In this thesis, I examine the teapot as a contemporary ceramic form based on the reinterpretation of the
Slovenian pottery tradition. Since the teapot was not developed as an independent form within the
history of Slovenian ceramics, the research explores the possibilities of its contemporary formal and
symbolic reinterpretation. Craftsmanship as such is deeply rooted in tradition; therefore, through the
reinterpretation of traditional Slovenian ceramics, I explore new contemporary forms that actualize
tradition and place it within a modern context. The aim of the thesis is to investigate and demonstrate
how traditional elements such as material, form, proportions, and ornamentation can acquire a new
role in contemporary design.
The theoretical part presents the history of Slovenian pottery, its development from a rural craft to
industrialization, and its gradual decline due to new materials and technologies. It also describes
important regional centers and their characteristic forms, techniques, and decorative approaches.
Traditional ceramics were closely connected to everyday life, while their functionality intertwined with
diverse decorative approaches characteristic of individual regional environments.
Special emphasis is placed on the typology of ceramic products, where containers for food and liquids
predominate, while the teapot is absent due to the use of already made pottery for drinking tea.
In the practical part, I connect the analytical and research-based part of the thesis with practical work,
in which the teapot is understood as a new form that can combine and reinterpret elements of Slovenian
pottery heritage in a contemporary way. The production process included forming, drying, bisque
firing, and glaze firing, during which some unexpected results also occurred.
The result of the research is a unique ceramic tea set in which selected characteristics of Slovenian
pottery are reinterpreted and transferred into a contemporary design context. Traditional references are
reflected in the rounded, bulbous form, visible feet, plant-based ornamentation, hand-forming on the
potter’s wheel, and the use of local clay. The practical work demonstrated that the characteristics of
traditional Slovenian pottery can serve as a starting point for designing a new ceramic form without
directly imitating historical objects. At the same time, the research highlighted the importance of
understanding and adapting local materials and technological processes in the development of a
contemporary ceramic product.
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