The research concerns glass glowing specimens preserved in such museums as Lviv History Museum, Historical
Museum of the town of Vynnyky, Volodymyr-Volynsky Historical Museum and Kremenets Regional Museum of Local
Lore. Although glass glowing specimens are available in the museums of historic character, they are not always properly
presented in the exposition. One of the reasons is that the craft of glass-glowing has not gained sufficient popularization in
Ukrainian historiography, despite the centuries-old tradition of glass glowing. On the territory of the Carpathian and Volyn
regions, the continuous development of glass glowing can be traced back to the XII century, and the new stage of its
development – forestry glass glowing – began in the last third of the XV century.
Of all the above museums, Lviv History Museum presents the majority of glass glowing specimens, and the most
preserved and interesting exhibits can be found in the Museum of Glass, a special department of Lviv History Museum.
Among its exhibits there are products of Univ and Korostiv glass-glowing workshops, which impress by highly skilled
production. Alongside, glass glowing products from Potelych, Lviv region and other territories are introduced here.
However, the museums face some problems with dating of glass products that fall into them, therefore the question of
interpretation and dating of the memories of glass glowing is quite acute. The same problem is with registration of museum
items: sometimes they are not listed in the museum inventory book, and therefore may eventually be lost.
Applying scientific approach to the study of glass glowing seems the most expedient. First of all, one should deviate
from the idea that it was a handicraft and primitive phenomenon. The glass products, manufactured by Univ masters and
decorated with Venetian thread, convincingly prove that local glass glowing products were not worse in quality than
European ones. And due to the search for analogies among the finds, for instance of the Polish origin, it is possible to carry
out a more accurate dating of glass glowing specimens.
The tradition started in the Museum of Glass, when glassware of contemporary craftsmen is presented alongside the
old glass, is quite appropriate, since modern masters use their ancestors’ methods of glass glowing. We consider such
experience worth following in other museums in order to popularize the craft of glass glowing as an integral part of
historical and cultural heritage.
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