https://zbiory.etnologia.uw.edu.pl/files/original/667e3a3b1d895c6873d42024afa68823.pdf 9d07267c3d5ff618911a79a9987d95c5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lud Publisher An entity responsible for making the resource available Polskie Towarzystwo Ludoznawcze Rights Information about rights held in and over the resource Licencja PTL Format The file format, physical medium, or dimensions of the resource pdf Language A language of the resource pol Type The nature or genre of the resource czasopismo Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Relation A related resource oai:cyfrowaetnografia.pl:publication:4437 Date A point or period of time associated with an event in the lifecycle of the resource 1976 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:4128 Title A name given to the resource Summary of articles / Polska Sztuka Ludowa - Konteksty 1976 t.30 z.3-4 Description An account of the resource Polska Sztuka Ludowa 1976 t.30 z.3-4; s.252-254 Language A language of the resource pol Publisher An entity responsible for making the resource available Instytut Sztuki PAN Format The file format, physical medium, or dimensions of the resource application/pdf PDF Text Text capture metadata for PDF documents Text S U M M A R I E S U M M A R Y K s a w e r y P i w o c k i — FOLK S O F CARVINGS T h e a u t h o r gives a s y n t h e t i c o u t l i n e o f o l d P o l i s h f o l k car­ vings destined above a l l for f o r e i g n readers. I n his o p i n i o n f o l k c a r v i n g s are a f i e l d o f P o l i s h a r t t h a t reflects m o s t f u l l y t h e na­ t i v e character of Polish art. I n the 14th a n d 15th century there was a rich development o f Gothic carving o f an expressive a n d decorative t y p e i n the Silesian a n d M a ł o p o l s k a regions. T h i s w o r k was the p r o t o t y p e for later f o l k c a r v i n g s . W h e n , a b o u t 1500, Renaissance a r t c a m e t o P o l a n d the Gothic c a r v i n g workshops c o u l d n o t cope w i t h the demands of the new ,,learned" art and began to move into the provinces a n d w o r k for the simple people. I n P o l a n d the Renais­ sance s t y l e w a s a d o p t e d a b o v e a l l b y t h e h i g h e r classes. T h e p e a s a n t s r e g a r d e d i t as , , a n i n v e n t i o n o f t h e n o b i l i t y " , a n d t h i s w a s u s e d as a n a r g u m e n t b y t h o s e p r o p a g a t i n g t h e c o u n t e r - R e f o r ­ mation. I n particular the Jesuits i m b u e d Polish Catholicism w i t h f o l k e l e m e n t s s u c h as t h e c u l t o f p a t r o n s a i n t s w a t c h i n g o v e r t h e everyday activities o f the people a n d miracle pictures. This c u l t and the custom of m a k i n g pilgrimages to places k n o w n for h o l y grace was later t o p l a y a n i m p o r t a n t role i n the d e v e l o p m e n t o f f o l k c a r v i n g a n d i n P o l i s h f o l k a r t as a w h o l e . I n t h e s e c o n d h a l f o f t h e 1 8 t h c e n t u r y , i n P o l a n d as i n o t h e r E u r o p e a n c o u n t r i e s , t h e p e a s a n t r y b e c a m e c l a s s - c o n s c i o u s . T h e of­ ficial a r t o f t h a t p e r i o d — classicism — was again a far c r y f r o m t h e p e a s a n t s ' u n d e s t a n d i n g o f a r t as a c r a f t . D u e t o t h e c o n t r a ­ d i c t i o n b e t w e e n t h e g r o w i n g class-consciousness o f t h e p e a s a n t r y and their estrangement f r o m the art of the ,,nobles", there was a flourishing development of peasant art created for the peasants. O f some i m p o r t a n c e here w a s t h e g r o w i n g p r o s p e r i t y o f some stra­ ta of the peasantry i n the 19th century. This was the ,.golden age" of folk carvings. C o n t r a r y to the eastern a n d southern Slavs, t h e Poles d i d n o t develop decorative carving. A b o v e all, the Polish folk artists concentrated on carving religious figures. T h i s k i n d o f a r t b e g a n t o d i e o u t as f r o m t h e s e c o n d q u a r t e r of the 20th century. N u m e r o u s sculptors a n d carvers w o r k i n g i n t h e r u r a l a r e a s t o t h i s v e r y d a y a r e , i t is t r u e , s t i l l c a l l e d f o l k artists, b u t the a u t h o r considers t h e i r w o r k a m a t e u r i n character or a n a r t i f i c i a l c o n t i n u a t i o n o f t h e o l d p a t t e r n s a n d desings. T h e o l d folk a r t h a d to give w a y to the r e v o l u t i o n a r y changes i n the m e n t a l i t y o f the people. T h e a u t h o r a n a l y s e s f o l k c a r v i n g o n a n a t i o n a l scale because o f i t s l a c k o f s t r o n g r e g i o n a l c h a r a c t e r , f o r i n h i s o p i n i o n t h i s is i n accordance w i t h the general u n i f o r m i t y o f the c u l t u r a l a t t i t u d e of the whole Polish nation. F o l k carvings were f o u n d all over P o l a n d i n peasant cottages a n d above a l l i n a l l k i n d s wayside shrines. Also figures b y the wayside. T h e y were v e r y numerous and the author analysed t h e m a c c o r d i n g t o basic t y p e s , e x a m p l e s o f w h i c h i l l u s t r a t e t h e t e x t . P i w o c k i argues against the R o m a n t i c thesis, d e e p l y r o o t e d i n earlier w o r k s devoted to Polish folk carvings, m a i n t a i n i n g t h a t the authors o f the carvings were peasants whose w o r k was spontaneous and w i t h o u t a n y t r a i n i n g i n the trade. The m a t t e r of carving