm de haut et un diarr.Ctre d'envhon 15 cm la bouche et une circonference d'environ 1 m. Autrefois le pot etait toujours prhent dans la cuisine de chaque menage et ou l'utiliEait aux fetes ou autres occasions: noces, repas mortuaires, etc. (Pl. 26).
Dans la categolie des pots pour preparer la nourriture entrent aussi les "marcotee" (pour
Ia mouture des graines du pavot), les "duruleag" (pour filtrer les ptts fards de fromage), "rvarul"
(grandc e..:uelle pour pHrir la pte) et les pots pour les derivcs du lait.
Les vases pour moudre les graines de pavot ("marcotee") etaient executes Mihileni et
Hudesti il y a 30-40 ans. Ils sont en forme de tronc de cone, avec le bord droit, la base coupee
net, hauts d'environ 15 cm, le diametre de la bouche Ctant de 34 cm et celui de la base d'environ 15 cm. (Pl. 27).
Ces va~es Il(' wnt pas emailles a l'intrrieur, ayant meme certaines irregularitcs sur Ies parois
interieurs pour rnieux realiser le broyage des graines. Ils n'ont pas d'ornements.
Les vases pour filtrer Ies ptees farcis de fromage ("duruleag") out la meme forme, Ia seule
difference que le corps tout entier est perfore pour laisser l'eau s'ccouler. Ils sont cmailles l'interieur et ne sont pas ornen:entees (din:ensions: hauts d'enYiron 15 cm, le diametre de Ia bouche
d'envi1on 34 cm et le diamrtre de la ba~e d'enYiron 15 cm) (Pl. 28).
Les grandes ecuelles pour retrir la pte ("rvarele") ont une capncite d'environ 15 1. Dans
la collection du Musee du district de Botoani il y en a un tel n;ripient date de 1903, realise a
Botoani par le potier Pomrleanu Dt;rr.itre. Il est en forme de tronc de cone, avec le bord et Ia
basc droits, cmaillc it I'intclieur ei jolirr.ent ornemt'ntr de motifs vrgetaux. Dirr.ensions: hauteur
23 cm, diamrtre de la houche 60 cm, Iargeur 4 cin, diamrtre de la base 23 cm. (Pl. 29).
Un des pots sprcifiques a la ceramique moldaYe c'est le pot pour le Iait ("puior"), de couleur noirc ou rouge, ayant la mcmc base retrecie cararteristique (,.unchi" ou "cant"), le col allonge
et la bouche large (.,usna"), Ies grands pols ayant aussi un bec ("girlici", "vran"). Ce pot a lui aus~i
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llll rlrmrnt earaelt'ristique: l'ume ("pi[JCa") petite par rapport au \'Olume du recipient. Dirnensiom;:
haultur envi1on 27 cm, dian~el1e de la bouehe environ 15 em, diamHre de la base environ 12 cm.
Ces pols wnt rm~tillrs el sans ornement!'. (Pl. 30).
La callgorie des rreipients pour le transport des alirr.ents est represeutle par "btca". Ce
J:OI n'etait praduit que par les potiers de l\Iihileni. II etait utilisc pour le transport de Ia soupe
destinee aux ouvriers agJicoles. II s'agit d'un b10c a base droite, large, au col tres etroit, a anse
petite. On versait dedans le potage aigre, on bouchait d'un bouchon de "mamaliga" et on pouvait
aimi le transporter facilerr.ent a grandes dist::mces. II etait {maille et sans ornemeuts. (Fig. 21).
Pour la conservation des boissons (le vin, la tzuica, l'eau) on utilisait les cruehes, qu'on fabrique oujourd'hui encore. Ayant une capacite de 15-20 1. de forme spheroidale carad{ristiqur,
awc un col autour de l'oriiice, la cruche a une petite anse collee au col qui est haut et le bord un
peu retrousse; la base est tres etroite. Dimendons: envi10n 35 cm de haut, hauteur du col 2- 3 cm,
dian;etre du col environ 4-5 cm, diametre de la base environ 11 on.
Les cruches etaient emaillees et joliment ornementees. (Pl. 31, 32).
Pour extraire le \in d'un tonneau on utilisait des vases au fond large, au col petit et trcs
etroit, avec une anse et ayant une capacite de 3 jusqu'a 5 litres. On les nommait "tapcani". Ces
vases etaient travailles uniquement a Mihiiileni. (Pl. 33).
Les vases dans lesquels on servait le manger etaient l'ecuelle et le plateau.
En forme de tronc de COJI(', le bord ("usna") droit, la base diOite, ('OUpre net, les rcuelles de
la zone se caraclerisent par des dimen~ions plus grandes que les ecuelles des autres n'gions du pays
(la Valachie, le Banat, etc.). Les dimensions en sant les suivantes: hauteur emiron 5-7 cm, le
diamHre de I'ouverture environ 20 cm, le diametre de base enYiron 8 cm, la largeur du bord en\'iron 2 cm. D'habitude elles sont ernaillees et ornementees. \Pl. 34).
Les plateaux an1ient la meme forme de tronc de cone, le bord droit et la base roupee net.
romme les ecueles - seulement avec des dimensions plus grandes. D'habitude ils Ctaient email!e:,:
et ornementcs. (Pl. 35.)
La tasse pour l'eau est plus petite, ayant la bouche large par rapport . son volume, la ba~e
etroite el l'anse petite. Dimensions: Hauteur environ 9 crn, diametre de la bouche emiron 9 cm,
diamHre de la base emiron 5 cm. Les tasses s'appelaient aussi "filigean" dans la zone de 1\lihi
leni. (Pl. 36).
En etudiant les formrs de la ceramique produite dans la zone de Botoani, on observe que
la tradition est respectee par la conservatiou de la ligne ovoidale et les epaules hautes (les jattes
et les pots), le l:ord etroit par rapport au corps du Ya1':e, la bouche large et l'anse petite.
En
racteristique
lement dans
(filtres); de
general, l'anse petite apparat aux jattes en position \'erticale, constituant une note capour la cerarnique traditionnelle moldaYe. Le meme caractere local est evident egala ligne des ecuelles, des "marcotee" (pots pour la mouturc des graines), des "duruleag"
rrl'me la forme en 1roJ;c de c6ne, la baEe coupee net et le bord droit rehausse.
La crramique noire produite dans la zone (pots, tasses, eruelles, "hrgait>" (jarres de forrr.e
eylindrique), etc., maintient les formPs prehistoriques 60 ).
Les pots pour le lait caille, aver des formes allongees, ont des analogies dans la rcramique
dare 7 ).
Le r{>pertoire des formes renrontrers n'est pas aussi riche qu'en d'autres zones (Banat, Oltenie, etc.), mais presente quand meme une diwrsitc qui s'encadre dans !'unite typologique carac78
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trristique a la 1\loldavir, qui prut ctre aisement saisie. (ette diwrsite apparat plus evidtJ,tr a 1\:ihileni et Botoani, ou a Ia longue se sont accumulees certaines catlgories de redpients qu'on ne
re Hontre pas ~ilie urs. Les grandes ecuelles r.our Hrir 1a pte ("rv a rele") I' ar exemple, n'etaient
travaillees qu'a Eoto~J>i, cependant que les 'a~es pour moudre les graines ("marcotee'') uniquerr.ent a Mihileni, ou l'on confectionnait aussi les tasses el les "btca" (pour le transport des alirr.ents liquides). (Fig. 22).
Dar:s la forme et la ligne de certains recipients produits dans la zone, on peut distinguer
plusieurs caracteristiques specifiques. C'est le cas de l'ecuelle en forme de tronc de c6ne qui, dans
les temps anciens avait une particularite digne a signaler pour sa forrr.e : "la thaise" (une interruption de la ligne qui donne le contour habituel de l'ecuelle).
L'ecuelle "a chaise" accentue une fois de plus l'heritage d'une lradition perpetuee jusqu'a
nos jours dans la ceramique de la zone. (Fig 23).
On peut distinguer aussi certaines differences qui apparassent d'un centre a l'autre. Ainsi
par exemple, a Mihileni on produisait des tasses a patle, tandis qu'a Botoani ces tasse en avaient
le fond aplati. (Fig. 24, 25).
En general, on peut dire que les forn-.es de la ceramiqt;e dans la zone etudire sont parfaitement adaptees a leur fonction utililaire, chaque detail correspondant a certaines necessiles pratiques.
79
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IV
L'OUNEMENTATION
Si dans le processus de la production des recipients l'homme avait le rie primordial, le travail etant difficile et demandant autant d'entendement et d'habilete, que de force physique, pour
l'ornementa1ion des vases, ou il faut du talent et de l'imagination, le travail etait confie aux femmes.
Pour l'ornementation des vaEes on utilisait les outils connus dans le pays tout entier: le
come et le pinceau.
Le corne est un corne de bete utilise .comme recipient, termine au bout par une plumE' d'oiE'.
Le pinceau est fait de quelques crins de veau attaches a un morceau de boi!".
Apres l'engobage et le sechage des pots, on commen;ait l'ornementation. Le pinceau et le
cornc s'utilisaient ensemble ou separement.
Une autre technique dans l'ornementation des vases rencontree seulement a Mihileni, c'etait
le sgraffite. Dans ce buton utilisait un style (un clou) avec lequel on egratiguait l'engobage du vase
de sorte que la couleur du fond apparasse suivant les motifs dessines. Il parat que le procede
soit emprumte a la Bu~ovine ou au Maramouresh par les potiers de Mihileni, les autres potiers de
la zone ne l'utilisant pas. La peinture mouchetee diversement coloree, l'ecoulement des couleurs,
sont autant de procedes qui appartiennent a une technique decorative nou\elle (XX-e sieclE').
(Pl. 37).
La ceramique de la zone de Botoani se distingue par une sobriete particulicre dans l'ornementation,.par comparaison a la ceramique des autres centres du pays (Horezu, Oboga, NegrE'Li-Oa,
etc.). Elle est sobre, bien dosce, sans exces, sans ajouts superflus, s'encadrant dans le style unitaire
de l'ornementation moldave par la gamme des motifs dcployes, par le caractere et la maniere propre de 1'in te rpretation.
Une note caracteristique de la ceramique moldave c'est le fond blanc sur lequel sont parsemes les motifs aeres, ayant chacun sa personnalitc (Pl. 38).
En general, dans l'ancienne ornementation on rencontre une gamme variee de motifs geometriques, basee eu particulier sur les lignes et les jeux de lignes. (Pl. 39). A cote de la ligne droite
(raie), apparat la ligne sinueuse. La ligne en spirale est appelee cn termes locaux soit "colima;on
simple", soit "colima<;on double". La ligne en zig-zag, superposee sur un registre de lignes para\leles,
est connue dans la zone sous le nom de "bande" ou "zig-zag mouille". (Fig. 26-31). (Pl. 40).
Eu dehors des motifs lineaires, il y en a egalement d'autres realises de pois. (Fig. 32, 33).
Alors qu'ils en sont groupcs differemment, ou forme les motifs connus dans la zone sous le nom
de "lunettes". (Fig. 34).
Le petit sapin apparat frequemment dans l'ornementation de la ceramique ancienne, tout
seul ou associe a d'autres motifs. (Pl. 41). (Fig. 35, 36).
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GLOSSAIRE
BITC
COL BEC
DUR
l'LEAG
FICHE
FUS
FILIGENIE
GHILEAL
GLASUR
HRGU
HRBRIE
LITARG
MAR COTET
pot de ct!ramique a col tres elroit

