Posted: 23.01.2025 13:22:36

Beauty from the depths of centuries

Tatiana Lapkova, laureate of the Spiritual Revival special award, promotes a rare technology of birch bark weaving

Modern Belarusians are not easily surprised by clay products. Nevertheless, the centuries-old traditions of folk ceramics are so rich and diverse that there is still room for discoveries with a touch of antiquity. Tatiana Lapkova, Head of Traditional Culture Department at the Vitebsk Regional Methodological Centre for Folk Art and a laureate of the President of Belarus’ special award for cultural and artistic figures, has been dedicated for many years to preserving and popularising the technology of weaving birch bark around pottery. The MT correspondents have learnt how our ancestors created birch bark products and how this ancient tradition has been revitalised in the present century.

Tatiana Lapkova, laureate of President's Spiritual Revival award for personal contribution to preservation and popularisation
of weaving birch bark around pottery 
technology       belta

Birch bark ‘faceting’ for clay

Tatiana Lapkova considers the revival of this technology from obscurity to be an achievement of the entire team of the centre and the ceramic artisans of the region. The tradition of weaving birch bark around pottery is appealing in its originality, being rare and unique. The specialist explained, 
“The technology was widespread in Vitebsk Region of Poozerye (land of lakes). Birch bark products were found in Miory, Sharkovshchina, Glubokoye, and Postavy districts. These regions were our focus during the technology revival, and local artisans eagerly embraced the initiative.”
BELTA

Anton Stepanishchev
Tatiana led us to the ethnographic collection, where among the familiar household items were clay products adorned with birch bark ‘faceting’. The specialist picked up the largest pot, known as a ‘stolboon’, named for its shape. Using this rarity as an example, she explained the technology, “You see this small crack inside? To save the item, it was wrapped with birch bark strips: after soaking, the birch bark tightens the cracked pot and gives it additional strength. At the very least, it could be used to store dough or loose materials.”  
Such decor arose out of necessity since people tried to preserve large clay items. Nowadays, the technology has, clearly, lost its original significance and has become a unique method of decorating clay products.  
The mugs and even the whistle with birch bark decor presented in the exhibition — as our guide recounted — are entirely modern reproductions. Interestingly, it is these small decorative items that are popular among contemporaries, often purchased as souvenirs or interior pieces.  
Currently, six craftsmen from Vitebsk Region have mastered this technology. Tatiana Lapkova noted that each craftsman brings something of their own to this ancient craft. For instance, Yelena Batarchuk from Miory creates ornamental cutouts on the birch bark strips, thereby adding her own artistic touches, while Sergei Rimdenok from Sharkovshchina District adheres to traditional methods.

Return to the people  

The craft is not as simple as it may seem. One of the first to realise this was Sergei Rimdenok. Even with his 30 years of pottery experience, achieving the perfect birch bark piece did not happen immediately. With the methodological support of the centre, theory has been transformed into two years of practice for this folk master of Belarus. Today, the ceramicist has mastered all the intricacies of ancient decoration, “The most time-consuming part is working with birch bark itself. Not every tree is suitable for harvesting; it should be knot-free, neither too old nor too young. The process is monotonous — soaking the birch bark and cutting it into strips. Only then are the pliable birch bark strips stretched around the clay item either in a circle or diagonally, depending on the chosen weaving style.”  
Sergei Rimdenok’s personal collection includes jugs, milk pots, jars, small decorative items framed with birch bark strips. He even recreated a collection of ancient birch bark pieces that he once saw at the Yasep Drozdovich Art and Ethnographic Museum in his native agro-town of Germanovichi.  
At the local Pottery House, the master is passing on his experience to the younger generation. The revived authentic technology has captivated the children just as much as their mentor. Two students have even conducted an outreach masterclass for their peers. Thus, a once-forgotten Belarusian tradition is once again being embraced by the people.

New impulse

Anton Stepanishchev
Belarusian birch bark artisans attract the attention of visitors at every ceramics exhibition in Vitebsk Region. This is noted by both the masters themselves and the staff at the centre. For many people, it remains an unusual novelty, despite its centuries-old history tracing back to the Neolithic era. Tatiana Lapkova hopes that this distinctive technology will find its place in the modern world and become a vibrant hue in the palette of folk culture. She regularly conducts masterclasses and organises exhibitions showcasing the achievements of local potters, including in Russian regions. In her promotion efforts, she also puts a stake on her new project — Potter’s School — which envisages a series of masterclasses for craftsmen from across the region in Vitebsk, followed by sessions in Sharkovshchina and Orsha districts. Our interlocutor remarked that the interest in traditional culture among our compatriots has grown in recent years, “I have been working at the centre for seven years. Judging by our visitors, I can see how interest in folk creativity increases each year. When you start to immerse people in the history related to a particular item of Belarusian everyday life or craft, they perceive the information differently.  
Only by knowing the traditions of one’s people and land can one truly love their homeland.  
Personally, I am inspired by our art, nature, and village life. I want to convey the beauty of traditional culture to as many contemporaries as possible.”

Weaving birch bark around pottery was widespread in Vitebsk Region of Poozerye — it allowed tightening cracked pots
and gave them additional strength     belta

By Natalya Ryzhkova