wayside figures was, i n the author's opinion, t o o i m p o r t a n t for the peasants for t h e m t o entrust the c a r v i n g t o amateurs. A group o f master carvers came into being i n the rural areas, whose t r a d e i t w a s t o m a k e t h e f i g u r e s a n d c a r r y o n t h e traditions o f the o l d carvers' guilds. P i w o c k i mentions the best k n o w n names and w o r k s of this group. The author links a f o r m a l analysis o f the carvings w i t h a description o f t h e m o s t t y p i c a l subjects because i n his o p i n i o n the expressive f o r m o f the carvings was strongly l i n k e d w i t h their ideological function. T h e great m a j o r i t y of Polish religious figurines represent Christ. T h e y show the Crucifixion, Christ S t u m b l i n g under the C r o s s a n d t h e S a d C h r i s t . T h e l a t t e r is a n e x a m p l e o f a n e x t r e ­ mely individual treatment o f a subject imposed b y the old pat­ t e r n s . T h i s is a G o d s p e c i f i c t o t h e p e a s a n t s , a G o d r e f l e c t i n g o n tho evil of the w o r l d a n d the violence done to m a n b y m a n . A n o t h e r s u b j e c t n e a r l y as p o p u l a r as t h e l i f e o f C h r i s t is t h a t o f the V i r g i n M a r y . M a n y o f the carvings are copies o f m i r a ­ c u l o u s p i c t u r e s a n d f i g u r e s s u c h as t h e M a d o n n a o f S k ę p s k a i n the Mazovian region. However, the most frequent subjects — as t h e o n e s m o s t e a s i l y u n d e r s t o o d b y t h e v i l l a g e p e o p l e — • P E 3 K D M E A R T I C L E S — w e r e t h e M a d o n n a f e e d i n g C h i l d a n d t h e P i e t a , w h i c h , toge­ ther w i t h tho Sad Christ, were found generally all over Poland as f r o m t h e l a t e G o t h i c p e r i o d . N u m e r o u s f i g u r i n e s r e p r e s e n t v a r i o u s s a i n t s a n d t h e i r fun­ c t i o n as p a t r o n s o f t h e e v e r y d a y a c t i v i t i e s o f t h e p e a s a n t s , for i n s t a n c e , J a n N e p o m u c e n , p r o t e c t i n g t h e s p r i n g s a n d r i v e r s , or S t . F l o r i a n g i v i n g p r o t e c t i o n a g a i n s t f i r e . I t is i n t e r e s t i n g t o note t h a t even i n regions t h a t were separated f r o m Poland in t h e l a t e M i d d l e A g e s , t h e f a v o u r i t e s a i n t s w e r e P o l i s h o n e s , such as C a s i m i r , S t a n i s l a u s , H e d v i g a . T h i s i n d i c a t e s r e s i s t a n c e aga­ inst efforts to germanise the p o p u l a t i o n . A n o t h e r c h a r a c t e r i s t i c t h i n g is t h a t t h e c a r v i n g s o f p a t r o n s a i n t s w h o h a d a d e f i n i t e p r o t e c t i v e f u n c t i o n , s h o w n b y t h e res­ p e c t i v e a t t r i b u t e s , w e r e t r e a t e d b y t h e c a r v e r s w i t h less i n d i ­ v i d u a l i n t e r p r e t a t i o n . T h e i r r e p r e s e n t a t i o n d i d n o t g i v e so m u c h scope t o t h e a r t i s t s ' i m a g i n a t i o n . I n c o n c l u s i o n , t h e a u t h o r deals w i t h t h e h i s t o r y o f research i n t o P o l i s h f o l k a r t b y scholars a n d a r t i s t s a n d i t s role i n t h e conte­ m p o r a r y n a t i o n a l c u l t u r e as a s o u r c e o f i n s p i r a t i o n f o r s c u l p t o r s . T h e t r a d i t i o n s o f f o l k c a r v i n g i n w o o d are s t i l l a l i v e t o d a y , b o t h i n official a r t (the w o r k o f R z ą s a , K u l o n , S ł o n i n a ) a n d i n the works o f a m a t e u r s a n d m o d e r n p r i m i t i v e s . T h e y are a n i m p o r t a n t e l e m e n t o f t h e a r t i s t i c consciousness o f t h e Poles, c o n s c i o u s l y or unconsciously c o n s t i t u t i n g a p o i n t of departure or comparison, w h i c h e l s e w h e r e is t h e r o l e o f w h a t is k n o w n as , , g r e a t a r t " . T h u s i t is one o f t h e e l e m e n t s o f P o l a n d ' s c o n t r i b u t i o n t o the art of the world. T a d e u s z C h r z a n o w s k i SCULPTURES I N SILESIA — PRIMITIVE STONE T h e a u t h o r d e a l s w i t h p r i m i t i v e a r t as a m a r g i n a l o c c u p a ­ t i o n o r a v a r i a t i o n o f m o d e l s c o m i n g f r o m o u t s i d e , f r o m the basic t r e n d o f s t y l i s e d a r t . T h e a r t i c l e c o v e r s S i l e s i a n s c u l p t u r e i n s t o n e f r o m t h e ear­ l i e s t p r e - C h r i s t i a n e x a m p l e s a n d G o t h i c p e n i t e n t i a l crosses, t o m ­ bstones a n d e p i t a p h s d a t i n g f r o m t h e 1 6 t h t o 1 8 t h centuries, a r c h i t e c t u r a l o r n a m e n t a t i o n i n s t o n e , as w e l l as f i g u r e s a n d s h r i ­ nes b y t h e w a y s i d e , h e w n i n s t o n e . T h e f o r m a l analysis o f the m a t e r i a l was t a k e n b y the author as a b a s i s f o r t h e f o r m u l a t i o n o f g e n e r a l t h e s e s c o n c e r n i n g p r i ­ m i t i v e s c u l p t u r e . I n t h e e a r l y s t a g e w h e n S i l e s i a n s c u l p t u r e s were t a k i n g shape (in accordance w h i t the general laws o f phenomena a c c o m p a n y i n g t h o b i r t h o f a n e w b r a n c h o f a r t ) t h e sculptures h a d t h e f o r m a l f e a t u r e s o f p r i m i t i v e a r t ( p e n i t e n t i a l crossess e a r l y a r c h i t e c t u r a l o r n a m e n t a t i o n ) ; o n e also o b s e r v e s t h e trans­ m i s s i o n o f c e r t a i