et petite ans<', utilise pourle trans
port de la soup<' aigre aux ouvril'rs agricol< s p<ndant Irs travaux
champetrcs
motif gcomelrique realise d'un jNI
dr lignrs courhrs (en colima~on)
vase de ceramique <'n forme de
tronc de cone, prrfore, pour l'ecoulement de l'eau
Spatule en hois de forme trapezoidale, ul ilisce par les potiers pour
le polissage de la poterie a l'exterieur
axe de transmission a la roue du
poliu (essieu)
petite tasse a OU\'l'I'[Url' large, pour
boire l'eau
ple delayee oblenue par un meiange
de terre blanche broyee <:'t d'cau
(cngoh<')
email pour les vases de ceramique
ohtenu d'un melangc d'oxyde de
plomb (Ph O) et de quarlz (si 0 2 )
qu'on trouve a l'elat amorphe dans
le sabie (gla~ure)
vase de forme cylindrique, a drux
anses, ayant une capacile de 10-15 1
quartil'r des potiers a Botoani
litharge (oxyde de plomh obtenu
par la fusion du mclal a une temperature haute, utilise dans Ia ceramiqur)
vase d< ceramique l'll forme de tronc
de c6ne' non-emaillc, utilise a la
mouture des graincs de pavot
OCHELARI
l'IPCA
PlJIOH
RYAH
kOIRE
STRAIF
motif decorat if r<'ncontre sur Ia

