https://zbiory.etnologia.uw.edu.pl/files/original/54a05105560b4266b62b01e554453f27.pdf 4b53a49758764014c57075f0eedd5753 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 Polska Sztuka Ludowa - Konteksty 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:3487 Date A point or period of time associated with an event in the lifecycle of the resource 1980 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:3269 Title A name given to the resource Summary of articles / Polska Sztuka Ludowa - Konteksty 1980 t.34 z.3-4 Description An account of the resource Polska Sztuka Ludowa - Konteksty 1980 t.34 z.3-4, s.251-256 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 S E U M M A S R Y * O This double issue of the periodical is dedicated to prof, d r Roman Reinfuss on the occasion of his 70th birtday and 50th anniversary of his scholarly acti­ vity. R. Reinfuss, the most eminent expert on folk art i n Poland, for 35 years has been carrying out re­ search on folk art under the auspices of the I n s t i ­ tute of A r t . He was not only the author of a majo­ r i t y of essential monographs on folk art but i t was also h i m who drew attention of Polish scholars to the so far unknown or underestimated problems like Cracow folk nativities, prints on linen, stone sculp­ ture, printed tiles and artistic i r o n - w o r k s . Thanks to his initiative and great efforts the archives of folk documentation were established, invaluable basis of materials and records for the interested i n Polish folk art. His scholarly and organisational achievements are briefly presented by Aleksander Jackowski i n the introductory article: Roman Reinfuss and folk art. The author points out to four basic spheres of the p r o ­ fessor's activity. These are as follows: 1) organisation of research and documentation re­ sulting from i t . 2) his works (strictly scientific, as w e l l as those of popular science) w h i c h comprise 270 titles i n c l u ­ ding 9 books. (The complete bibliographical list of his works was published i n 1980 by the „ L u d " ) . The ma­ j o r i t y of his works w r i t t e n before 1948 treats on the culture of the Lemek population and problems of the border zones between the Lemeks and Bojeks. A m o n g the dominating subjects of his later works are those connected w i t h folk art and research on the folk culture i n the Carpathian Mountains. 3) protection of contemporary folk creativity, par­ ticipation i n organisation of competitions as w e l l as exhibitions juries, presidency of the Scholarly Coun­ cil of the Association of F o l k Artists. 4) pedagogical a c t i v i t y w h i c h resulted i n educa­ tion of numerous etnographs, especially d u r i n g the existence and activity of the directed by the profes­ sor department of folk art at the L u b l i n U n i v e r s i t y . The present issue of the periodical, the co-editor of which prof. Reinfuss has been since its establishement i n 1947, comprises w o r k s dedicated to h i m by his pupils and collaborators. E w a F r y ś - P i e t r a s z k o w a — THE ARCHIVES OF P O L I S H F O L K A R T D O C U M E N T A T I O N OF T H E POLISH A C A D E M Y OF SCIENCES A N D L E T T E R S ' I N S T I T U T E OF A R T . The archives were established i n 1946. I t is prof. Reinfuss who has been the director and author of its programme since 1946. Since 1959 the archives have remained w i t h i n the Polish Academy of Scien­ ces and Letters' I n s t i t u t e of A r t . The archives are i n Cracow at 70, K a r m e l i c k a street f l a t 3. The a i m of the institution is to gather materials concerning all the fields of Polish f o l k a r t i n c l u d i n g costume, architecture, handicraft, r i t u a l as w e l l as decorative art. The activity of the archives concerns both t r a ­ ditional a r t and its contemporary transformations. The presented map of the examined points shows the r a n ­ ge and intensity of research works. The examinations have been carried out i n about 3.500 localities and covered 85 per cent of the t o t a l area of the country. Apart from the photograps (over 60.000), there have been executed about 57.000 drawings and coloured p l a ­ tes, as w e l l as 1038 copies f r o m woodcuts used for p r i n t i n g o n linen. Moreover, there have been ga­ thered about 2000 samples of fabric and about 1000 original cut outs and paintings o n paper and linen. The archives also comprise about 75.000 pages of manuscripts and typescripts of interviews carried on F A P R T I C L E E 3 F O M E S i n the countryside w h i c h inform about an object and its c u l t u r a l context. The archivization was based on the existing i n the fifties administrative division of the country. The value of the gathered materials is not equal depending on -the intensity of research, as well as the level of professional t r a i n i n g of