n elements f r o m tho p a s t t o sculptures belonging t o l a t e r periods (relics o f sepulchre a r t f r o m t h e t u r n o f t h e Gothio a n d R e n a i s s a n c e p e r i o d s ) , as w e l l a s i n c l i n a t i o n s t o w a r d s t r a d i ­ t i o n a l i s m , the p r e s e r v a t i o n a n d special v a r i a t i o n o f models that h a d a l r e a d y become o u t - d a t e d i n t h e m o r e c e n t r a l places. Ano­ t h e r c h a r a c t e r i s t i c f e a t u r e o f m a n y o f t h e S i l e s i a n s c u l p t u r e s is r o u t i n i s m resulting f r o m serial p r o d u c t i o n (tombstones). T h e l a s t g r o u p o f s c u l p t u r e s d i s t i n g u i s h e d b y t h e a u t h o r are w o r k s a r i s i n g f r o m a specific social d e m a n d , n a m e l y sculptures f o u n d e d b y t h e l o w e r classes, w h i c h a c c o r d i n g t o t h e author, g a v e b i r t h t o a u t h e n t i c f o l k a r t . T h i s g r o u p i n c l u d e s Silesian way­ side f i g u r e s . R o m a n R e i n f u s s — F O L K S C U L P T U R E S I N STONE IN T H E WESTERN FOOTHILLS T h e a u t h o r g i v e s t h e r e s u l t s o f h i s f i e l d r e s e a r c h i n t h e Gor­ lice r e g i o n . H e f o u n d a q u i t e l a r g e c e n t r e o f s t o n e - w o r k a t Jodł ó w k a T u c h o w s k a a n d several workshops operating individually in villages. T h e a u t h o r i s o n e o f t h e f e w r e s e a r c h e r s so f a r i n t o P o l i s h f o l k s c u l p t u r e s i n s t o n e ( a n e a r l i e r s t u d y c o n c e r n e d t h e a r t of t h e Ł e m k o w i e ) . U n t i l r e c e n t l y t h i s k i n d o f s c u l p t u r e s w a s regar­ d e d as t h e e x c l u s i v e d o m a i n o f c r a f t s m e n i n t o w n h a v i n g n o t h i n g in c o m m o n w i t h folk art. �Reinfuss d r a w s a t t e n t i o n t o t h e f a c t t h a t t h e a r t i s t i c g e n e ­ alogy o f m a n y s t o n e w o r k e r s m a k i n g w a y s i d e f i g u r e s i n s t o n e c a n be traced t o r u r a l c r a f t s m e n w h o m a d e s u c h t h i n g s as m i l l - s t o n e s , g r i n d i n g stones, w h e t s t o n e s , e t c . . H e d i s c u s s e s i n d e t a i l t h e t e c h ­ nical p r o c e d u r e a p p l i e d b y t h e s t o n e w o r k e r s o f J o d ł ó w k a b e g i n ­ ning w i t h t h e i r m o t h o d o f c h i p p i n g s t o n e a n d a n a l y s e s t h e w o r k of the l o c a l w o r k s h o p s t h a t h a v e e x i s t e d f o r s e v e r a l g e n e r a t i o n s and wore s t i l l i n o p e r a t i o n t i l l t h e f i f t i e s o f t h e p r e s e n t c e n t u r y . I n some case h e h a s m a n a g e d t o t r a c e t h e p a t t e r n s u s e d b y t h e stone m a s o n s . A m a t t e r u n e x p l a i n e d so f a r is w h e r e t h e s t o n e masons f r o m J o d ł ó w k a t o o k t h e i r f i r s t m o d e l s f o r m a k i n g s t o n e figures. T h e a u t h o r t h i n k s — o n t h e b a s i s o f h i s r e s e a r c h so f a r — • — that the first stone masons o f J o d ł ó w k a m a y h a v e l e a r n t t h e i r trade f r o m t h e s c u l p t o r s i n t h e t o w n o f C i ę ż k o w i c e . A p a r t f r o m t h e sculptors w h o , l i k e t h e ones f r o m J o d ł ó w k a , originated f r o m centres o f c r a f t s m e n w o r k i n g i n s t o n e , t h e r e were also s c u l p t o r s i n t h e w o s t e r n f o o t h i l l s w h o d i d n o t b a s e t h e i r work on the t r a d i t i o n s o f t h e local c r a f t s m e n a n d d e v e l o p e d t h e i r own i n d i v i d u a l s t y l e i n v i l l a g e s . T h e a u t h o r a n a l y s e s t h e w o r k of t w o o f t h e m : M a r i a n D z i a d z i o f r o m R z e p i e n n i k S t r z y ż e w s k i and W o j c i e c h J ę d r u s i a k f r o m T u r z a . A n n a K u n c z y ń s k a - I r a c k a — CARVED CROSSES AND W O O D E N M O N O L I T H I C F I G U R E S I N T H E MAŁO­ POLSKA REGION T h e a u t h o r e s s a n a l y s e s m o n u m e n t a l crosses m a d e b y f o l k sculptors i n t h e n o r t h p a r t o f t h e M a ł o p o l s k a r e g i o n . T h e g r e a t majority o f the k n o w n relics, o f w h i c h there are a b o u t 90, h a v e survived to this d a y i n villages. T h e y w e r e discovered i n recent years d u r i n g f i e l d r e s e a r c h c o n d u c t e d m a i n l y b y t h e A r t I n s t i ­ tute o f t h e P o l i s h A c a d e m y o f Sciences (the a u t h o r e s s p a r t i ­ cipated i n t h i s research) a n d b y t h e E t h n o g r a p h i c M u s e u m i n Cracow. T h e o l d e s t k n o w n e x a m p l e s a r e f r o m t h e e n d o f t h e 18th c e n t u r y a n d t h e b e g i n n i n g o f t h e 1 9 t h c e n t u r y . M o s t o f them date back to the last q u a r t e r o f the 19th c e n t u r y a n d the most recent ones w e r e m a d e i n t h e t w e n t i e s o f t h e p r e s e n t c e n t u r y . M o n u m e n t a l s c u l p t u r e s i n t h e M a ł o p o l s k a r e g i o n are — —apart f r o m t h e examples f o u n d i n s o u t h e r n W i e l k o p o l s k a — — the o n l y large g r o u p o f m o n o l i t h i c , c a r v e d crosses a n d w o o d e n f i g u r e s a n d w a y s i d e s h r i n e s d i s c o v e r e d so f a r . O t h e r e x a m p l e s similar to those i n M a ł o p o l s k a a n d W i e l k o p o l s k a h a v e been f o u n d , t h o u g h v e r y f e w i n n u m b e r , i n o t h e