ceramique de la zone, realise d'une
combinaison de pois
110111 loca) donne a l'anse dl'S vas<:'~
pol de ceramiqur pour le lait,
a base etroilr, col allongc et ouverturr Iarge
nom local (tefneli) pour indiquer le pl'lit disque de Ia roue du
polirr
gra!Hl vase de ceramique pour petrir
la patc, <n forme de tronc de conr,
ayant un capacite de 15 1.
deplacement de cerlains polirrs d'un
cenlre ceramiqu<' ll un autr<, pour
pratiqn<'r aillcurs Ieur metier
mot if gcomelrique rencontre dans
la zone dans l'ornemcnlalion de Ia
c~ramique, rcalisc d'une ligne en
zig-zag sup~rposce sur un rrgistre
de lignes parallcl"s
TALGER
vase dt ccramiqu< rn forme de

tronc de c6ne (plaleau}, ayant Ia
base droitc, clroite l'l une pelilt
an se
TAPCANI
pols de c~ramique ponr Il' vin, a

pdit col clroit, ayanl um capaeile
de :J -5 1.
l.lSNA
l'ouvrrlurc
la it
l'NCHI
la hasc clroile du pol pour le lait
VERENIC
nom local
dis4ue de
www.cimec.ro
Iargc
du
(I-ludcli)
la
roue
pot
pour le
pour le petit
du
polier
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FIGURES
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12,
14,
TABLE DES ILUSTRATIONS
Mellot
Large knives
Potter's wheel
Fiches
Pot for water
Trunk
Grinding device
Painting brush
Horn
Spoons
Large spoon
13. Kiln nr. 1 in Tneti
15. Ground-hole for pots burning, tef-
Fig.
Fi!'
Fig.
Fig.
Fig.
Fig.
Fig.
16.
17,
19.
20.
21.
neti
16. Kiln with "horses". Rdeni - Frumuica

