Two fragments of lustre-glaze tableware excavated at the Týn merchant inn in the Staré-Město quarter of Prague, the archaeological deposition context of which may be dated into the turn of the 13th and 14th century, represent products of Andalusi pottery workshops of 12th and early 13th centuries. The route by which this tableware service came to Prague is difficult to trace. It seems most logical to link the introduction of this luxury pottery with the wave of Andalusi products, especially precious textiles, supplying the highest circles of Bohemian society roughly between 1250 and 1320. This commercial operation might have followed up the trade ventures of Andalusi-oriented entrepreneurs furnishing customers of western Europe along the Atlantic coast with luxury items originating in Andalusi production plants. An alternative to this idea is represented by the possibility that the vessels came to Prague in the baggage of some of its Jewish residents. and Dva zlomky přepychové stolní keramiky s lustrovou glazurou, nalezené při výzkumu Týnského dvora v Praze v archeologickém kontextu uloženém nejspíše na přelomu 13. a 14. stol., představují výrobky andaluských dílen almohádského období Iberského poloostrova a byly zhotoveny nejspíše ve 12. či raném 13. století. Rekonstruovat cestu tohoto přepychového stolního servisu z Andalusie do Prahy není jednoduché. Nejlogičtější řešení tu představuje myšlenka transportu v důsledku almohádského obchodu se zeměmi západní Evropy podél jejího atlantického pobřeží až do oblasti Severního a Baltského moře. Druhou a stejně dobře představitelnou alternativu představuje přivezení souboru luxusního stolního zboží některým z židovských obyvatel středověké Prahy.
One part of the theme ”ethics and folklorism” concerns the ethnologist and his/her research, the other one folklorism itself.
Ethics is not a frequented word in the other part, although this
phenomenon - because of its importance it has in the society -
would deserve it. In the dominating part of the entire phase of
folklorism, there is no extensive awareness of ethical effect of several activities. Today, it is very difficult to differ in particular regions or locations, what has survived as a relic of older
traditions, what has been included in them for various reasons, how the first arrangers, choreographers, whose results were often passed off as transmissions of original materials, proceeded at their flights of imaginations. The phenomenon that we could call as “folk culture free for use” remains big problem as well. Here we are also missing an ethica codex that, however, does not concern just ethnology. The general need for ethics in relation to cultural tradition is not deep-rooted at all by us. It is a widely social matter and it should concern cultural tradition in the legal sense of the word - not to exploit it, not to misuse it commercially, to understand it as a part of national culture. In addition to the research principles, it is thus necessary to promote generally the fact that nobody may behave destructively or unethically to cultural heritage of any nature.