r r e g i o n s as w e l l ( p a r t i c u l a r l y in the Podlasie a n d K u r p i e regions) a n d t h i s leads t h e authoress to the c o n c l u s i o n t h a t t h i s k i n d o f p e a s a n t w a y s i d e m o n u m e n t could h a v e boon g e n e r a l a l l o v e r t h e c o u n t r y . T h e t e c h n i c a l s k i l l i n c a r v i n g t h e w o o d , w h i c h is o n q u i t e a h i g h l e v e l , l e a d s t h e authoress t o assume t h a t t h e y are l i n k e d u p w i t h t h e g e n e r a l national traditions o f c a r v i n g i n P o l a n d . All the examples k n o w n to the authoress were founded b y peasants, b e i n g f i n a n c e d c o l l e c t i v e l y b y a w h o l e v i l l a g e , a f a m i l y or b y t h e m o s t w e a l t h y p e a s a n t s . T h e m a k e r s o f t h e c r o s s e s a n d figures w e r e s c u l p t o r s w o r k i n g f o r t h e v i l l a g e c h u r c h e s a n d also peasants w i t h a k n o w l e d g e o f w o r k i n g i n w o o d , c a r p e n t e r s a n d village w h e e l w r i g h t s . A m o n g t h e r e a l p e a s a n t s c u l p t o r s w a s t h e most well k n o w n o f t h e M a ł o p o l s k a carvers w h o l i v e d i n t h e second halt o f the 1 9 t h c e n t u r y — W a w r z y n i e c Szwej. Although there m u s t have been m a n y makers of m o n u m e n t a l sculptures i n M a ł o p o l s k a ( t h i s is seen i n t h e differences e v i d e n t i n the w o r k i n g o f d e t a i l s o f v a r i o u s crosses a n d f i g u r e s f o u n d i n the w h o l e r e g i o n ) , t h e y a l l c o n f o r m e d t o a c o m m o n c o m p o s i t i o ­ nal scheme a n d i c o n o g r a p h i e p r o g r a m m e . T h i s w o u l d i n d i c a t e the existence o f c o m m o n m o d e l s w h i c h w e r e m u c h o l d e r t h a n t h e examples w h i c h h a v e s u r v i v e d . I t is n o t o u t o f t h e q u e s t i o n t h a t the t r a d i t i o n s o f t h e c a r v e d crosses go b a c k t o t h e l a t e G o t h i c period. A l e k s a n d e r J a c k o w s k i — CONTEMPORARY PTURES K N O W N AS F O L K A R T SCUL­ S c u l p t o r s h a v e a l w a y s b e e n less b o u n d b y c o n v e n t i o n t h a n craftsmen. T h e i r w o r k d i d n o t h a v e regional features, this being due t o t h e d i f f e r e n t f u n c t i o n i t p l a y e d i n t h e c o m m u n i t y a n d t h e different w a y t h e a r t i s t s a c q u i r e d t h e i r s k i l l . T h e v a r i e d degree of s k i l l i n w o r k m a n s h i p a n d p o s s i b i l i t i e s o f i n t e r p r e t i n g t h e i r subject h a d a s t r o n g e r i n f l u e n c e o n t h e difference i n a r t i s t i c approach t h a n local traditions. C o n t e m p o r a r y s c u l p t u r e s differ f r o m o l d e r ones i n t h e i r c h a n g e d f u n c t i o n ( p a r t i c u l a r l y t h e c h a n g e - o v e r f r o m c u l t t o aes­ t h e t i c v a l u e s ) a n d t h e i r p u r c h a s e r s ( t o d a y t h e y a r e b o u g h t bypeople i n t o w n s ) . W h e r e a s i n t h e f o l k c r a f t s t h e o l d f e a t u r e s o f style are c a r e f u l l y p r e s e r v e d , i n c o n t e m p o r a r y s c u l p t u r e s o n e observes considerable of the subject m a t t e r sculptors. This means a m a t e u r a r t is b e i n g differences, m o s t l y due t o the expansion a n d also t o t h e c h a n g e d m e n t a l i t y o f t h e t h a t the borderline between folk art and g r a d u a l l y erased. T h e a u t h o r considers t h e m o t i v e s l e a d i n g t h e a r t i s t s t o choose certain subjects a n d a t t r i b u t e s t h e m to t w o kinds o f creative personality, namely introvert and extravert. The former work f r o m a need f o r self-expression a n d t h e i r a r t is a n expression o f s o m e t h i n g t h a t f i l l s t h e i r t h o u g h t s . I n m o s t cases t h i s i n n e r s t i ­ m u l u s is f o u n d i n p e o p l e a l i e n a t e d f r o m n o r m a l l i f e a n d is also due to a greater sensitivity. T h e i n t r o v e r t sculptors do not borrow ideas f r o m others b u t create f o r m s t o suit t h e i r e m o t i o n a l state a n d g i v e t h e m t h o p o s s i b i l i t y o f expressing themselves i n scul­ p t u r e s . T h e i r w o r k is m u c h m o r e i n t e r e s t i n g t h a t t h a t o f t h e e x t r a v e r t artists, o f w h o m there are m a n y m o r e a n d w h o express themselves i n f o r m s created b y others before t h e m . V e r y often t h e y d o n o t u n d e r s t a n d t h e essence o f t h e f o r m s t h e y c o p y b u t j u s t i m i t a t e ist seeming message, whereas t h e artists w o r k i n g f r o m a deep inner need create authentic w o r k s . T h e i r strength is i n t h e i r i n d e p e n d e n c e f r o m b o r r o w e d f o r m s , a l t h o u g h s o m e ­ t i m e s t h i s is a l s o a w e a k n e s s . A s s u m i n g t h i s d i v i s i o n t h e a u t h o r discusses c o n t e m p o r a r y sculptures according to different groups: s p o n t a n e o u s r u r a l a r t ( f i g . 7 - 1 1 ) a n d u r b a n a r t ( f i g . 5 7 ) , p s y c h o p a t h ol o g i c a l a r t ( f i g . 12-15) a n d t h e w o r k o f such i n d i v i d u a l per­ sonalities as C h a j e o a n d Z e g a d ł o o r L u r k a ( f i g . 