The Istanbul Liszt Institute Hungarian Cultural Center is bringing the rich heritage of centuries-old pottery craftsmanship and ceramic art from the southern region of Hungary to the present day with a captivating exhibition titled “Local and Modern: Ceramic Art from Hungary’s South.”
Hungarian folk pottery has a storied history, with the pottery centers of the Great Hungarian Plain playing a significant role. These ceramics, carried to distant lands through fairs, markets, and traveling merchants, not only met the needs of local communities but also captivated people from faraway places. Each pottery center developed its distinctive style, and starting from the early 19th century, these styles diversified, leading workshops to produce increasingly decorative pieces.
The exhibition, which opened on Thursday, showcases a wide range of ceramic art, spanning from folk pottery to artistic styles, and explores the influences of the Ottoman Empire on Hungarian aesthetics. The opening ceremony was attended by the region’s mayor, Attila Wenner-Varkonyi, and an artist who continues this rich tradition. “Local and Modern: Ceramic Art from Hungary’s South” will be on display until September 2.
The exhibition focuses on a small but significant area of Hungary’s extensive ceramic tradition, which covers a vast geographical region. The works featured in the exhibition come from two important centers in the south: Mezotur and Kunszentmarton. These pieces share similar characteristics with ceramics from other regions, such as elegance, balanced proportions, delicacy, and a harmonious blend of form and decoration.
The ceramics are often adorned with glazes, drippings, incised and carved designs, as well as brush-painted patterns. Two renowned masters, Balazs Badar, and Kalman Bozsik, represent this region and have been influenced by Hungarian folk art and the ceramic art tradition of the Near East, particularly the tile art of Turkey. After being displayed in Hungary, the exhibition made its way to Turkey, showcasing the strong connection between these two cultures.
During the 150-year period of Ottoman rule in Hungary, numerous ceramics were brought from Anatolia to the region. The people of the Great Plain were introduced to a sophisticated and advanced ceramic culture, which left a lasting impact on Hungarian folk pottery. In the late 19th century, Hungarian ceramic workshops rediscovered the decorative arts of the East, this time through new art movements and factory products. Vilmos Zsolnay and his son Miklos, owners of the Zsolnay factory in Pecs, extensively researched the ceramic art of Muslim countries and visited various centers and workshops.
Similarly, Badar and Bozsik incorporated Western and Eastern influences while maintaining their unique Hungarian style. They were pioneers in transitioning from traditional, folk-specific pottery production to crafting high-quality ceramics in small-town conditions, leaving an indelible mark on their era and subsequent generations.
It is worth noting that this ancient tradition has persevered to the present day. Ferenc Mucsi, a master ceramicist from Kunszentmarton, enriches and perpetuates this legacy with new perspectives. At the exhibition opening, Mucsi showcased the fundamental techniques of this ancient craft on the potter’s wheel, demonstrating the ongoing vitality of Hungarian ceramic art.
The “Local and Modern: Ceramic Art from Hungary’s South” exhibition is a testament to the enduring beauty and cultural significance of Hungarian ceramics, bridging the past and the present while honoring the diverse influences that have shaped this remarkable art form.