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pića među lokalnim stanovništvom – pivom i medovinom.Kada je započeta lokalna proizvodnja stakla u XVIveku, još uvek je bilo teško govoriti o bilo kakvom umetničkomstilu u osobinama staklenog posuđa. Moguće je,međutim, pouzdano govoriti o renesansnim tradicijamau beloruskom staklarstvu tog perioda, paralelno tragajućiza organskom vezom između lokalnog staklenog posuđai nacionalne tradicije. Racionalizam, simetrija pojedinačnihdetalja oblika, rafiniranost linija, plitak dekor –tipično renesansne osobine, ali zna se da one karakterišui belorusku umetnost, kao poseban fenomen.Epoha renesanse uvela je modu stakla slikanogemajlom. Beloruski staklari veoma brzo su prihvatiliovakvu dekoraciju i postigli značajne rezultate. Mnogizapisi u dokumentima XVI-XVII veka i arheološki podacisvedoče o tome. Primerci posuda oslikanih vegetabilnimi geometrijskim ornamentima prisutni su u arheološkimzbirkama Mira i Golšanija (7, 8).U prvoj polovini XVII veka u beloruskom staklu suvidljive neke stilske karakteristike baroka. Kao najdemokratičnijistil po svojoj prirodi, on je vrlo brzo prihvaćenu umetnosti koja je već bila jako bliska narodnojtradiciji. Preciznije rečeno – desila se originalna «folklorizacija»baroknog stila. Asortiman staklenog posuđa seveoma proširio, a u morfološkom smislu, pojavili su sepravi narodni figuralni i simbolistički motivi, koji su uspešnoinkorporirani u barokni simbolizam (slika 4).Osim tradicionalne «sklianice», u tom periodu se pojavilomnogo novih naziva za stakleno posuđe: «sklinka»(manja «sklianica»), «kelič» (čaša), «kilišak» (vinska čaša),«kvart» (tetraedralna boca), «kufal» (šolja) i dr.Barok je u značajnoj meri obogatio dekorativni sistembeloruskog stakla. Poseban akcenat je stavljen naplastičnu dekoraciju – modelovane baze, modelovane dekorativnetrake i pletenice na zidovima sudova, medaljonii pečati. Razvilo se i slikanje emajlom, posebno cenjenozbog mogućnosti izvođenja figuralnih predstava iraznovrsnih kompozicionih mogućnosti. Prave linije uornamentici postepeno su zamenjene talasastim obodima,a ispupčena dekoracija (slika 4) dobija na značaju.Renesansa je dala izvesne impulse širenju staklarstvau beloruskim zemljama. Kada je počela epoha baroka,stvorili su se uslovi za formiranje beloruske proizvodnjei umetničke škole. Ovi procesi se vezuju za XVIIi XVIII vek. Taj period je karakterisalo stvaranje staklarskihcentara, posebno na istoku Belorusije, zatim istraživanjau oblasti morfologije, tehnološka otkrića,stvaranje originalnog estetskog pristupa, kao i lokalnaumetnička škola.Stakleni predmeti i prozorska okna postali su uobičajenapojava u beloruskim gradovima u XVII veku, astakleno posuđe nisu koristili samo vlasnici feudalnihzamkova, već i niže plemstvo i gradsko stanovništvo.Na feudalnim posedima tog perioda, stakleno posuđedomaće proizvodnje postaje uobičajeno i predstavljajedan od atributa svakodnevne kulture.Jednostavnost i tradicionalni karakter oblika, dijalektičkojedinstvo korisnog i lepog, izražajnost i istovremenouzdržanost i skromnost dekoracije – sve ove osobinevezuju belorusko kasnosrednjovekovno staklo sanarodnom umetnošću. To je prirodan fenomen, s obziromda je do XVIII veka većina staklarskih radionica nabeloruskim teritorijama bila okrenuta lokalnim kupcimai zavisila od njihovog ukusa. Međutim, sklonost katradicionalnog kulturi pružila je beloruskim staklarskimproizvodima XVI i XVII veka stilističku i morfološkuoriginalnost, koja se naknadno jasno očituje u karakterustaklenog posuđa čuvenih manufaktura porodiceRadzivil, u XVIII i XIX veku.50(so-called “twin myth”).“Sklyanitsa”, as one of the most widespread type oflocal glassware of the 16th-first half of the 17th centuries,had two forms: 1. cylindrical on the high cylindricalpallets (diameters from 5.5cm up to 9cm), blownfrom transparent colorless and greenish glass, and 2. cylindricalon the pallets formed from wavy plait (diametersof 6-9 cm). These types of “sklyanitsa” prevailed inMir archeological collection (7) (Figure. 3).The form of “sklyanitsa”, though borrowed, was verypopular among local population and existed till the18 th century. By this time only the size of utensils changedas the result of transition from vessels of massiveuse to vessels for individual use. “Sklyanitsa” easilyadapted to the conditions of local life. It was possiblebecause it did not contradict the traditional morphologicaldesigns in metal and ceramics. Besides, such formwas caused also by character of the drinks most widespreadamong local people – beer and mead.In the 16 th century when the local glass manufacturestarted, it was still difficult to speak about the existenceof any art style in the characteristic of glassware.It is possible to speak with confidence about the Renaissancetraditions in the Belarusian glass of this period,simultaneously finding the organic connection betweenlocal glassware and national tradition. Rationalism,symmetry of separate formal details, delicate refinementof lines, low-key decor – typically Renaissance features,but it is known that these features characterizethe Belarusian art as a phenomenon.The epoch of the Renaissance has brought the fashionof painted enamel glass. The Belarusian craftsmenvery soon accepted such decoration and reached significantresults in it. Many records in the documents of 16-17 th centuries and the archaeological data confirms this.The examples of painted vessels by vegetative and geometricalornaments are found in the archeological collectionsof glass in Mir and Golshany (7; 8).In the first half of the 17 th century in the Belarusianglass there are some stylistic features of the baroque. Asthe most democratic style in its nature, it was ratherquickly embodied in art which had already been veryclosely connected with folk tradition. More precisely - itbecame original “folklorization” of the baroque style.The assortment of glassware has considerably extended,and in morphology of vessels there were truly nationalfigurativeness and symbolism which were successfullyincorporated in the typical baroque symbolism (picture4).Except for traditional “sklyanitsa” there were manynew names for the designation of glassware: “sklynka”(small “sklyanitsa”), “kelich” (glass), “kilishak” (wine-glass),“quart”(tetrahedralbottle),“kufal”(mug), etc.at that period.Baroque has considerably enriched the decorativesystem of the Belarusian glass. Special value got theplastic decoration: modeled pallets, modeled decorativestrips and plaits on the walls of vessels, medallions andstamps. The enamel painting on glass developed. At thattime it was adored for its figurativeness and diversity ofcomposite possibilities. The straight lines in the ornamentof vessels are gradually replaced by wavy rims, thegreat value is given to the extruded decoration (Figure4).The Renaissance gave certain impulse to the distributionof glass-making in the Belarusian lands. Whenthe baroque epoch started there were conditions for theformation of the Belarusian manufacture and artschool. These processes chronologically refer to 17-18 thcenturies. That period was characterized by the crea-