1 8 , 2 3 ) , whose sculptures are a n expression o f t h e i r r i c h personality. D e p e n d e n c e o n e x i s t i n g f o r m s a n d b o r r o w i n g s are f o u n d i n o t h e r groups: i n centres o f sculptors influenced b y fascination w i t h the w o r k o f one o u t s t a n d i n g a r t i s t or the d e m a n d for a certain k i n d o f s c u l p t u r e ( f i g . 24-35), i n families ( f i g . 36-38), i n sculpture of t h e r e l i c t y p e h a v i n g a d i r e c t l i n k w i t h o l d t r a d i t i o n s ( f i g . 1-4), i n s c u l p t u r e s p r o d u c e d f o r c o m m e r c i a l p u r p o s e s a n d also i n t h e w o r k o f amateur sculptors basing their art on the principles a c c e p t e d i n f o l k a r t . S i m i l a r t o t h e s e is t h e g r o u p o f i n t e l l e c t u a l s of rural origin a n d still e m o t i o n a l l y linked w i t h their villages, w h o p r o d u c e w o r k i n " f o l k s t y l e " ( f i g . 6 1 ) . T h e r e is a l s o t h e w o r k p r o d u c e d b y t r a i n e d c r a f t s m a n a n d a d u a t o s o f a r t schools for commercial purposes, n a m e l y , souvenirs for tourists. The last g r o u p consists o f sculptures m a d e i n villages a n d i n t h e su­ b u r b s i n f l u e n c e d b y t h e c u l t u r e o f t h o t o w n s , w h i c h are p r o d u c e d for the local people, catering for t h e i r tastes (fig. 5). A n a l y s i n g the changes t h a t h a v e t a k e n place i n contempo r a r y sculpture, the a u t h o r draws a t t e n t i o n to the greater freedom o f i n t e r p r e t a t i o n o f i c o n o g r a p h i c subjects (i.e. f i g . 16-23) a n d t o t h e increased r o l e o f o b s e r v a t i o n s f r o m n a t u r e (i.e. f i g . 3 6 - 5 0 ) . H e also emphasises t h a t c o m p e t i t i o n s a n d organised help for artists has c o n t r i b u t e d t o t h e d e v e l o p m e n t o f c o n t e m p o r a r y s c u l p t u r e , w h i c h is d o n e b y s e v e r a l h u n d r e d a r t i s t s t o d a y . L u d w i g Z i m m e r e r — REFLECTIONS BEFORE THE F I G U R E O F ST M I C H A E L T H E A R C H A N G E L S C U L P T E D I N 1971 B Y W Ł A D Y S Ł A W C H A J E C O F K A M I E N I C A G Ó R ­ NA. T h e a u t h o r , F R G r a d i o c o r r e s p o n d e n t , d u r i n g t h e 20 y e a r s he spent i n P o l a n d gathered a huge collection o f contemporary f o l k s c u l p t u r e s a n d is o n e o f t h e b e s t e x p e r t s o n t h i s a r t . A n a l y ­ sing the w o r k o f Chajec, L u r k a , Z e g a d ł o a n d K r a j e w s k i he tries t o reconstruct the w o r l d o f i m a g i n a t i o n t h a t distinguishes the f o l k character o f religious t h o u g h t f r o m official religion. Chaj e c ' s S t M i c h a e l ( f i g . 2 ) is n o t a g r e a t p r i n c e , l e d a e r o f t h e h e a ­ v e n l y hosts, b u t an o r d i n a r y m a n , a peasant. I n the sculptures of Chajec, L u r k a a n d Zegadlo we f i n d a specific a u t o - i d e n t i f i c a t i o n . T h e y express t h e k i n d o f t h o u g h t s f o u n d i n f o l k tales i n w h i c h t h e p e a s a n t is n o t a f r a i d o f t h e D e v i l a n d s h o w s h i m s e l f to be m o r e c u n n i n g a n d the simple m e n , the son n o b o d y t h i n k s a n y t h i n g of, m a n a g e s t o p e r f o r m deeds t h a t m o r e p o w e r f u l m e n t h a n he h a d n o t been able t o do. T h e St M i c h a e l i n c h u r c h sculp­ t u r e s a n d p i c t u r e s c o n f i r m s t h e v a l i d i t y o f t h e d i v i s i o n i n t o lea­ ders a n d m e n , t h e h e a v e n o f the r i c h a n d t h e poor. T h e experiences o f t h e p o w e r f u l are d i f f e r e n t f r o m those o f t h e p e a s a n t . H e l l h o l d s n o fears f o r t h e m a n w h o l i v e s n e x t t o i t i n his e v e r y d a y life. S a t a n t e m p t s the r i c h m a n w i t h the p o w e r o f t h e t e m p o r a l w o r l d , b u t t h e d e v i l i n t h e villages is s i m p l y the p o w e r g o v e r n i n g p o v e r t y a n d b a d crops. T h e m o r t i f i c a t i o n c a l l e d f o r b y t h e c h u r c h c o u l d be a h e a v y sacrifice f o r t h e r i c h m a n , b u t for the poor m a n i t was j u s t his fate. T h e p i c t u r e s o f B a r a ń s k a ( f i g . 17) l i n k a b o l d a n d n a i v e transformation of paganism into christianism. I n their lush sensuality original sin a n d the p o v e r t y o f m a n disappear and the b o r d e r l i n e b e t w e e n t h i s a n d t h e o t h e r w o r l d is e r a s e d . T h e folk approach to religion links m a n directly w i t h the h e a v e n l y w o r l d , thus n e g a tin g the division i n t o priests and l a y m e n . 253 �T h e c o n s e r v a t i v e a t t i t u d e o f t h o c h u r c h , t a k i n g the side o f the rich a n d powerful, was c o n d u c i v e to this division. I t was expressed i n i c o n o g r a p h y , a f a r c r y f r o m t h e f o l k a t t i t u d e t o w a r d s r e l i g i o n . T h e ParUokrator a n d t h e Sad C h r i s t m a k e one realise the difference b e t w e e n c o n c e p t i o n s : t h e t h r o n e d one a n d the t i r e d G o d , w o r r i e d a n d s a d a b o u t t h e f a t e o f m a n ( f i g . 3, 5 ) . is o f t h e o p i n i o n t h a t t h e i r w o r k s g i v e s h a r p e r e x p r e s s i o n t h a n t h e o l d f o l k a r t t o f e a t u r e s o f f o l k s p i r i t u a l i s m . W h e r e a s i n Chajec's w o r k s t h e i n t e r p r e t a t i o n o f i c o n o g r a p h i e s u b j e c t s is i n t e r e s t i n g , i n L u r k a ' s s c u l p t u r e s h i s a p p r o a c h is a r e s u l t o f h i s o w n m e d i t a t i o n s a n d h i s o w n c o n c e p t i o n o f f a i t h . F o r i n s t a n c e , h e shows C h r i s t c a r r y i n g t h e cross w i t h a l l m a n k i n d ( f i g . 