the research wor­ kers. The most valuable materials were collected by the participants of stationary camps. The authoress, the closest collaborator of prof. Reinfuss, characteri­ zes i n her article the gathered materials. They for­ med the basis of more than 140 works published m a i n l y by the „Polish Folk A r t " . Furthermore, one synthetical study and 9 monographs were published (next t w o monographs are being prepared) — cf. foot­ notes 18—23. The collection of the archives is open to a l l the interested i n folk art problems. A n n a K u n c z y h s k a - I r a c k a — THE M A N OF SORROW A N D H I S P L A C E I N T R A D I T I O N A L FOLK RELIGIOUSNESS. The M a n of Sorrow as an iconographic motif belongs to a group of subjects t h a t originated i n the late M i d d l e Ages. I t appeared i n Poland on turn of the 15th century and was fervently propagated i n the 16th and 17th centuries by mendicant orders. I t occurs also i n L i t h u a n i a , Slovakia and even i n Si­ beria where i t was brought by the Polish deportees. However, i t was especially popular among the Polish r u r a l population. Numerous and various sculptures of the M a n of Sorrow were used mainly i n private de­ votion — intimate prayer. I t is characteristic that the M a n of Sorrow, conversely to some images of the V i r g i n w h i c h were honoured w i t h a deep veneration, was regarded as a general symbol and none of his sculptural representations has become a miraculous image worshipped over a greater area, though some church sculptures (late medieval and Baroque) which were locally venerated (for instance, fig. 1) became a model for the folk sculptors i n the neighbourhood. A . Kunczynska-Iraoka, authoress of the work on folk sculptures of the M a n of Sorrow which was pub­ lished t w e n t y years ago, tries to reconstruct the suc­ ceeding phases of the f o r m a t i o n of the image tradi­ t i o n of the M a n of Sorrow i n folk culture basing her research on new settlements as w e l l as the analysis of prayers and religious songs. Following Z. Dobrzeniecki (footnote 15) She analyses the contents of the 16th century devotional literature that shaped feelings of the country folk. The images of the Man of Sor­ r o w strongly affecting imagination were to help the f a i t h f u l to experience the Passion. The spread and popularity of images of the M a n of Sorrow i n chur­ ches and wayside shrines (fig. 11) were connected w i t h the „folk" character of late medieval devotion uni­ f y i n g various social strata. However, i t was i n the 18th century, partly due to the ideology of the Counter-Reformation, that the peculiar character of folk religiousness i n Polish count­ ryside was shaped and i t survived t i l l the end of the 19th century. The image of the M a n of Sorrow which i n the church ideology is connected not only w i t h the Passion but also w i t h the rule over the world (Christ holding a reed i n his hand and dressed i n the r o y a l coat) remains i n the country-folk a personifi­ cation' of suffering, love and care. Songs and prayers indicate the attitude of peasants towards the idea of the M a n of Sorrow. He himself is an escape and con­ solation. I n the country-folk prayers there starts the process of consolidation of apocryphic image of Christ sitting on the sea rock as w e l l as the process of iden­ tification of the motif of the M a n of Sorrow w i t h suffering i n the name of M a n . 251 �The country folk turned to the M a n of Sorrow i n case of their worries and troubles, thus reducing d i ­ vine matters to the w o r l d scale — peasants existence, although maintaining at the same time depth of their feelings. The authoress, w h i l e w r i t i n g about this, oppozes the view stating that the country-folk religious­ ness is on the level of magical t h i n k i n g . I n order to understand this religiousness one should get an insight into the essence of country-folk t h i n k i n g . A n d i t is the analysis of old prayers and religious songs that may be of some help i n this matter. E d w a r d W a l i g ó r a — BONDS ISSUED B Y PO­ L I S H L A N D O W N E R S F R O M T H E 16th TO T H E 20th CENTURY F r o m the 16th to the 20th century Polish landow­ ners issued bonds that were used as means of clearing for the w o r k done for the benefit of a manorial esta­ te. The bonds were of a different f o r m : p r i n t e d or handwritten, signs branded on small boards, stamped on. metal, glass or leather, countersignatures, as w e l l as dominial coins of m i n t production. They served as an i n t e r n a l legal tender between the landowner and peasants hired for field works. The cheapest form of the manor issuing from the 16th to the 18th century were non-nominal bonds, either engraved or stamped on metal, glass and leather, or branded on wood. These bonds