BUBNIVKA CERAMICS: The Legacy of Ukrainian Pottery

Photo source: Ivan Honchar Museum. Plate, 1999 / honchar.org.ua

Bubnivka ceramics represent a distinctive tradition of Ukrainian pottery and ornamental painting on ceramic ware, originating from the village of Bubnivka, which was founded in an area rich in clay deposits. This art form has become one of the symbols of the Podillia region.

In May 2018, Bubnivka ceramics were included in the National Inventory of Elements of the Intangible Cultural Heritage of Ukraine. Two neighboring villages — Bubnivka and Novoselivka (originally named Honcharivka) in the Haisyn district of Vinnytsia region — remain important centers of this craft, preserving the traditions of their ancestors.

BUBNIVKA: A VILLAGE BORN OF CLAY

he history of Bubnivka is closely tied to pottery. In the 18th century, the lands along the Sob River, owned by Count Stanislaw Potocki, were unsuitable for farming due to poor soil quality. Still, the count ordered his stewards to survey the area, and they discovered deposits of pottery clay — a valuable resource.

To make use of this asset, Potocki arranged for 30 pottery families from Uman to be relocated to the area and provided them with housing. This marked the beginning of the local craft’s development, which eventually brought fame to the village, turning pottery into a family trade for the people of Bubnivka.

One of the first artisans was Semen Honchar, and his son Andrii (1823–1926) became a key figure in the history of Bubnivka ceramics. A tall and strong young man, he almost lost his life due to a conflict with the estate steward — supposedly because he was courting the steward’s wife.

When the steward found out, he threatened Andrii, who then fled to Haisyn. There, he apprenticed with the renowned master Syla Zherdenivskyi. For three years, Andrii perfected the craft of making glazed and painted pottery, eventually returning to his native village.

TECHNIQUE AND COLORS OF ANDRII HONCHAR

Andrii Honchar became famous for his decoration of ceramic pieces in white, green, and black — colors that became the hallmark of Bubnivka ceramics. These hues did not carry symbolic meaning; rather, they were chosen for their accessibility. White was produced by mixing red clay with white clay; green came from ground copper scale mixed with water and clay; black was made from iron filings collected from local forges. Bubnivka ceramics are also known for their rich ornamental patterns, combining floral and stylized decorative motifs.

Traditionally, the painting was done with a horn (in earlier times) or a rubber bulb (since the mid-20th century), which allowed for the creation of intricate compositions with diverse details. The glaze painting technique gave the ceramics depth and vibrant color.

Andrii Honchar employed 12 workers, who produced up to 100 bowls a day. Since he was illiterate, he kept records with tally marks. After the abolition of serfdom, he freed his workers, generously rewarded them, and opened a pottery workshop, founding a unique school of Bubnivka ceramics.

FROM MASTER TO PATRON

Andrii Honchar left behind not only a legacy of ceramics but also a reputation as a patron. A wealthy man, he leased mills and supported large families by distributing flour free of charge. Deeply religious, Andrii Semenovych made multiple pilgrimages to Jerusalem and never missed a church service in his native village.

At the time, Bubnivka had a small chapel that drew people from three neighboring villages. During one crowded service, someone stepped on Honchar’s foot. Irritated by the cramped conditions, he decided to build a large church. He financed the project, found skilled builders, and commissioned the iconostasis from Mount Athos in Greece.

Transporting it was no easy task — it arrived first by ship, then by train, and finally by ox cart to the village. In 1891, the Novotroitska Church was consecrated in Bubnivka. Naturally, Andrii Semenovych requested to be buried on the church grounds. He lived to the age of 103 and remained active into old age, often walking through the village saying, «God, grant me health».

THE HERASYMENKO DYNASTY: A LEGEND OF BUBNIVKA POTTERY

Throughout his life, Andrii Honchar mentored many apprentices. In Bubnivka alone, 28 pottery families learned the craft under his guidance. Among them was Ahafon Herasymenko (1850–1925), whose contribution proved pivotal to the development of the Bubnivka style.