12), or protecting p e o p l e so t h a t t h e y s h o u l d n o t f a l l i n t o t h e b o t t o m l e s s p i t ( f i g . 13) — t a k i n g the f o r m o f a tree-cross. Discussing the w o r k s o f Chajec a n d L u r k a , the a u t h o r stresses t h e i r e x c e p t i o n a l c h a r a c t e r i n P o l i s h f o l k s c u l p t u r e , b u t h e PE3IOME K c a B e p H n H B o K M — CTMX HAPO.ZI.HAfl C K Y J I B I l T y P A CKyjitnTyp iiacToanieM HacTOHmiiM — Tpyfl uieHHbiM CTapoii BHanajie npe/niasnaHeu MneHHio ariTopa OTpacJibio X I V poKoe pa3BMTwe OKOJIO 1600 nojiyHM.ua BMTbca B MMenno B caaji HOBOro Mace, BajiMCb HGCTM U,M3M ero KaK ne „ynenoro" M CJIOM o b m e c T B a . 3aTeio', KpccTbaue <ieM BOcnojib30- HapOflHWMM 3JieM6HTaMM, KäK ocoöea- nOJIbCKHM Haiip. KaTOJlM- KyJIbT CBHTblX iiuKpoBM-iejieii noBceflneBHoro 6biTa M HyflOTBopiibix o o p a 3 0 B . 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OflnaKü, naMOOJiee noKpoBMTe^eii C'iaiiMCJiaB, o'robpa- KaK BoroMaTepw. nOKpOBMTejIba.MM aBJiajIMCb Ka3WMeJK, TMB obpa3a, c nepMOfla em,e TeMaTMKa, CKyjibmopbi M3obpaJKeiiHa MCTOHHMKM aBJiaeTca CXeMbI, HaBH3aiIH0M n3o6pajKeHMa, KaneciBe M30bpa- TaMiecibW aBjiaeTca CKOMncKOii BCTpenajmcb no^ nacmiMa. iyflOTBopiibie pacnpocTpaneHHbie JIK)6MMbIMK ubi.-u cpyHKi^weii. KpecTbaHCKMíi, roproiouiMii 3Jia M MapMM. MHorne OT IIojibuiM, Ha 3eMJiax, cpeaneEcKOBbt nOJIbCKMe 3TO B conpoTMBjienMM CTe- npe^o- CBHTblt KaKOii TO iiacejieiiMH cTenpo- repMaHW3an.MM. XapaKTepHO TaKHîe, H T O cKyjibnTopw flyajiM3wpoBaJiM HMa CKyjibnTypw l npeflHa3Ha iaj!MCb GTjiMHajiMCb Tex MeHee MHAMBM- CBaTbix noKpOBHTejien, 4)yHKl(MM M K0- KOHKpeTHbie CBOMMH a T T D M O y T a M M . npe^0CTaBJia.7in Meiibme MetTa Mx M3o6pas<e- TBopnecKoü dpaiiTa- 3MM. B KOiqe CTaTbM xyao»CHMKOB CKyjibiiType, M a aBTOp OTMenaeT, MCCJieflOBaTejieu TaKjKe iiaiTMOHajibHOü K nojjHepicuBaeT KyjibType, öojibinoii nOjibCKOíí ee pojib KaK B cOBpeMen- xyfloxtHMKOB-CKyjibnTopoB. TpaAML(Ma ¡íapoflHOíi XMBa CKyjibnTypbi MCKyccTBe M B iio,nco3HaTejibHO McnojiHaeT TaK 3TO Ha3. KOTOPBIX 6MJIO o6pa30M anaJiM3MpyeT ocHOBHbie Twnbi HepTOíí nojibCKOro u aBjiaerca co3naHMH KaK M B >Koi;cbi, K y j i o n a , .THobMTejieíi MCKyccTBa »cecTBennoro JIM6O eme (CKyjibnTypbi paooTax BHfl Bee rastubiM npMMWTMBOii. ajicMeiiTOM Co3flaeM aBjiaeTca BKjiaaa MCKyccTBO '. cBceo6pa3HOM, B MMpoBoe xyflo- co3Ha.Tejibno TOHKy OTCneTa, K O T o p y i o „bojibiiioe TiepeBaii- o^MqwaiibnoM CjionHiibi) TBK cospeMenHbix noiiaKOB. miTepec HapoflHOü BfloxnoBHTejibHMnu HOÜ 3TOT MOJKIIO JJfiBe OT OTHH. neHH MCKyccTBa nocjiefliiMM nonyjiapuOM . ^aiiaioniMM a?e oömeü B Mwpe GTTOprHyTbix Topbie BjieperH;- 3TOT nacKB03b Hie KpecTbauMiia perym,Mü ceü napofla. CKyjibnTypw npn/iopoxcHbix ABTOP ee XpMCTa. 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Ö O J I b i n U H C T B O I I O U b C K M X M 3 0 u i j a > K e H M M CBH- Eiapaiiiero noHTM KCTOpbIM MJ1M o6pa3iiaM. aHajiM30M ïMnwHiiyK) ero CKopbantero noBOfly flJiH peMecieimbix MMeiia Bbipa»eHna c PacnaTMa, iia- oflnaKO JIKlÖMTejIbCKMM nojibCKOro napoflHOii BEJiMKOe MHOJKecTBO. 254 napoflHbiMM, npoBOflMT anaJiM3 n a p o f l i i o ñ npoM3BeflenMH pejiw- TBop'iecTEa npaB^a, BBIlflV He dpopMa uopa3iiaMH. nero n;exoBbix I i p M M e p O M OCObOÍÍ M H / I , M B M f l y a j I M 3 a L I , M M npescfle napofla. n;erocyii,apcTBeHiioM xapaKTep; CJiaßa- BBMfly no HMeji nopynajiucb npMBOflMT iiawoojiee naMaTM KpecTa, cnpH- npocpeccMOi'.ajibiibix cjaopMajibiibiM OTjiMHaeTca jKenMa — MCKyccTBO cKyjibnTopoB cTapbiM MOrJIO C O X p a u M T B C a Torfla CKyjibnTypa BeKa. Ha3MBaioT OfliiopoflHOii K y j i b T y p e 3a?KMTOH- nojibiue BMfla flepeBencKMx B cosnanMM B dpHrypnaa neTBepTM no-npejKneMy MCKyccTBenHbiM fleiioparaBnoe 3aKaT MnoroHMCJienHMx B. 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CBOMMM MCC.TieflOBaHMflMW a B T O p O X B a T b I B a e T CMJie3CKyio Kaiiennyio C K y j i b n T y p y , n e p s b i x eme AOxpncTnanCKMX naMHTHMKOB C T a p M u o i VI r O T M H e C K M X K p e C T Ü B K a K ) nj,nxca r p e n i H M K O B , a a T e M M o r M j i b i i b i e r u i w T b i vi snnraipMii n a H H X C X V I flo X V I I I B B . , C K y j i b n T y p H b i ñ a p x n TeKTypHbiü fleKop B n n o T b flo K a M e u H b i x npMjjppojKHbix (Jjuryp M > i a c o B e n . Ha o c n O B e npoBei;eHnoro (popMajibnoro a n a J i M 3 a í n a repnajia a s T o p ( p o p M y a u p y e T n e c K O j i b K O o 6 m n x T C S M C O B , KacaiOlUMXCH n p M M M T M B H C ñ C K y j I b n T y p b i : B HanajIbHOM cpa3e cpopMMpoBanwH CMJie3CK0M C K y j i b n ' r y p b i ( c o r j i a c u o oomeñ 3aK0H0MepH0CTM a B j i e H M Ü , c o n y T C T B y K ) i n ; n x p o ? 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RJIH oojibmoro coopaHMH C M ae3CKMx c i c y B b n T y p x a p a K T e p u a T a K J K e p y T M H a , B b i 3 B a H iiaa cepuMiibiM x a p a K i e p o M npon3B0flCTBa (¡viorujibiibie njiMTbi). üocjiefliiaa, OTMenemiaa aBTopcM r p y n n a , Bb!,ie^ena M M BBMfly cneuMCpMKM o O i n e c T B e i n i o r o c n p o c a , c o r j i a c u o KOTOpCMy 3TM C K y j I b n T y p b l BbinOJlHHJIMCb. 