17, 18. Semi-sphero:d-ovoidal kiln. Lina
19. "Deer"
20. Kiln with reverberance. Botoani
21. Bitca - large pot for victuals
22. Repertoire of the shapes for the pots
in Botoani area
Fig. 2.\. Plate with "chair"
Fig. 24. Cup with support. Mihileni
l'ig. 22.
Fig.
Fig.
Fig.
F:g.
Cup without support. Botoani

Ornament of straight lines. Frumuica
Ornament of waved lines. Vorona
Ornament of spiraled lines. Hudeti
Simple "colbec" - ornament. Hudeti
Double "colbec" - ornament. Hudeti
Ornament entitled "ziggzagg on wt paste".
2.\.
24.
25.
26.
four a chevaux. Rdeni, Frumuica

18. Fot~r s~,mi-sphcroidal-ovoide (Lina)
"La chevre
Four a rcverbcration. Botoani
Pot de ccramique, au col tres etroit et
une petite anse, utilise pour le transport du
m:tnger aux ouvriers agricoles pendant les
travaux champ~tres
Le rcpertoire de la forme des vases de la
zone de Botoani
L'ccuelle ,,a chaise"
Tasse patte. Mihileni
Tasse sans patte. Botoani
Ornement forme de lignes droites. Fru-
muica
Fig. 27. Ornement forme de lignes ondulees. Vorona

F:g. 28. Ornement iorme de lignes en spirale.
Hudeti
Fig. 29. Colima\on simple. Hudeti

hg ..>O. Colim:t 1 on double. Hudeti
Fig ..H. Ornement "en zig-zag" execute sur une
surface h umide
F g..\2-34. Motif s pois. Mihileni, Hudeti
Fig. 35, .36. La petit sapin en deux variantes. Hu-
Mihileni
Fig. :\2, 34. Motives composed of spots.
5.
6.
7.
8.
9.
10.
11.
12,
14,
Maillet (marteau en bois)

Plane (du potier)
La roue du potier
Spatule en bois, de forme trapczoidale,
utilisce par les potiers pour le polissage de
la poterie
l'exterieur
Vase pour l'eau
Bane
Moulin
Pinceau
Corne
C:uilleres
Cuillt:res pot
13. La iour no. 1 de Trueti
15. LJ fosse pour briiler les pots. tef-
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
25.
26.
27.
28.
29.
30.
31.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
l'i~:
neti
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
Fig.
1.
2.
.\.
4.
Mihileni
Hudeti
Fig. 35, 36. Two variants of fir-tree ornament.

Sulita, Hudeti
Fig. 37. Star ornament. Botoani
Fig. 38. Sun ornament. Mihileni
Fig. 39, 40. Flowers - ornaments, Frumuica,
dia, Hudeti
Fig . .\7. L'etoile - ornement. Botoani

Fig ..\8. Le salei! -- ornement. Mihileni
Fig. 39--40. Fleurs ornement. Frumuica, Mihileni
Mihileni
Fig. 41. Fruits - ornement. Botoani

Fig. 42, 4.\. Ailes de chauve sourir. Botoani
Fig. 44, 45. Combinaison de motifs (lignes, pois,
fleurs)
Fig. 46, 47. L'arrangement de l'ornement sur les
cruches et les jarres
Fig. 48-50. L'arrangement de l'ornement sur les
ccuelles
Fig. 51, 52. L'arrangement de l'ornement sur tas,es et les pots.
Fig. 41. Fruits - ornaments. Botoani

Fig. 42, 43. Wings - ornaments. Botoani
Fig. 44, 45. Mixture of motives (lines, spots, flowers)
Fig. 46, 47. Place of the ornaments on cups and
pots. Mihileni, tefneti
Fig. 48-50. Place of the ornaments on plates
Fig. 51, 52. Place of ornaments on cups
www.cimec.ro
87
,.
'V
6~
Darabani
Hudetie[J.
J
O.Ltsna
;- []. Cnsftnesn
.
/<
Fundu-Hertii
tj Smirdan
!
r-"J;s,uiNegru
t{Jihilem
-o
\sveni
Dorohot
"BOTOSANI
O sulia
L,cotu-Rui
LEGENDA:
L
DCentre disprute
DCentre existente
Nicolae Blcescu
(-............_--:-_. __ )
1
Harta cu centrele de
ceramic
A
din zona
www.cimec.ro
l.
Js
\.l
Botoanilor.
.. /
./"".-
Fig. 1 -
Mat. r-~ntru btut lutul.
. 2 _
Ftg.
.. "f, _
hg.
Fig. 5 Fig. 3
12 _ Arta
popular
Roata
in zona
olarului.
Botoanilor
www.cimec.ro
Cuitoaie.
Fiche.
Vas pentru
ap.
000
Fig. 6 -
Lavi.
Fig. 7 -
www.cimec.ro
Rni.
Fig. 8 -
Pensul.
Fig. 10 - Linguroi
pentru vopsea.
(()
Fig. 9 -- Corn pentru nfiorat.
Fig. 11 -
Lingur
pentru
www.cimec.ro
ghileal.
Fig. 12 -- Reconstituirea cuptorului nr. 1 de la Trueti,

