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usko staklarstvo aktivno razvijalo. Beloruska proizvodnjastakla bila je pod snažnim uticajem poljske i nemačketradicije tog perioda i često se služila njihovimoblicima u kreiranju domaćih modela. To deluje potpunoprirodno za jednu zanatsku delatnost koja je tek počinjalada se razvija i još uvek nije posedovala sopstvenotehnološko i umetničko iskustvo.Prisustvo stakla iz poznatih evropskih staklarskihradionica u ovim zamkovima, govori nam ne samo oprosperitetu i materijalnim mogućnostima svojih vlasnika,nego i o njihovom kulturnom nivou i umetničkomukusu. Međutim, importovani sudovi nikada nisu korišćeniu svakodnevnom životu. Bili su veoma skupi, delikatni,lomljivi i smatrani su luksuznom robom.Većina beloruskih plemića se iz tog razloga višeopredeljivala za zlato, srebro, kalaj (u zavisnosti od materijalnesituacije), a upotrebljavali su i staklo iz domaćihradionica. Od kraja XVI veka, uloga domaćeg posuđaznačajno raste u porodičnoj svakodnevici. Tokom togperioda, u beloruskom staklarstvu jasno se razlikujudve oprečne tendencije. S jedne strane, očigledna je težnjalokalnih zanatlija da se približe priznatoj zapadnoevropskojtradiciji, ali s druge strane – prisutna je i željada stvore sopstvenu umetnost, kao što već postoji iindustrijska tradicija.Prvi pravac otelotvoruju sledeći aspekti: kopiranjeizvesnih tehnoloških recepata, održavanje evropskih kanonau morfološkom i stilističkom smislu, bar kad se radio kopiranju poznatih primeraka.Od lokalnih proizvoda sa kraja XVI veka, postoje cilindrične«sklianice» od tankog stakla, sa bazom ili beznje, nastale pod uticajem nemačkog posuđa, kao što su«keulenglass», zatim dvostruke čaše i čaše za liker, čijasu tela istog oblika kao i njihove baze, a spojene su uzpomoć dve ili tri «jabučice» (Slika 2).Slične posude su nalažene na celoj teritoriji Belorusije.Važnoje napomenuti da su dvostruki sudovi izuzetnorašireni u beloruskoj umetnosti i zanatstvu. Prisutnisu u keramici, kod metalnih tanjira, stakla u različitiminterpretacijama, a to možda nije posledica samo tehnološketradicije, nego i određenog beloruskog mitološkogshvatanja sveta (tzv. «dvojni mit»).«Sklianica», kao jedan od najraširenijih tipova lokalnogstaklenog posuđa XVI i prve polovine XVII veka,javlja se u dva oblika: 1.) cilindrična, na visokoj cilindričnojbazi (dijametra od 5,5 cmdo 9 cm), od prozirnog, bezbojnogdo zelenkastog stakla i 2.)cilindrična, na bazi od talasastepletenice (dijametra 6-9 cm).Ovi tipovi «sklianice» su najbrojnijiu arheološkoj zbirciMir (7; slika 3).Oblik «sklianice», iako pozajmljen,bio je veoma popularanmeđu lokalnim stanovništvomi preživeo je sve do XVIIIveka. Do tog vremena promenilase samo veličina posuda,kao rezultat prelaska sa posuđaza masovnu upotrebu na sudoveza induvidualnu upotrebu.«Sklianica» se lako prilagodilauslovima lokalnog života.To je bilo moguće zato što jepostojalo saglasje sa tradicionalnimoblicima metalnog ikeramičkog posuđa. Osim toga,takav oblik bio je uslovljeni najraširenijim vrstama3Fragmenti “sklianice”,prva polovina XVII vekaFragments of "sclyanitsa",first part of 17th centurycharacter of painting on the walls of the “sklyanitsa”bythe found fragment. That would, certainly, lead to moreexact definition.Thin fragile liqueur glasses from Venetian “cristallo”,the fragments of which make a rather significantgroup in the Krevo archeological collection (about 20 %from all import glass), were executed in the Venetianstyle. The rest of similar vessels are also found amongarcheological materials of castles in Mir 5 andGalshsny 6 (8; 9).In the archeological layers of the end of the 16 th -thebeginning of the 17 th centuries in Krevo and in the territoryof other castles, fragments of German and Polishvessels are found. They are represented by slices oftransparent greenish glass with spinous modeled decor,painted fragments of glass, fragments of legs of glassesand wine-glasses, analogies of which we can meet inscience works of some Polish researchers (11). However,it is rather hard to define the percent of the Polish andGerman import at that period, because at that time theBelarusian glasswork developed actively. The Belarusianglass manufacture was under strong influence ofthe Polish and German traditions of the time and oftenused their forms for the modeling of their own vessels.That seems quite natural for craft which was just startingto develop and still did not have its own technologicaland artistic experience.The presence of the glassware from the known Europeanglass workshops in these castles, as a rule, tell usnot only about the prosperity and financial capability oftheir owners, but also about their cultural level and artistctaste. However, the imported vessels were neverused in everyday life. They were very expensive, delicate,fragile and were considered luxury goods. The majorityof the Belarusian noblemen for this reason preferredgold, silver, tin (depending on their material prosperity)objects, and also used glassware of local manufacture.From the end of the 16 th century the role of localvessels considerably grows in family life. During thisperiod in the development of the Belarusian glassworkthere were expressively shown two opposite tendencies.On one hand, the aspiration of local handicraftsmen tojoin the recognized West-European experience was obvious,but on the other – their desire to create their ownart - industrial tradition was also present.The first direction finds the embodiment in the followingaspects: copying of the certain technological recipes,the maintenance of the European canons in morphologyand stylistics of glass, at last, in usual copyingof well-known samples.Among the local products of the end of the 16 th century,there are thin-walled cylindrical “sklyanitsas” onpallets or without them, made under the influence ofGerman vessels such as “keulenglass”, and also doubletglasses and liqueur glasses, whose bowls were equivalentto their pallets and incorporated with the help oftwo or three flattened “apples” (Figure 2). Similar vesselsare found throughout the territory of modern Belarus.It is necessary to notice, that the idea of doubletvessels is extremely distributed in the Belarusian artsand crafts. It is present in ceramics, metallic plate, glassin different interpretation and it is caused, probably, notonly by technological tradition, but also by some mythologicalconcept of Belarusian people about the world5 Mir castle – is the most famous between the medieval castlesin Belarus, the property of the magnate family Radzivils, the monumentincluded in the World List of Cultural Heritage of UNESCO.6 Galshsny castle is the castle of 16-18th centuries in the northwesternpart of Belarus, the property of the Belarusian magnatefamily Sapega.49