3 T O 6 b I J I M 3 a Ka3w HM3UIMX e j i o e B c o m e c T B a . M n a n o « i B e S T H X s a n a J Ü B paSBMJIOCb, IIO M H 6 H M K ) a B T O p a , nOflJIMHHQ i-japofluoe MCKyccTEo. K 3Toro p o ^ a npon3Be/ieiiMaM npnna/(;iejKaT pacnpocipaneiiHbie B O n j i e 3 M n n p n f l o p o j K i i b i e t p K r y p b i . P o Ma H P e í i n c p y c c CKyjiBnxyPA — HAPOflHAH KAMEHHAfl 3AnA,n;Horo n o r y j K A A B T O P c o o 6 i n a e T o p e 3 y j i b T a T a x C E O M X Mccjie^OBanMíí, npoBefleinibix B O K p e c T u o e r a x ropjinu;. 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A B T O P aHajiM3npyeT TBop iecTBO flBonx M3 H M X : M a p w a n a ^ l , 3 a « 3 é M3 y K e n e H H W K a CTZKMmeBCicoro vi B o i í u e x a E n f l p y c a K a v¡3 Tyxvi. i AHHa — PE3HBIE K P E C AEPEBHHHBIE OMryPBI B K y H H M H b C K a - l l p a i i K a TBI M MOHOJIMTHBIE MAJIOH n O J l b l l I E anann3MpyeT n a M H M H K H napofluoñ M O i i y M e n CKynbnTypbi B ceBepuoü nacTM Majiow Dojibuin. ABTOP Ta.ibiiofí B nacToam.ee B p e M a M 3 B e c T i i b i O K . 90 o o t e K T O B , M3 K O T O pbix SojibinmiCTBO naxoflnTca B flepeBiiax. Ü H H 6bun-i oonapyjKeHbi B nocjieflHiie roflbi BO BpeMa MecTHbix M C C J i e A o s a n n ñ , K O T O p w e r j i a B H M M o6pa30M B e j í n M u c T M T y T M C K y c c r B I I o j i b C K O M A K a f l e M M n HayK ( B H M X npnunMaJia y n a c T n e a B T o p H a c T o a m e í i C T a T b n ) vi K p a K O B C K n ñ 3 T H O rpaopnHecKnñ My3eíl. CTapeñmne M3 n 3 B e c r H b i x Han oórbeKiOB flaTnpyíOTCH KOHIIOM X V I I I B. H nanajiOM X I X B . 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Ha 3TOM OCHOBaHMM a B T o p n p e f l n o j i a r a e T , H T O no,i(o6Hbie K p e c T b a n C K M e npnflopojKHwe n a M a T H M K n M o r a n TaKJKe n a x o f l M T b c a n a T e p pMTOpMM B C e í í C T p a H b l . flOBOJIbHO BBICOKI1M y p O B e H b 0 6 p a ÜCTKH flepeBa BW3biBaeT npeflnojiojKenwe o I I X CBH3M c oOmenamioiiajibnoñ Tpaflwnneü n o j i b C K O f i pe3b6bi. ITofljiacnM VÍ Bce M 3 B e c T H b i e n a M f l T H H K H C T a p w n w Bbinojinajincb H a C p e f l C T B a K p e C T b a H C K M X n O J K e p T B O B a H M ñ , CTaBKJlMCb B C t í i ñ e p e B H e í í , Bceifi c e M b e ñ J I M 6 O n o j K e p T B O B a H n a M n caMbix C O C T O a T e J I b H b l X K p e C T b a H . T B O p i ^ a M H 3TMX OOrbeKIOB 6 b I J I H JIMSO C K y j i b n T o p b i , pa60Tawmne B flepeBencKnx KOCTejiax, JIMSO K p e c T b a H e , 3 H a B n j n e T a ñ H n K M c6pa6oTKM «epeBa, K a K n a n p . H J I O T H M K M M J I K KOJiecHMKw. 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AjieKcaiiflp H I I K O E C K M — COBPEMEHHAH CKyjiBnTypA, HA3BIBAEMAH HAPO^HÜÍI C K y j i b n T y p n o e TBOpHecTBO Bcerna 6 b u i o Menee ycJiOBHbiM, H 6 M p e M e c j i o vi He H O C M J I O p e r w o H a j i b n o r o K J i e i í M a . O T O oO'bacHaeTca pa3JiMHneM B b i n o j n i a e M b i x o ó m c c T B e n u b i x cpyiiKij;Míí vi c n o c o S o B n p n o 6 p e T a H n a 3 i i a n M M . Pa3j i n n n e B y p o B n e M a e r e p c T B a vi B B 0 3 M O ? K n o c r n nmepnpeTau,nn T e M U cmibHee B J i n a j m n a p a 3 i m i r y B xyflüJ K e c T B e H H b i x p e L u e i m a x , n e i a M e c T u a a TpaflHL(na. C o B p e M e H H y í o C K y j i b n T y p y OTjinnaeT OT cTapoñ H 3 Menenne c p y H K u n ñ (oco6eHHO nepeBonjiomenne KyjibTOBoñ B 3 C T e T H H e c K y K > ) vi n O T p e 6 n T e j i a ( m m e H M aBjiaeTca ropofl). 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T B o p n e c T E O nepBbix B w 3biBaeTca CTpeMjieHneM K caMOBbipajKennio, noTpe6HOCTbio M 3 j i M T b vi B b i C K a 3 a T b o 6 y p e B a e M b i e n x HyBCTEa. Hame Bcero B H y T p e H H n e C T M M y j i b i B b i C T y n a W T y J I M U ; , Bbi6poH i e H H b i x M3 K O J i e n H O p M a j i b H O í í JKM3HM M O T j i n n a i o m n x c a Sojibnien B n e H a T J i n T e j i b H O C T b i o . C K y j i b H T o p b i , noSyjKflaeM b i e K T B O p n e C T B y B H y T p e H H M M M CTOMyJiaMM, n e «myT o 6 p a 3 n p B , O H M c o 3 f l a i O T n a f l j i e j K a m y K ) cpopMy JJ,JIH B b i p a j K e n n a C B O M X n y B C T B vi 3 M O B ; M M B C K y j i b n T y p i i O M T B O p n e c T E e . Mx n p o M 3 B e f l e n M a r o p a 3 j j o M i i T e p e c n e e , H O M npoM 3 B e f l e n M H T e x , K T O n e p n a e T B f l o x n o B e i i M e n3Biie. 3 T M X nocjie^HMx 3HaHMTejiBH0 6 o j i b m e . O H M BbTCKa3biBaK)Tca B opopMax, c o 3 f l a i i H b i x flpyrMMM. O H M nacro flajKe ne 255 �noHMMawT cyniHOCTH n o j i p a j K a e M b i x H M H dpopM, nepeH H H a a JIMUIb MX B H e i I I H M M B M f l , B TO B p e M H K 3 K X y f l O J K - JIIOPKM, 3 e r a f l j i b i HMKM, XapaKTep TBoparqne CaMOSbITHbl UOB M B M3 r j i y S o K M x no6yjKJj,eHMM O H K He3aBMCMMbI O T o 6 p a 3 - M OpMrMHaJlbHM. 3TOM BHyTpenHMX 3aKJlMHaeTCH M X CMJia, XOTH nOpOM 3TO McxoflH M3 CKOe TaKoro fleJiemiH, caMOpofluoe TBOp^eciBo (MJIJI. ncMxonaTonorM'iecKoe aBTop (MJIM paccMaTpnBaex cnoHTaiiHoe), 7—11) M TBop^ecTBO jTepeseH- ropojrcKOe (MJIJI. (MJIJI. 12—15), T y p y TaKMX xyfloaKHMKOB, K a K X a m , 3 e r a s J i o 57), CKyjibn- (MJIJI. n a T M - JIMSO K p a e s c K o r o , M M p B O o 6 p a JKeiIMM, MMxaMJi Xaíiubi (MJIJI. COHMOB B 2) MbiurjienMa, nopoíi ne3aMeTHbiM M3o6pa>KaeMbiií KOHiiocTfa rax rpynnax: B03HMKJIM M3 6ojiee nOfl jTOjiJKaeT a TaKHce TBOpaUIMX XOflaiJJMX (MJIJI. B jiyioinaa flepeBHM TaKJKe KOMMepiecKMe peBHe fljia u.eJiM, rpynna, CBa3aHHbIX nanpMM. cyBenMpbi yHMJiMirr. K «JIH nocjiefl- TBOpMMaa K y j i b T y p b i ropo.ua, B coBpeMeHHOM BaeT nepeMenbi, BbinojinaeMaa cKyjibnTypw, aBTop, B B oBjiacTM 'iacTHOCTM, luBJieiiMe 6biTb aBTop noflMepKMBaeT HaMepeHHbix q¡x>pM coBpeMeHHOM BpeMH 3aHMMaeTCfl JIwjTBMr 3na'ienMe noneieiiMa, yKasbi- cKyjibnTypbi, HeCKOJIbKO H , M M M e p e p — 36—50). KOHKypcoB KOTopOM B paflMO, npe6biBaa rpoMa^Hyío poflHOM JiBafliiaTt KOJiJieKUMio CKyjibnTypw. jieT B najieHMe TOitaM 3Toro MCKyccTBa. A n a j i i ! 