Elders recalled that Ahafon was known not only for his skill but also for his speed — he could create a large vessel in just a few moves. The craftsman had 14 children, but only three survived: Yakym, Yakiv, and Tetiana. The family lived modestly, so Ahafon decided to involve his sons in the craft from a young age.

He first began passing on his skills to his eldest, Yakym, and soon noticed the boy’s talent for shaping clay on the wheel. Later, Yakiv joined the family craft, showing a particular flair for painting. «From our old father, we learned the technique of outlining patterns on raw clay. He taught us how to apply the paints, fire the pottery in the kiln, and coat it with glaze. But most importantly, he taught us to love drawing traditional Ukrainian ornaments», Yakiv Herasymenko later recalled.

The golden age of pottery in Bubnivka and Novoselivka came in the 1920s and 1930s. At that time, almost every household in the area owned pieces crafted by the Herasymenkos. What captivated people most was the artistic painting of their ceramics. The Herasymenko brothers didn’t merely replicate ancient folk designs — they reimagined them, adding new elements and motifs.

Back then, resellers traveled through villages, purchasing beautiful items to sell in Kyiv. There, experts recognized the value of the Herasymenko brothers’ work and invited them to join a workshop at the Kyiv-Pechersk Lavra, where Ukraine’s finest artisans worked. The brothers spent two years refining their skills at the Lavra school.

The uniqueness of Yakym and Yakiv’s works brought them international recognition. In the 1930s, their ceramics were exhibited in Montreal, Paris, London, New York, and Moscow. In 1935, they took part in the First All-Ukrainian Exhibition in Kyiv. Still, the brothers chose to return to their native village.

In the 1960s, a ceramic art workshop opened near the church in Bubnivka, led by the Herasymenko brothers. The work was labor-intensive: clay was kneaded by hand, and the kiln was fired with wood and diesel. In a separate room, Yakiv and Yakym created unique pieces, deliberately avoiding mass production. They passed their craft on to their niece, Frosyna Mishchenko (1926–2021).

HERASYMENKO BROTHERS’ HOMESTEAD MUSEUM

In 1988, the Herasymenko Brothers’ Homestead Museum was opened in the village of Novoselivka, housed in Yakym’s former home, preserving the family’s legacy. Long ago, neighbors would gather in Yakym’s yard in the evenings, and his wife used to say, «You’ll see — one day many strangers will come here». And she was right.

Since 1991, the museum has been run by Tetiana Shpak, a Merited Folk Artist of Ukraine. It houses the works of Yakym and Yakiv Herasymenko, Frosyna Mishchenko, and contemporary artisans. Tetiana Shpak continues the tradition, adding her own style to the Herasymenkos’ motifs. In her home studio, she creates unique pieces that are now part of private collections around the world.

BUBNIVKA CERAMICS: FROM TRADITIONAL LIVING TO MODERN LIFE

Above all, Bubnivka ceramics reflect the everyday life of Ukrainians. In the past, there was no alternative to clayware. Pots of various sizes served daily and ceremonial purposes, with each vessel having its specific function: unique dishes for varenyky, wedding plates for ceremonial bread, kumantsi for serving drinks, and postavtsi — lidded bowls used for ritual dishes like kutia and kolyvo.

Large, unpainted bowls were made for washing hair with herbs. Every household owned a porosiatnyk — a sizeable bowl with a handle used to carry a baked piglet to church for Easter blessings. Big baniaky stored water and beverages like the traditional cherry and plum infusions vyshniak and slyvniak. Children carried water to their parents in the fields using twin-lidded cups called horniatka-blyzniatka.

Today, Bubnivka pottery remains relevant, though its meaning has evolved. It now blends practicality with cultural value, serving both as household items and decorative pieces. These ceramics are making a comeback in families that value sustainability and natural materials. Increasingly, they are featured at contemporary weddings and festive events, bringing a distinctive touch to traditional rituals.

Nowadays, Bubnivka ceramics seamlessly merge past and present, remaining not only utilitarian objects but also a form of art that reflects the soul of the Podillia region.