Gumushane Dolek Stew Product Description and Distinctive Features: Pottery-making, a time-honored craft practiced for generations in the village of Dölek, holds a cherished role within the local culture. The passion for the meticulous pottery-making process and the income earned from selling pottery at summer’s end play an important role in sustaining folk traditions and stories. In this regard, there is a deep-rooted relationship between Gümüşhane Dölek Pottery and its native geographical area. Gümüşhane Dölek Pottery comprises a variety of clay vessels crafted from a blend of different clays sourced from the village of Dölek. Entirely handmade and featuring distinctive designs created by experienced artisans, these vessels include güveç (casserole), gudu (small casserole), hotlu güveç (large casserole), pot, cube, kırıs (small cube), jug, and tandır. Among them, the güveç and pot are the most frequently used. The strongest link between Gümüşhane Dölek Pottery and its region is found in the distinctive technique of combining clay sourced from six separate locations within the village limits, each situated a few kilometers apart. These areas contain different varieties of clay deposits, none of which are taken from riverbeds. The blended clay must achieve the perfect consistency to ensure that the güveç is both sturdy and long-lasting. Production Method: The crafting of Gümüşhane Dölek Pottery continues steadily throughout the year in multiple phases. Following August, the process of preparing and storing the güveç clay begins, while at the same time, production of the güveçs intended for sale the next summer is initiated. As these güveçs are dried naturally and fired, the work proceeds whenever the weather conditions are suitable. 1. Preparation of Güveç Clay: The clay used in making güveç and other pottery items is referred to as "çamur" (mud). This clay is a blend of special soils collected from six distinct locations within the village boundaries, namely Şima, Demir Meşe, Şephane, Karpuzların üstü, Ucular, and Eski Yayla. These sites have been selected through the knowledge and experience of master artisans and have been utilized for many years. The clay gathered from these six sources falls into two categories: soft mud and hard mud. Four of the sites supply hard mud, whereas the remaining two provide soft mud. The soft mud, obtained from Ucular and Eski Yayla, is characterized by its very fine texture, high moisture content, and purplish hue. Due to its sticky nature and high viscosity, it is unsuitable for making güveç on its own. Conversely, the hard mud from the other four locations is light yellow to beige in color, coarse-grained, and dry, lacking the necessary stickiness for güveç production when used alone. The mixture of hard and soft clay is roughly blended at a 50% ratio. Large stones are initially removed from the clay mixture. Then, water is added, and the clay is mixed by stomping on it barefoot, a technique known as "mud stomping." This stomping continues until the clay achieves the ideal consistency. The craftsman adjusts the texture by experience, making sure the clay is neither too firm to hold together nor too soft and sticky to shape the body of the güveç. Prior to beginning the güveç shaping process, any remaining small stones are manually extracted by kneading the clay. This step, called "elleme" locally, not only ensures the clay is evenly mixed but also removes fine stones that might compromise the quality of the final product. This careful preparation readies the güveç clay for use. 2. Güveç Making: The prepared clay described above is then used to create various pottery pieces. The essential tools involved in the production include: - Gurufa: The primary tool used to craft the güveç. It consists of a cylindrical wooden base about 10-15 cm in diameter and 5-10 cm in height. A wooden board approximately 30x30 cm is placed on top and manually rotated during the shaping process. Traditionally, these boards are made from Scots pine (Pinus Sylvestris), sourced locally from the village surroundings. - Tarak: A wooden piece with a tapered edge, employed for shaping the güveç by rubbing against the clay. - Gıranzi: A folded cloth strip about 5 cm wide and 30-40 cm long, used to smooth and polish the surface of the güveç during shaping. The gıranzi is moistened and applied to achieve a fine finish, and the güveç's mouth is carefully smoothed by pulling this cloth. - Gogoç Stone: Once the güveçs have dried for 1-2 days, this stone—sourced from the rounded stones of two streams in Dölek village—is used to smooth the surfaces, remove any rough spots, and fix imperfections from the crafting process. It is roughly egg-shaped and composed of quartz or mica. - Namlu: A metal tool approximately 2-3 cm wide and 15-20 cm long, employed to scrape away excess clay from the flat base edges of güveçs while they rest on drying boards. - Eğiş: An iron rod measuring about 2-3 meters long with one or two hooked ends, used during firing to grip and move the güveçs by holding their handles or rims. a. Güveç Making: The prepared güveç clay is molded according to the desired size of the vessel. The clay is rolled into a round coil and placed onto a wooden base with inward-sloping sides. The shaping of the güveç is done by layering the coils from inside, using one hand to support the interior and the other to form the outer walls by stacking clay columns. For larger güveçs, the base is first formed to a height of 15-20 cm and left to dry for a few hours, allowing it to harden enough to support the subsequent body. These larger versions are called "hotlu güveç." Similar methods are applied for crafting güveç, gudu (small güveç), cube, kırıs (small cube), jug, ashtray, and other pottery items. The tandır, however, is made using the same technique but in a shaded, spacious area protected from direct sunlight. The term "güveç making" broadly refers to the creation of all these items under this traditional process.