3 M p y a oár.::; BIEJ.ÍQ M MMpa fleimo co6jia3iiaeT M Ha KOTOpoMy B3biBaeT fljia Borana, cero HOUIHO SoraTbix M O flepeBCHCRMü SeflaMM M n e y p o s c a a M M . jiMiueHMeM HapoflHaa 'iejiOBeKa KOCTejí, a /rjia YMepMOTJIO 6eflHHKa cyjj,b6oü. (MJIJI. 17) O T o 6 p a » c a K ) T nEPE.II, M 3 B A H H M 3 KA- pacTBopaeTca 6eflCTB£HH, M HenocBHineHHbix. 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M Hapofl, MMpa, B T O BpeMH K a K K flypaneK, neM cero nacToamee P A 3 M H I H J I E H M H KoppecnoiifleiiT McnbiTauMa crpauíen jiMuib ero OTMeiaeT APXAHrEJIOM M M X A M J I O M " , H B I M B 1 9 7 1 T . BJIAflMCJIABOM X A Í l U E f t MEHMIÍBI ryPHEÍl. CTaTbM, nejiepa3BM- COT HejIOBeK. „CBHTBIM AETOP KpoMe M cnoco6cTByKHiiMx a TaKMe nojjTBepjKflaeT MMpa CTMancTBO. B 6 y p H 0 M cJiaflOCTpacTMM na MJIJI. B xocrejiax, M B T O JKe B p e M H n a M B i i o e Mace. (Hanp. TajKejibiM KapTMHbi MecKOM T e M a T M K M ( n a n p . M J I J I . 1 6 — 2 3 ) M H a 6 o J i e e B a j K i i y i o npMpoAbí KOTOporo n e 6OMT- 6ejrnbix. HHM. njioTM, aBjianocb pojib Ha6jiK)JieHMM MHTepnpeTanMio c jjbHBOjí y n p a B j i H e T 6bijia TMK) cBo6oflnyio CTajiKMBaeTca He ero, BepuiMT TOJIKOBBIM, cMJibiibix pa3JiMHHbi AH CMeTJiMBee Sojiee S o r a T b i x M JTJIH KpecTbaH. MKOiiorpadpM- Toro Ha Sojiee npoMcme/riiiMe fljia na ryriTecTBOM S p e H n o r o fle- 3 T O M c p e ^ b i B cotMBeTCTBMM c ee B K y e a M M (MJIJI. 5). AHajiM3Mpya cMJiy aejieHMa OfluaKO, M c Heü npecjie- peMecjiennMKaMM CKyjibnTypa, aBTOMflenTMdpMKaqMH, npoMC- CKyjibnTypa, npMynenHbiMM npMHaflJiejKMT M Ha nepMcpepMM npo- onMparoixrMxca MHTejIJIMreHTOB, M 3M0UM0IiajIbH0 CyurecTByeT rpynne ceMbax TpanMUMaMii jnoBMTejieíi, BbinycKHMKaMM xyjjojKecTBeHHbix iieM B KOTopaa cTapbiMM CTMJie" TypMCTOB, M3roTOBJiaeMbie M co Sjiaro- CKyjibnTypbi. M M 6jiM3Ka „HapOflHOM M3 61). 24—-35), neSo o/inoro BbinojiHaeMOíi c KOMMepHecKoíi B TBopiecrBe npMHLtMnbi Hapo/rHOM TBOpHeCTBa (MJIJI. flpy- Koxopbie M KOH'biOHKTypbi CKyjibnType, CBa3b 1—4), B c K y n b n r y p e , nejibio, na CKyjibnTypw B pejiMKTOBOM B ueiiTpax, BJIMatlMeM CKyjibnTopOB coxpaHHTb EbICTynaiOT cKyjibmypHbix rJlyOOKMM flJia 36—38), (MJIJI. Tex BMJTHBIX npMaTHOM (MJIJI. B M 3aMMCTB0BaHMe 23), M 3e- OToSpajKenMeM cbiHOBefi MMxaMJi, 18, noii M3 HOCTM. 3 a B M C M M 0 C T b (MJIJI. paflo- JIIOPKM Xafiubi, SbiBaeT flbasojia, caMwü Bescflb HejIOBeK, ca K O T o p b i x HBJiaeTca B b i p a j K e i i M e M M X a p K O f í MHjTMBM/xyajib- JIiopKa BeJitMoasa, CKa3KM. B H M XK p e c T b a i i M H He MJIM IiapOflHHM aBJiaioTca napoflubie KOTopbie jiMCTe) STO ne CBoeo6pa3iiaa XOJI TBOpHeCTBO TyjibHOM — CKyjibnTypax npoMCxoflMT BbipajKaeTca n w T a e T c a BOC- 3TO o 6 b I K H O B e H H b I M KpecTbHHMH. rajjjibi aBTop OTJIM'iaiOIUMÍi OT O C ¡ 3 M H M a J I b H 0 Í t p e j I M T M M . C B . pejIMrM03HOCTM IieBeCHblX roM cocTaBJiaeT M X cjiaSocTb. CKyjibnTypw: CTaHOBMTb co ero pasMwmjieHMHMM, BCCM 'lejicBeMecTBOM Fa-Kpec.Ta (MJIJI. 13). nanpMMep 3ainMm,aioiiTero c ero XpMCTa, (MJIJI. KOHu;enHiieM Hecyuíero KpecT 12), M J I M jiw/reM B CBH3I Bepbi. >Ke B O T nasenMH Bup,e E Oí BMCCT sepe nponacr �WARUNKI PRENUMERATY Cena prenumeraty rocznej Cena prenumeraty półrocznej zł 72.— zł 36.— Prenumeratę na kraj przyjmują Oddziały RSW „Prasa-Książka-Ruch" oraz urzędy pocztowe i doręczyciele •— w terminach: — do 25 listopada na styczeń, I kwartał, I półrocze roku następnego i na cały rok następny — do dnia 10 miesiąca, poprzedzającego okres prenumeraty na pozostałe okresy ro­ ku bieżącego. Jednostki gospodarki uspołecznionej, instytucje i organizacje społeczno-polity­ czne składają zamówienia w miejscowych Oddziałach RSW „Prasa-Książka-Ruch". Zakłady pracy i instytucje w miejscowościach, w których nie ma Oddziałów RSW oraz prenumeratorzy indywidualni zamawiają prenumeratę w urzędach pocz­ towych lub u doręczycieli. Prenumeratę ze zleceniem wysyłki za granicę, która jest o 50%> droższa od prenumeraty krajowej, przyjmuje RSW „Prasa-Książka-Ruch", Centrala Kolporta­ żu Prasy i Wydawnictw ul. Towarowa 28, 00-958 Warszawa, konto PKO nr 1531-71 w terminach podanych dla prenumeraty krajowej. Sprzedaż numerów bieżących i archiwalnych: — w Księgarni Ośrodka Rozpowszechniania Wydawnictw Naukowych PAN, sprze­ daż gotówkowa i wysyłkowa numerów bieżących i archiwalnych płatność go­ tówką, przelewem lub za zaliczeniem pocztowym. Adres: OR PAN, Pałac Kultury i Nauki, 00-901 Warszawa, konto PKO 1531-912 I Oddział Warszawa. Orders for this periodical from abrcad can be placed with „Ars Polona" Krakow­ skie Przedmieście 7, 00-068 Warszawa, Poland or with — Kubon & Sagner, Inhaber Otto Sagner, D8 München 34, Postfach 68, Bundesre­ publik Deutschland. — Earlscourt Publications Ltd., 130 Shepherd Bush Centre, London W 12, Great Britain. — Licosa Commissionaria Sansoni, Via Lamarmora 45, 50 121 Firenze, Italy. Indeks 36 940 PL ISSN 0032-3721 Zakład Narodowy imienia Ossolińskich — Wydawnictwo Wrocław, Oddział w War­ szawie 1976. Nakład 2000 egz. Objętość 20,70 ark. wyd.: 16,00 ark. druk. Papier ilustracyjny k l . I I I 90 g. 61 X 86. Oddano do składu 10.IX.1976. Podpisano do druku w marcu 1977 r. Wydrukowano w kwietniu 1977 r. w Zakł. Graf. „Tamka". Z. 2. 501. F - l l . Cena 36.— zł. �