are one- or t w o -sided w i t h symbolic representations of everyday ob­ jects depicting the type of w o r k done by the hired peasant. The initials and ligatures, w h i c h are of a re­ latively small number, refer to nobility coats of arms. I n the 18th century t h i n t i n coins, called peasant bracteats were issued i n numerous village smitheries belonging to manorial estates. For the purpose the blacksmith made an i r o n stamp by means of w h i c h on a t h i n t i n he obtained single' letters figures or p r i m i t i v e drawings depicting the type of w o r k or amount of payment. Countersignatures placed on w o r n out copper coins were another f o r m of bonds. The coins were countersigned w i t h a coat of arms, mono­ gram, figure, letter or symbolic drawings. A n d this custom survived t i l l the twenties of the 20th cen­ tury. Paper bonds issued at the end of the 18th cen­ t u r y have also been found. They were p r i n t e d by manors as w e l l as by factories and mines basing on peasant transport. A n d they were s t i l l issued i n the thirties of the 20th century. F r o m the last quarter of the 18th century t i l l the end of the First W o r l d War dominial coins were issued i n great manorial estates. They were usually two-sided and bore the name of the owner or of the manorial estate, monogram or coat of arms and the nominal w o r t h . As far as their designs are concerned, they most often resamible the legal tender. I n the 19th and 20th centuries there de­ veloped service bonds, both one- or two-sided, w i t h figure representing measure or nominal w o r t h . The greatest collections of service bonds are i a possession of the Ethnographic Museum i n Cracow and national museums i n Warsaw and P o z n a ń . There are also private collections of bonds. J e r z y C z a j k o w s k i — STUDIES ON H I S T O R I ­ C A L D E V E L O P M E N T OF T H E V I L L A G E HOUSE I N SOUTHERN P O L A N D The development of folk architecture i n Southern Poland was determined by a number of factors: m o r ­ phological, economic, ethnic, and of settlement w h i c h caused the formation of various forms of farms, but mainly of various types of plans. A n d the latter is regarded as the most i m p o r t a n t problem by the author of the article. He treats on the origin and evolution of basic types of the house (in respect to their plans) in view of their historical development. The house typical for Polish folk architecture con­ sists of the vestibule, chamber and bed-chamber (fig. 9 e-g). I t occurred on the area along the left bank of the Vistula from the Baltic Sea to the Carpathian Mountains (fig. 14). I t was transferred to N o r t h e r n Slovakia and the Eastern Carpathian Mountains (Ukraine) by Polish settlers. This type of house must have developed between the 14th and 15th centuries. The bedchamber next to the chamber appeared p r o ­ 252 bably as the result of its a d d i t i o n to a more p r i m i ­ tive hut consisting of the vestibule and chamber and not, as i t was viewed by some scholars, as the result of the i n t e r n a l ' d i v i s i o n of the chamber. The house w i t h the vestibule i n the middle sepa­ r a t i n g the chamber f r o m the bed-chamber (fig. 13b) forms another type of the house t y p i c a l also for Po­ lish folk architecture, b u t occurring also among a l l the middle and Eastern Slav populations. This type of house originated as the result of the fusion of the one-interior house w i t h the granary w h i c h probably took place i n Poland already i n the 14th century. And many variations developed from this type (fig. 13 d-f). Whereas, the house w i t h the vestibule separating the chamber f r o m the stable (fig. 13g) was k n o w n i n Poland i n the 15th century. Its appearance could have been connected w i t h German medieval coloni­ zation, as i t was stated by German and other scho­ lars. However, the theory of the German o r i g i n of the house w i t h the stable is being repeatedly questioned, though w i t h o u t solid proofs. W i t h o u t considering the matter of influence or borrowings of certain architectural elements, one sho­ uld state that the house consisting of three rooms must have appeared i n f o l k architecture already at the end of the 14th century. Its enlarged functional programme was the result of general economic chan­ ges i(in agriculture, as w e l l as i n breeding) that cau­ sed the increase of h u m a n needs, different from those i n the period between the 10th and 13th centuries. A l e k s a n d e r B l a c h o w s k i — SOME R E M A R K S ON C U T O U T S A F T E R T H E A L L - P O L I S H CONTEST IN TORUN The author confronts his o w n observations based on the analysis of the contest m a t e r i a l as w e l l as long lasting research w o r k s w i t h the opinions i n c l u ­ ded i n the