punctul "La Cuha" (dup FI. B. Florescn i
A. Niu}. Seciunea perpendicular pe direcia
gurii de foc.
perete de lut natural.
colacul care mpiedic prelingerea apei
n cuptor.
C
grtarul din lut cruat.
D
peretele median de sprijin al grtarului din
lut cruat.
E, E' - focriile.
F - culuoarul de foc.
G - groapa de deservire.
A
B
. . 1 :_:;
:.:~---
Fig. 13 -
Reconstituirea cuptorului nr. 1 de la Trueti, punctul

"La Cuha", de FI. B. Florescu i A. Niu. Seciune n
lungul e;urii de foc.
www.cimec.ro
--r
1,00 m
1B
l3
1
~
~
...,.
....
j
2,50m---
l;ig. 14 -
Groapa de ars vase de la
tefneti
A - peretele din lut natural.

B - interiorul.
D - scnduri care sprijin peretele .
...,
~ ~-', .~
.. .
'
;.: :..
:.A
."<5;~
1.
1
1
1
Fig. 15 -
Seciune vertical (1) i

orizontal (2) prin groapa
v:tse de la tefneti-
seqiune
de ars
www.cimec.ro
2.
..
.'
..
'
.,
'A
;4'
-
. --1
,
.L
. ' .
C'
.
'
D
fig. 16 -
Cuptorul cu doi .,cai" ele la Releni

pre;-ent nefolosit) :
;\ ----; perete ~!~,n lut natural.
Il, Il - "cau .
C, C' - focria.
D - gura ele foc.
www.cimec.ro
Frumuica
(n
Fig. 17 -
Cuptorul semisferoidal-ovoidal de la Lina (seciune vertical) :

A
peretele.
B - interiorul cuptorului.
C - gura pe unde se intror.luc vasele.
C' - gura de foc.
D - vatra.
Fig. 18 ~ Cuptorul semisferoidal-ovoicb! de la Lina (seciune

orizontal).
www.cimec.ro
Fig. 1'7
,.Capra" ntlnit la cuptorul de la Lina.
Fig. 20 -
Cuptor Je reverbera1ie.
www.cimec.ro
Botoani.
Fig. 21 -
13 -
Arta popular in zona Bolo5anilor
www.cimec.ro
Btca
'"
c
o
:-a
...
o
'V
...
o
'V
...e
..8
www.cimec.ro
Fig. 23 -
Fig. 24 -
Strachin
"cu scaun".
www.cimec.ro
Can
cu picior. Mihileni.
Pig. 25 -
Can cu fundul lat. Botoani.
Fig. 26 -
Can cu ornament realizat din linii drepte.

Frumuica
www.cimec.ro
l'ig. 27 -
Oal
de mncare ornamentat cu linii curbe. Vorona.
www.cimec.ro
hg. 28 -
Castron <Hnamentat prin mbinare de motive. Hudeti.
www.cimec.ro
Fig. 29 -
Fig. 30 -
Motivul "colbec dublu" pe un vas pentru

flori. Hudeti.
www.cimec.ro
Motivul "colbec simplu" pe un vas pentru

flori. Hudeti.
:r1 \rzt \'""='1 \ lr \\JcsS:l1 \s7z

o
4QII
Fig. 31 -- Motivul "zig-zag pe ud" pe o
www.cimec.ro
strachin. Mihileni,
Fig. 32 -
i
Mihileni.
Motive realizate din buline
linii drepte, pe o
Fig..'J -
11 -
Arta
popular
in zona
Botoanilor
strachin
Motive din buline i linii curbe,

pe o can. l-!udeti.
www.cimec.ro
Fig. 34 -
Motivul "ochelari" pe un vas pentru flori. H11deti.
www.cimec.ro
Fig . .>5 -
.
.VlOtLVu]
brclu ,
pe o
strachin
S u]'qa.
----F'Jg. 36 -
www.cimec.ro
Motivul
brd u,
pe o
can. Hudeti.
Fig. V -
Mottvul steaua, pe o
www.cimec.ro
strachin. Botoani.
l'iv,. \S -
\lotivul so.uelui. pe o
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'trachin. \1ihi\eni.
Fig. 39 -
ve~eta 1e
FrumuiCa.
Motive
pe
can.
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Fig. 41 -
www.cimec.ro
Can decorar
cu fructe. Botoani.
Fig. 42 -
Can decorat cu motivul

liliac". Mihileni.
"aripi de
(((~
Fig. 43 -- Strachin decorat cu "aripi de liliac", lloto~ani.
www.cimec.ro
Fig. 44 -
Fig.
15 -
Arta
popular
n zona
45
Botoanilor
Strachin decorat prin mbinare de motive. Mihileni
Stra.-hin
decorat
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prin
mbinare
de motive. Sulia.
fig . 46 -
D"Ispunerea ornamentelor la' u1ciOare.

