Keramika věteřovské skupiny je považována za vrchol hrnčířské produkce starší doby bronzové. Pečlivá povrchová úprava a podobný vzhled nádob vedly řadu badatelů k předpokladu, že tato keramika je dílem profesionálních hrnčířů. Tato studie hodnotí vybraný segment hrnčířské produkce z rovinného sídliště věteřovské skupiny v Hulíně-Pravčicích, a to na základě analýzy 49 vzorků keramiky ze čtveřice zahloubených objektů. Metodika byla orientována na určení technologických a materiálových charakteristik prostřednictvím kombinace makroskopického studia s mikropetrografickou analýzou výbrusů a rtg-fluorescenční spektrometrií. Tato hierarchie metod umožňuje definovat variabilitu produkce, klasifikovat ji do produkčních skupin a vyčlenit vzorky s odlišnou proveniencí. Získaný obraz o výrobě keramických nádob na sídlišti v Hulíně-Pravčicích prozrazuje surovinové strategie orientované na lokální zdroje, které však vedly k technologicky pestré produkci členěné do čtyř hlavních skupin. Z hlediska provenience lze pouze u tří vzorků spekulovat o cizím původu. Studovaný soubor zpravidla nevykazoval pozitivní korelaci mezi typem nádoby a zvolenou technologií. Výjimku představují mísovité tvary, u nichž dominuje jediný technologický postup. V jejich případě lze uvažovat o technologické standardizaci, která může souviset s nižšími formami specializace výroby a/nebo důležitou rolí těchto keramických tvarů. V tomto případě lze uvažovat o unifikaci dílčího segmentu hrnčířské produkce. and Věteřov group ceramics are regarded as the apex of Early Bronze Age pottery production. The meticulous surface treatment and similar appearance of the vessels have led many scholars to assume that these artefacts are the work of professional potters. This study evaluates a selected segment of pottery production from the lowland Věteřov group settlement in Hulín-Pravčice, based on the analyses of forty-nine pottery samples from four sunken features. The resulting vivid image of the production of pottery vessels at the settlement in Hulín-Pravčice reveals a raw material strategy aimed at local sources, leading however to technologically rich production divided into four main groups. A foreign origin can be considered for only three samples. The studied assemblage generally did not show a positive correlation between the type of vessel and the production technology. One exception are bowl-shaped forms, for which a single technological process is dominant, and it is possible here to consider technological standardisation related to lower forms of specialised production and/or an important role for these pottery forms. In this case it is possible to speculate on the unification of one segment of pottery production.
The diversity of colours is one of the most typical features of vernacular architecture. The submitted study deals with the research on the use of ultramarine on the Pannonian type of folk house, which could be found in central, southern, and south-eastern Moravia. The authors primarily proceed from the younger shift of the house. This featured, among other things, mainly the original transformation of stylistic elements, the façade segmentation, and the diversity of colours used on the frontages of residential buildings. Blue pigments were only barely available by the early nineteenth century, especially in the rural environment. The use of blue pigments flourished in vernacular architecture only after 1828, when the technique for the production of ultramarine was published. This was followed by industrial production of this pigment. The technique for the production of ultramarine, applied in the past, is described e. g. in the publication Tovární výroba barev [Factory Production of Dyes] by Jaroslav Milbauer from 1926. The treatise interconnects the cultural-historical and the technical level of the phenomenon under study. The material-analytical section is based on ethnological field research and an analysis of historical plasters using both physical-chemical methods of their identification and the knowledge of material engineering. Ethnological knowledge thus acquires a completely new dimension, and it is supplemented by new conclusions. At the same time, it is also a detailed analysis of the structure of ultramarine currently acquired on our market and an attempt at its laboratory synthesis. The result of the presented experiment with the production of blue pigment can be beneficial in practice for restoration purposes and professional analysis of historical plasters.