studies on folk art, especially those on cutouts. Detachment of products f r o m the whole of the peasants' culture leads to disappearance or a d u l ­ teration of the notion: region (J. Grabowski's case). Changing names of administration districts get con­ fused w i t h regions, notions of ethnographical charac­ ter, w h i l e only the region, being a historical category can serve as reference i n the research on folk c u l ­ ture. Detachment of a phenomenon f r o m its time and space context impedes the e x a m i n a t i o n of the circum­ stances of its o r i g i n and e x a m i n a t i o n of its represen­ tative value. The author distinguishes for sources of the cutout inspiration. They are as follows: — traditional, archaic decorative motives, connec­ ted w i t h the semantics of graphic signs, symbols etc. They also occur on ornamented Easter eggs (already on those from the 10th to 13th century), i n w a l l pain­ t i n g etc. Perduration of these motives suggests the existence of the decorative t h i n k i n g u n i t y among the Polish c o u n t r y f o l k ; — folk culture, rites, holidays, costumes and also present aesthetical ideas; — conditioning by material, tools and technique (sheep shears, twice or more times folded paper); — exterior influences and borrowings from the culture of other social groups, those of villages, small and biggear towns. Next follow the author's considerations on the extent to w h i c h cutouts can be treated as collective or i n d i v i d u a l works of art. He points out t o the fact, that due to the r e l a t i v e l y short history of cutouts (they originated i n the middle of the 19th century) they have become neither v a l i d aesthetical norms, as i n the case of a t r a d i t i o n a l costume, nor a t r a d i t i o n generally observed. This favoured new fashions and innovations. They were introduced by the aptest „ s p e cialists", frequently handicapped or v e r y poor women, for w h o m cutouts offered an extra income. Orders, both from their own community and, later on, from collectors and t r a d i n g firms (Cepelia), have not, cont­ r a r y to current opinions, deteriorated works of the distinguished artists. They are now creating individual art w i t h i n the region style". A t present, cutouts are exclusively executed for sale. There are only a few women l i v i n g who, i n their youth, used to decorate chambers w i t h them �(only two are still l i v i n g i n the Łowicz district). Most women make their cutouts only for sale i n towns. In the recent years more and more quasi—tra­ ditional cutouts have appeared; they are traditional cutouts reconstructed and executed by t o w n amateurs. Blachowski points out to the presently occurring dan­ gers of deterioration of cutouts. I n the last part of his article the author discusses the contest materials and divides them i n groups i n regard to the area of their origin. t h e inter—war period the subject of the Jew appea­ red sporadically. H i s ' external features were underli­ ned on these occasion's: face features, dress and occu­ pation (a travelling' salesman, a man w i t h a bool, a shopkeeper, t r a v e l l i n g musicians). The post — war sculpture made the figure of the Jew a historical sub­ ject; the sculptors refer to the retained stereotype or the memories of concrete persons or scenes. They present Jews i n their typical everyday dress, although they do not possess Semite face features. M a ł g o r z a t a M a t u s e k — T H E Q U E S T I O N OF THE ORIGIN OF P O L I S H F O L K D O U B L E W A R P CARPETS Zofia C i e ś 1 a-R e i n f u s s o w a — ALEKSANDRA POLAŃSKA-HRYŃCZUK, T H E EGG DECORATER FROM T H E ŁEMKO REGION In the 19th and 20th centuries, t i l l the Second World War, carpets (fabrics) of two warps and two wefts, mostly two—coloured, w i t h a negative design on both sides were produced i n the n o r t h — eastern Poland. They were woven both by artisans and count­ ry women. The authoress distinguishes five groups of carpets according to the type of design (traditional: Jacquard and bedspread ones, inspired by Eleonora P l u t y ń s k a , and subject compositions by D o m i n i k a Bujnowska). There are various hypotheses on the o r i g i n of carpets i n Poland. They could have been inspired by the Scandinavian, Russian and German ones (the so —called Schleswig-Holsteiinische Beiderwand), the English (Kidderminster), I t a l i a n or Spanish ones. M a ­ nufactures and weavers brought to Poland could have also had an influence on the production of Polish carpets. T e r e s a K a r w i c k a — T H E P O L I S H F O L K CUS­ TOM OF ERECTING „ M A J S " I N T H E EUROPEAN CONTEXT The custom of erecting high poles or trees w i t h decorated tops, around w h i c h dances were held on the eve of the 1st of M a y , was wide spread among European villages. I