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dina ima i međunarodni značaj.Međutim, grnčarstvo nožnog kola, kao deo naše kulturnebaštine nema centar za restauraciju i promocijusvojih vrednosti.Sagledavanjem okolnosti koje su uticale na majstorJovin život i stručnu praksu, možemo da pratimo idruštvene promene vrednovanja grnčarskog umeća iuzroke zamiranja i metamorfoze ovog autentičnog arhizanata.Majstor Jova se prisećao sredine u kojoj je rastao ikoja je predodredila njegovo zanimanje. Svi grnčari izPirota i okolnih sela smatrani su “Piroćancima”, što jebio sinonim za cenjenog “majstora od zanata”.Rođen je u okolini Pirota, u selu Ponor, 1943. godine.Deda mu je bio grnčar, a otac, iako nije bio grnčar,smatrao je da će taj zanat osigurati budućnost njegovogsina.Pirot je od davnina bio poznat kao “narodni univerziteti rasadnik grnčarstva”.“Piroćanci” su,tražeći posao i nova tržišsta,često odlazili u“pečalbu”. Poznati kaodaroviti i kreativni majstori,oni su svoj radvešto prilagođavali novomukusu sredine, ukojoj su neki i trajno ostajali.Tako se tradicijaprenosila, uticaji preplitali,a iskustvo bogatilonovim varijacijama.Pečalbarski životniput bio je “suđen” i budućemmajstoru Jovi.Otac ga je upisao(1958. godine) u trogodišnjuškolu učenika uprivredi, u Sarajevu, gdeje nastava trajala četiridana u nedelji, a ostalovreme Jova je radio u radionicimajstora VukašinaTošića, takođe poreklomiz okoline Pirota.Kod majstoraje i stanovao, pa je kaošegrt radio sve poslove.Mešao je glinu (iz sarajevskeciglane) u “kalnik”,ograđeni dvorišnirezervoar za glinu. Zidao je i ložio “kacaru” (peć nadrva). Naučio je da na poseban način prepozna i odredioksidacionu atmosferu u peći, pri temperaturi od oko900 - 950C. Pravio je gleđ od oksida olova. Vrteo je nanožnom točku poznate, tipične, narodne forme: zdele,ibrike, bardake, saksije, noše, kasice, dečje igračke. Zavoleoje svoj zanat kao kreativnu alhemiju. U sinergijisa glinom, na kružnoj putanji nožnog točka ( kola), otkrivaoje tajne zanata. Pod njegovim rukama, iz amorfnemase gline, izrastali su najrazličitiji oblici. Siguran usebe, uspevao je da ispuni zadatu dnevnu normu (od 30do 150 vrtenih komada, zavisno od veličine). Njegovotac nije pogrešio.Jova je proveo u Sarajevu još dve sezone u radionicamakoje su takođe držali majstori “Piroćanci”.U to vreme, u Pirotu se svakog februara, na pazarnidan, u kafani “Guševića” održavala “grnčarska berza”,gde su se skupljali majstori i ugovarali sezonske poslove.Vreme “pečalbe” počinjalo je u proleće, a završavalose krajem jeseni.Nov posao dobio je Jova u Topuskom, u Hrvatskoj,and creative craftsmen and they were able to adapt tothe taste of the new surroundings, so some of them evenstayed there for good. In this way, tradition was spread,influences were intertwined, experience was enrichedwith new variations. Jova was also destined for this kindof life.His father had him enrolled (in 1958) in the threeyeareconomy school in Sarajevo, where lectures weregiven only four days a week, so the rest of time Jovaspent working in the workshop of Vukašin Tošić, a potteralso from around Pirot.He stayed in the potter’s home, so he was obliged todo all sort of jobs as an apprentice. He stirred clay (comingfrom a brick plant in Sarajevo) in the so-called“kalnik”, a kind of clay reservoir in the backyard, fencedby wooden planks. He built “kacara” (a kind ofwood-fired kiln) and made fire in it. He learned how torecognize and determine oxidation atmosphere in a kiln,at the temperature ofabout 900-950°C. Heused to make glaze fromlead oxide. He rotated akick wheel to make familiar,typical, folkforms: dishes, “ibrik”(water jug), “bardak”,flowerpots, chamberpots, toys. He becamefond of his craft as ofsort of creative alchemy.In synergy with clay, ona circle way of a kickwheel, he discovered themysteries of the craft.His hands created a greatvariety of forms out ofamorphous mass of clay.Self-confident, he wasable to fulfill his dailytasks (30 to 150 thrownpieces, depending on size).His father was right.Jova spent in Sarajevotwo more seasons inthe workshops also heldby “Piroćanci“.At the time, the socalled“pottery market”was held every February,and on the market day,in Pirot pub of “Guševica”,gathering all the potters who wanted to make a seasonalcontracts took place. The time of “going abroad”was starting in spring, and ending by the end of autumn.Jova got his new job in Topusko, Croatia, at theworkshop of potter “Piroćanac“ Slobodan Živković,where he spent two seasons. There were five potters inthe workshop. Among usual forms (“testija” – waterdish, table dishes, flower pots), this workshop made alsocooking pots of Pirot kind, with narrow base, horizontalchanneling, adjusted to the form of old open-firecooker. After that, he found two more seasonal jobsthrough the market in “Guševica”– in Obrenovac, at thepotter Obrad Đorđević’s.The next destination was Split, Croatia, from 1969to 1977. Jova was very successful. He established notone, but two workshops and he worked for tourist market.He made a career and thought of settling down inSplit, but due to uncertain political situation, he decidedto leave.After arriving in Belgrade, he settled in part of thecity called Sremčica, built a family house and establis-181