.
Fig. 47 _
www.cimec.ro
D"Ispun~rea ornamentelor la h"

pun.
c IU-
Fig. 48 -
Ornament dispus pe buza strchinii
Fig. 49 -
Fig. 50 -
Motiv central dispus pe fundul

strchinii.
www.cimec.ro
Dispunerea ornamentelor n interiorul strchinii.
Fig. 51-52 -
Dispunerea
diferit
www.cimec.ro
a ornamentelor la
cni.
Pl.
1.
Strachin i can, Mihileni .
Plate and cup, Mihileni .

Ecuelle et gobelet, Mihaileni.
Pl. 2. Atelier. de olrie, Mthileni (1 jum. a sec. al XX-lea).

Potters workshop, Mihileni (tst half of 2Qieth century).
Atelier de poterie
Mihileni .
www.cimec.ro
Pl. 3-4.
Strchini i
dni, Mihileni.
Plares and cups, Mihileni.
Ecuclles er gobcles, Mihilcnsi.
www.cimec.ro
Pl. 5
Cni i strchini, Boto ani .
Cups and plates, Botosani.

Tasses et eciuelles, B~toani .
Pl. 6. Atelier de ceramic (Coop.

Progresul B o toani).
Poter's Workshop (Coop.
"progresul", Botoani.
Atelier de ceramique (Coop .
Le Progres), B otoa ni .
www.cimec.ro
Pl. 7.
Cni i oale de sarmale (ceramic neagr, tefneti).

Cups and pans for sarmals (black ceramics), tefneti.
Gobelets et pots pour les boulettes de viande hachee enveloppees
dans des feuilles de choux (ceramique noire), tefneti.
Pl. 8. Gavanoase i chiupuri, tefneti.

Vases and high tubs, tefneti.
www.cimec.ro
Pot en terre emaillee
et jarres, tefneti.
Pl. 9.
Strchini, Sulia.
Bowls, Sulia.
Ecuelles, Sulia.
Pl. 10.
Strchinoi
can, Frumuica.
~owl
and cup, Frumuica.

Ecuelles neuves et gobelets, Frumuica.
www.cimec.ro
Pl. 11.
Cni i strachin, Hudeti.
Cups and plate, Hudeti.

Tasses et ecuelle, Hudet i .
Pl.. 12. Casron, Hude ti .

Bowl, Hudeti .
Bol, Hudet i.
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Pl. 13.
Cni i oale de sarmale, Fundu - Herii.

Cups and pans for sarmals, Fundu-Hertii.
Gobelets et pots pour les boulettes de viande hachce, FunduHerei.
Pl. 14. Oale de sarmale, can, oal de mincare, Lina.

Pans for sarmals, cup, pan for food, bowl, Lisna.
Pot pour les boulettes de viande hachee, tasse, pot pour le manger,
cruche, Lina.
www.cimec.ro
Pl. 15. Atelier de olrie, Hudeti .

Potter's workshop, Hudet i.
Atelier de poterie, Hudeti .
Pl. 16. Atelier de olrie, Frumuica.

Potter's workshop, Frumu~ica
Atelier de poterie, Frum~ca .
www.cimec.ro
Pl. 17 . .Smluitul vaselor, Botoani .

Process of enamelling . vases,
~otoani.
Emaillage des vases, Botoani.
Pl. 18. Cuptor de ceramic (seG. IIIIV e.n.), Dealul-Crmid

riei, Botoani.
Ceramics kiln (century III IV e.n.), Caramidariei Hill,
Biotosani
Four pour la ceramique (siecle III - IV e.n.), Dealul C
rmidriei, Botoani.
www.cimec.ro
Pl. 19.
..
Pl. 20. Detaliu. Gura de vase a gropii, tefneti.
Detail. The mouth of vasses of the hole, tefncti
Detail. La bouche de la fosse par laquelle on introduit les vases, tefneti.
www.cimec.ro
Groap de ars vase, tefneti.

Earth hole to burn vases, tefneti.
Fosse pour bruler les pots, tefneti .
Pl. 21. a. Cuptor de ars vase, Hudeti.

Kiln for burning vases, Hudeti
Four pour bruler les vases, Hudeti.
Pl. 21 b. Detaliu - gura cuptorului.

Detail, the mouth of the kiln.
Detail, la bouche du four.
www.cimec.ro
Pl. 22. Chiup, tefneti.

High bowl, tefneti.
Jar re, tefneti.
www.cimec.ro
Pl. 23. Gavanos, Sulia .

