The turbulent process of establishment and growth of the new capital at Preslav stimulated the development of many techniques in decorative art. It also brought about the appearance of a new technique in Europe - the technique of artistically painted ceramics. It was used for decorating shrines and luxury buildings. This Preslavian art was borrowed from the Middle East and it spread very quickly. This was due to two preconditions - the extreme necessity of effective architectural decoration and the availability of large quantities of raw material: white-clay, which allows bright hues of color. The collection of white-clay painted ceramics of the “Veliki Preslav ” Archeological Museum provides the opportunity to trace the model diversity of the articles and the process of its technological development. The curious fact is that similar manufacturing techniques appeared in Constantinople, too, but at the end of 10^th century and the beginning of 11th century. Experts invariably attribute this fact conquering of Preslav in 971 and consequent borrowing of this technology.

Here follow some examples from the collection which helped make Preslavian artistic style popular far beyond the borders of Bulgaria.
 

It was found in 1909 while excavating the St. Panteleimon monastery near Preslav. Yordan Gospodinov, who found the extraordinary artifact, spent months restoring it before it was finally ready for display around November 1911. There were discussions over which saint the icon represented. As a result, the tablets inscribed with “St. Theodore” were taken out of the restoration work. The monumental character of the image was accomplished through the use of square tablets - 12cm squared. The lines show the confidence of the artist and his subtle sense of colors, both of which demonstrate his talent. We will never know whether he was a Bulgarian who mastered iconography in another place or if he was a foreigner who had come to Simeon’s court to teach his craft. Regardless, what he left is a true masterpiece, which survived through all the centuries so that it could fill with admiration true connoisseurs of invaluable artifacts.

Palace Monastery Altar Partition (Iconostasis) - 10th c.

This is the largest and most important monument because it represents the mature period of Preslavian ceramic iconography. Most of its details were found in the ruins of one of the monastery studies. Other parts were in the waste pit, which means that the iconostasis was most probably being constructed during the conquest of Preslav. The frame of the partition consists of pseudocolumns that are connected in their upper part with arches. The empty space between the arches is occupied by trapezoid and triangle figures. All elements are richly decorated with geometrical figures, lilies, the popular “peacock’s feather,” and stylized palm leaves. Most interesting, however, are the tablets with icons, which fill the space between the columns under the arches. There is no doubt that the very well preserved icon of Jesus sitting on a lyre - shaped throne, occupied the central part of the composition.
 

The floor tiles were produced in a ceramic workshop in a monastery in the area of Tuzlaluka. They were colorfully and richly decorated with plant and geometrical details. It became clear from the findings in the monastery church that they were inlaid in solid limestone slabs in holes, which were carved in advance.

The slabs were square and rectangular in form with rich representation of various images. They formed wall decorations  with infinity motifs and were a part of the interior decoration. Displayed here are the familiar designs depicting birds and the blossomed cross. This kind of decorative fragments are usually square, 6x6cm in size.

This luxurious bowl is made of white clay and it has the image of the mythical griffin (body of a lion with the head and wings of an eagle).  The whole image is surrounded by a strip of an infinity motif of uneven lines, which adds to the effect of the sunny symbolism of the griffin.

The prototypes of this uniquely shaped bowl are perhaps the metal oval bowls (7th - 8th centuries), which were found in Madara in the Treasure of Nadu Sent Miklosh. However, the prevailing motifs are from Christian symbolism: a duck, a peacock, and a wide strip of peacock feathers. All this corresponded to the taste of the aristocracy in the capital during the 10th century.

Bowl with a lion image - 10th c. - A citizen site in Selishte ("The Settlement")

This model of excellence and mastery of technique is made of white clay and could be taken as an illustration of continuity between proto-Bulgarian and Preslavian artistic style (both Christian in essence). The animal is represented in protruding relief with true proportions and head, unusually turned full face, which is stylistically close to the Madara rock relief.