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tog perioda? Koliko su bili traženi uvozni stakleni predmeti,a koliko lokalni? Kakav je bio umetnički i tehnološkinivo lokalnog staklarstva u tom periodu? Pokušaćemoda odgovorimo na ova pitanja koristeći arheološkepodatke, kao i neke analogije iz objavljenih ruskih ipoljskih radova.Pomenuti period je u naučnoj literaturi opisan kaoepoha «beloruske renesanse». Tom periodu je svojstvenveliki procvat duhovne i materijalne kulture nacije, kaoi formiranje etničke svesti i kulturne tradicije, koje su serazvijale pod uticajem zajedničkih evropskih umetničkihtendencija, ali zasnovane na čvrstoj tradiciji stareslovenske i vizantijske kulture, a u vezi sa etničkim (folklornim)izvorima.U istoriji beloruskog staklarstva, «renesansu» trebashvatiti ne samo kao sistem određenih estetskih idealaili umetnički pokret, već i u literarnomsmislu, jer taj period može da se povežesa istinskom obnovom zaboravljenestaklarske tradicije, koja potiče iz vremenaPolockog kraljevstva 2 . U suštini,ta obnova se pretvorila u ponovno rađanjebeloruskog staklarstva, jer je vezaizmeđu staklarstva XI -XII veka i staklarskeproizvodnje u XVI-XVII vekuvidljiva, možda, samo u izvesnom stilskomjedinstvu i morfologiji. Tehnološkiproces se potpuno promenio.Početak tehnologije duvanja stakla uBelorusiji obeležava XVI vek. U tom periodu,staklarska proizvodnja još uveknije raznovrsna, ali se u morfološkomsmislu vidi jak uticaj zapadnoevropskogstakla.Materijal sa arheoloških iskopavanjabeloruskih zamkova odražava pravusliku srednjovekovnog beloruskog staklarstva.Oko 50% pronađenog stakla iztog perioda pripada importima. U XV-XVI veku, udeo importovanog stakla ufeudalnim domovima prevazilazi količinulokalnog stakla (oko 2:1), ali se situacijamenja početkom XVII veka (9).Izvori stvaranja zbirki stakla u beloruskimzamkovima bili su različiti. Biloje mnogo venecijanskog posuđa, posebnou arheološkim slojevima iz XV i sapočetka XVI veka. Nalazi nemačkog,koji uključuju i češko staklo, datiraju iznešto kasnijeg perioda. Neki fragmentistakla, pronađeni prilikom iskopavanja,su rekonstruisani, što je omogućilo definisanjeumetničkih karakteristika posudai stvorilo uslove za njihovo atribuisanje.Najznačajnija zbirka stakla je zbirka iz zamka Krevo3 , iz XV-XVII veka. U njoj se nalazi grupa staklenihposuda duvana u različitim stilskim tradicijama. Posebnoje zanimljivo staklo sa kraja XV i početka XVI veka(4, 9). Među drugim posudama ovog perioda, postoji imali stakleni sud (lokalni naziv je «sklianica 4 » - visinamu je 23 cm, a dijametar 9,5 cm), duvan iz tankog prozirnogstakla plavkaste boje (slika 1).2 Stara beloruska država.3 Zamak Krevo je jedan od srednjovekovnih zamkova na teritorijiBelorusije. Godine 1385. sklopljena je tzv. Krevska unija, izmeđuPoljskog Kraljevstva i Velike Litvanske Kneževine.4 U vreme stvaranja beloruskog staklarstva, većina staklenihposuda je nosila naziv “sklianica”. Sa razvojem staklarstva i širenjemstaklarskog asortimana, pojavili su se i drugi nazivi, a termin“sklianica”je zadržan samo za neke tipove staklenih posuda, nastaleu nemačkoj tradiciji.1“Sklianica” iz arheološke zbirkeKrevo, XV-prva polovina XVI veka"Sklyanitsa" from the Krevo arcaeologicalcollection, 15-first part 16 C.depicted as an epoch of the “Belarusian” Renaissance.The expressive blossoming of the spiritual and materialabbilities of the nation, formation of the ethnic consciousnessand cultural tradition, which have been developingunder the influence of the common European arttendencies, but based on steady traditions of the oldSlavic and Byzantine culture, in connection with national(folklore) sources were inherent to this period.In the history of the Belarusian glass-making theRenaissance should be understood not only as a systemof the certain aesthetic ideals or an art style, but alsoliterally, because this period can be connected with thereal revival of the lost glass-making traditions which isrooted in the times of the Polotsk Kingdom 2 . In essence,this revival became the second birth of the glass-makingin the Belarusian lands because the connection betweenglass-making of the 11-12th centuriesand glass production in the 16-17thcenturies is shown, perhaps, only in somestylistic unity and morphology.Technological process was completelychanged.The 16th century marks the beginningof the Belarusian glassblowing. Atthat period the assortment of glasswareis not yet rich, but in its morphologythere is the strong influence of theWest-European glass.Materials of the archeological excavationsof the Belarusian castles reflectexact picture of the Belarusianmedieval glasswork. At that periodabout 50 % of the revealed glass comesfrom the import. In the 15-16th centuriesthe share of the imported glass infeudal manors exceeded quantity of localglassware (approximately 2:1), butin the beginning of the 17th centurythe situation changed (9).The sources of the formation of theglass collections in the Belarusiancastles were different. There were a lotof Venetian vessels, especially in the archaeologicallayers of the 15 th and thebeginning of the 16 th centuries. Thefinds of the German (including Bohemian)glass date from later times. Somefragments of the glass found duringthe excavation were reconstructed,which allowed us to define art featuresof vessels and was the precondition fortheir attribution.The most significant collection isthe glass collection of the 15-17th centuries from Krevocastle 3 . It includes a set of glassware blown in differentstylistic traditions. Especially interesting is theglass from the end of the 15th and the beginning of the16th centuries (4; 9). Among other vessels of this periodthere is the small glass ( the local name is “sklyanitsa” 4- height is 23cm, diameter 9,5cm), blown from thintransparent glass of bluish color (picture 1).The bowl of the “sklyanitsa” has form of a bell. It2 Polotsk Kingdom is the ancient Belarusian state.3 Krevo castle – is one of the medieval castles in the territory ofBelarus. In 1385 the Krevo Union between Polish Kingdom and TheGreat Lithuanian Principality was signed.4 During the formation of the Belarusian glass-making themajority of glass vessels was named “sklyanitsa “. With the developmentof glass-making and expansions of assortment of glasswareother names for the products from glass have appeared, and theterm “ sklyanitsa” was used only for the certain type of glass vesselsmade in German tradition47