Vase, Sulia.
Pot, Sulia .
www.cimec.ro
Pl. 24.
Hrgu, Lina.
Large vase, Lisna.

Vase de forme cylindrique a
deux anses ( hrgu), Lina.
Pl. 25 .
Oal
de mncare, Vorona
(centru disprut).
Plate for food, Vorona (cantre disappeared).
Pot pour le manger, Vorona;
(centre disparu).
www.cimec.ro
Pl. 26.
Pl. 27.
Marcoet, 1\fihilem,
Plate, Mihileni.
Vase de ceramique en forme
de tronc de cone, Mihileni.
www.cimec.ro
Oal
de sarmale, Lina.
Pan for sarmals, Lina.
Pot pour les boulettes de
viande hachee, Lina.
Pl. 28.
Duruleag,
Botoani .
J3owl, Botoani.
Vase de ceramique en forme
de tronc de c6ne, perfore,
Mihileni.
Pl. 30. Oal de lapte, Frumuica.

Bowl for milk, Frumuica.
Pot pour le lait, Frumuica.
Pl. 29. Ravar, Botoani.

Rayar, Botoani.
Grand vase de ceramique pour
petrir la pte, en forme de
tronc de c6ne, Botoani.
www.cimec.ro
www.cimec.ro
Pl. 31. Ulcior, Botoani.

Bowl, Botoani.
Cruche, Botoani
www.cimec.ro
Pl. 32. Ulcior, Mihileni.

Bowl, Mihileni.
Cruche, Mihileni.
www.cimec.ro
Pl. 33.
Can
pentru vin, Botoani.

Cup for wine, Botoani.
Pot pour le vin, Botoani.
Pl. 34.
www.cimec.ro
Strachin, Mihileni.
Ilo.
Plate, Mihileni.
Ecuelle, Mihileni.
,-
www.cimec.ro
Pl. 35. Castron, Mihileni.

Deep plate, Mihileni .
Bol, MihHeni.
Pl. 37. Gavanos decorat prin stropire cu

diferite culori, tefneti.
Bowl decorated with various colours, ~
tefneti.
Pot tachete de diverses couletrrs,

tefneti.
Pl. 36.
Cni, Sulia .
Cup for water drinking,

Petite tasse, Sulia.
www.cimec.ro
Sulia.
www.cimec.ro
Pl. 38. Can, Sulia .

Cup for drinking wine,
Tasse, Sulia .
www.cimec.ro
Sulia.
Pl. 39.
Strachin
(I jum. a sec. al XX-lea), cu decor de linii drepte i spi rale, Mih i len i.
Plate (l't half of 20i ct h ccnturv) orncJ with straight lines and spirals.
Ecuelle ( l-ere moi tie du :-.:X siecle), decorce de lignes droites et spiralcs, Mihileni.
-c
www.cimec.ro
Pl. 40. Fragment de castron decorat cu motivele colbec

simplu i ochelari, Hudeti.
Fragment of bowl decorated with motive entitled
"simple colbec" and "spectacles"
Fragment de bol decor<! de motifs en colimac;on
simple et lunettes.
Pl. 41. Fragment de strachin, decorat cu motivul brduu

lui, Botoani.
Fragment of bowl decorated with the motive of
"fir-tree", Botoani.
Fragment d'ecuelle decoree de petits sapins, Botoani .
www.cimec.ro
Pl. 42.
Pl. 43.
Strachin decorat
prin mbinare de linii, buline

flori, Sulia.
Plate decorated with lines dots and flowers, Sulta.
Ecuelle decoree d'une imbrication de lignes, de
pois et de fleurs, Sulia.
i
www.cimec.ro
Strachin decorat
cu flori i aripi de liliac,

Botosani.
Bowi decorated with flora! motives entitled "wings
of bats", Botoani.
Ecuelle decorce de fleurs et d'ailes de chauvesouris, Botoani.
Pl. 44.
Strachin
cu motiv central, Mihileni .

Plate with a central motive, Mihileni .
Ecuelle a motifs central., Mihileni.
www.cimec.ro
Pl. 45.
Cn i cu decor diferit dispus pe git i pe burt, Hudet i .

Cups with different ornament placed on the neck and middle, Hudeti.
Tasses a decor melange, d ispose su r le col ct sur le ventre , Hudeti.
www.cimec.ro
www.cimec.ro
CUPRINS
Cuvint inainte ................................................................. .

Zona
Botoanilor-
istoric ...................................................... .
Ceramica
popular
din zona
Ceramica
popular
din zona
Botoanilor
Botoanilor
istoric ................................... .
sfritul
sec. al XIX-lea ................. .
13
Ornamentica ................................................................... .
Concluzii
27
30
Note ................................ .....

Bibliografie select ............................................................. .
34
Glosar ......................................................................... .
35
a textului ................ >. ................................. .- ..

fra,ncez a textului ..................................................... .
37
Versiunea
Versiunea
la
5
7
englez
Lista figurilor
(englez i francez)
Grafic i ilustraii
31
61
............................................... .
87
............................................................. .
88
www.cimec.ro
MII IESCU
._ Tehnor"euactor:
Aprut
1981. Format 54 x 84/16.

Legate 1/1 pegamoid.
Tiparul executat la I.P. "IAI".

Plancle alb negru i color
executate la l.P. "ARTA GRAFIC" Bucureti.
www.cimec.ro

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i-,_,~-"'

.. --. ----., __. -- ~

CO}IITETUL PENTRU CULTUR

Secolul al XIX-lea 1ede o deo~ebil nflorire a olriei din zona Botoanllor.

Din punct de vedere geografic zona Botoanilor se situeaz n cea mai

procesul nchegrii triburilor proto-trace. ln apropiere, 100 puncte arheologice

Numeroasele aezri i necropole Sntana de Mure, din zon, dintre

CERAMICA POPULAR DIN ZONA BOTOANILOR

cu o ndelungat tradiie n zona Botoanilor, olritul poate

avind pasta fin, permitea realizarea vaselor cu

Ornamentica acestora, bazat pe mbinarea celor trei culori (alb, negru

Meteugul olritului poate fi urmrit fr ntrerupere in toate epocile

Ceramira descoperit n aezarea de tip "cenuar" de la Trueti ~.;i

Urme de locuire dacic din perioada corespunztoare provinciei Dacia

pentru aceast perioad este ceramica descoperit n ae

Pentru secolele II-III e.n., perioad corespunztoare provinciei Dacia,

Vorbind despre meteugul olritului pentru perioada dacic, se poate

cuprinznd vase de forme variate, excutate ntr-o manier foarte ngrijit,

cuprinznd materiale ce aparin secolelor al XII-lea, al XIII-lea

CERAMICA POPULAR DIN ZONA BOTOANILOR

Studierea ceramicii din diferite epoci ale istoriei a demonstrat nu numai

a meteugului a marcat nceputul unei perioade de

ionale rt i n privina valorii artistice a neestor produsP. Dintre centrele

A;a se explic faptul c acest ecntru a concentrat n secolul al XIX-lea

au luerat indiYidual pn ctre sfritul secolului al XIX-lea,

tot mai greu fa concurenei produselor de fabric. Treptat,

Foarte muli olari s-au stabilit la Botoani, fiind atrai de

Jn 1892, n ,.Dicionarul geografic al judeului Botoani" erau amintii

olarilor rmne oarecum constant n anii ce urmeaz, astfel

Intr-o dare de seam asupra judeului Botoani pe anul 1922-1923,

Datorit unor condiii speciale - printre care - concurena marilor

In prezent, n oraul, Botoani nu mai lucreaz nici un olar individual.

Un alt centru de tradiie n practicarea olritului, este

factori au dus i aici, ca i-n celelalte centre amintite pn acum,

este un centru vechi de ceramic, in producia

HUDETI. C'n alt centru de ceramic este Hudeti, n producia cruia

care i- a fcut atelier propriu ncepnd din 1945. Are un atelier cu 3

ln satul Lina s-a stabilit in anul 1945, olarul Caciuc Mihai (n

centrelor de ceramic pe ntreg cuprinsul

n compoziia sa elemente necesare care asigur posibilitatta ronfecionrii

Astfel, i astzi, olarii din Botoani iau pmnt din apropierea

lutul, lucrat din lemn de fag (Fig. 1).

(la tefneti) i "verenic" (la Hudeti), iar roata mare

Faze de prelucrare a materiei prime

ROATA. Tehnica de modelare a vaselor cuprinde cfteva etape. Intii

vasului se netezesc cu ajutorul pieptnului (fiche). Ultima operaie const

Pentru arderea oalelor se folo~ete lemnul de esen moale (plop, salcie,

Vasul se nvrte cu mna, n timp ce smalul este turnat cu polonicul.

erau lsate s se usuce, dup care erau date din nou la

La Botoani, ca un procedeu izolat relatat de olarul Pomrleanu Dumitru

TIPURI DE CUPTOARE. In urma spturilor arheologice s-;J.U desco

Categoriile i formele vaselor

aiimentele; vase de preparat mncarea; vase de servit mncarea; vase de

smluite n interior, nu snt ornamentale. (Dimensiunile -nlimea circa

BITCA. Acest vas, a fost lucrat numai de olarii de la Mihileni. El era

Aceste vase erau

frumos ornamentate. (Pl. 31, 32),

Pentru luat vinul de la caneaua butoiului se foloseau cni cu fundul lat,

CANA DE BAUT APA este mai mic, cu gura larg fa de volumul

n procesul de lucru al vaselor, brbatul a avut rolul primordial,

zig-zag, dispusr n errcuri conerntricr, dr la buz (usn) pn la fundul strchi

Desfacerea comercial a vaselor

Ceramica rneasc din zona Botoanilor, constituie un element de