n Poland these poles were cal­ led: „ m a j " or „ w i c h a " and were k n o w n i n Great Po­ land, Silesia and southern parts of L i t t l e Poland; i n the highlands the custom survivied t i l l the middle of the 10th century. I t is supposed t h a t majs were o r i g i ­ nally of a cult Character and later they were conne­ cted w i t h vegetation magic. A t the end of the 19th century both magic and c u l t functions disappeared and the rite transformed into a game becoming also the way of courtship. Majs were then erected i n the farms of marriageable girls or i n the village and a prize for the climbing boy was placed of top of them. The authoress presents the life and w o r k of one of the most distinguished egg decoraters. B o r n i n 1911 i n the village of Ł a b o w a near Nowy Sącz, she was brought up i n the circle of the Ł e m k o culture. She has been decorating eggs since she was five years old and she applies the wax, b a t i k technique. The authoress describes the artist's technique, quoting fre­ quently her own words. She always uses natural dyes. She executes both t r a d i t i o n a l designs (three — colour ones) as w e l l as her owns, applying them more dyes (up to ten). She has her favourite colour sets, such as white, yellow and red. Decoration of one egg w i t h a complicated design takes her more t h a n ten hours. She never decorates two eggs identically. The autho­ ress presents various types of ornamental designs by P o l a ń s k a - H r y ń c z u k , and shows the most frequently applied motives. Some of them evoke memories from her y o u t h and they are called for example: „ t h e sun", „ s p r i n g " , „ t h e lost chapelet", „fern flower", „ d a n c i n g women", „a small b a r r e l " (memory from the wedding reception). The artist also writes rhymes that accom­ pany the decorated eggs. She tells about herself: „ W h i le w o r k i n g m y m i n d is back i n Ł a b o w a , and a l l the sights from m y childhood crowd i n my head". The competitions i n decorated eggs, i n which she takes part, inspire her to new and more ambitious attempts. Her children, however, have not taken up the art of painting eggs. They live i n the town. Her daughter is a doctor of pedagogy, her son has gra­ duated from the Academy of Agireulture. Janina Petera — S I D E W A Y SHRINES SCULPTURES B Y JOZEF K W I A T K O W S K I AND K w i a t k o w s k i was a t r a v e l l i n g sculptor active i n the L u b l i n district i n the second half of the 19th cen­ t u r y . M a n y of his w o r k s have been identified. Some of them have been bought by the L u b l i n Museum. The authoress presents them i n her article. OF Józef Furdyna — JOZEF S Ł O N I N A , FOLK SCULPTOR F R O M B O G D A N Ó W K A I N T H E M Y Ś L E ­ NICE DISTRICT I n the oral folklore there exists a stereotype of a Jew, reflected i n the Christmas figures, rite mas­ ques, Bmaus toys and determined by the part of the Jews i n these rites. Nowadays, this stereotype is v a ­ nishing, the memory of the Jew, of his dress, speach and face feature is desappearing. Figure beehives representing the Jew have been k n o w n since the m i d ­ dle of the 18th century and could have been of ma­ gic function. I n few examples o f secular sculpture of S ł o n i n a (1925 —1978), b o r n i n B o g d a n ó w k a , was a cowherd i n his youth, and a wood worker after­ wards. After an accident at w o r k he bacame an i n ­ v a l i d whose pension was to provide means of living. He started sculpturing round 1956, at first using roots (sticks w i t h animal figures) and later — river stones and wood. He sculptured numerous holy images, clo­ se i n type to the t r a d i t i o n a l folk sculpture, and figu* res representing people at work. O l g a M u l k i e w i c z-G o 1 d b e r g — F I G U R E THE JEW I N P O L I S H F O L K S C U L P T U R E �P E 3 I 0 M E HacTOHiHHíí (flBOMHOíi) HOMep Híypnajia nocBHirieH npodpeccopy flOKTopy PoMaHy Peímcpyccy B C B H 3 M C ceMMflecHTMJieTueM eo S H H pojK^eHua M n a T K f l e c a T J i J i e T J i e M HayiHOíí HeaTeJitHOCTM. ü p o c p e c c o p PeíiHcpycc, HanSojiee BbiflaioirinficH B nojibine SHaTOK HapoflHoro MCKyccrBa, yme 35 jieT sefleT B paMKax 1/lHCTMTyTa wcKyccTBa I T O J I B OKOÍÍ AKafleMMM HayK MOCJieflOBaHMa B 3 T O Ü oBjiacTM. 3 T O eMy nojibCKafl Hayxa o6a3aHa BojibuiMHCTBOM O C H O B H B I X MOHOrpacpwM no HapoflHOMy MCKyccTBy; O H oBpaTMJi TaKsce BHMMaHMe Ha MaJiOM3B©cTHbie J I M 6 O HejjponeHWeaeMbie panee BonpocM, K S I K HaopMM. KpaKOBCKHe n a poflHbie BepTenbi, HaSwHHbie TKanM, pe3b6a no pacnMCHbie Mecno. M3pa3Hbi, Bjiaroflapa xyflOJKecrBeHHOe MHMirjiaTMBe KaMmo, Ky3HeiH0e M orpoMHOMy CTenenH npodpeocwOHaJibHOíi noflroTOBKM jinri, npnHMMaB- uiMx y iacTwe B paSoTe. CaMbie iieiiHbie MaTepiiajibi Bbijiw •coSpaHbi B craxciiOHapHbix Jiarepax. A B T O P cTaTMM, 6 J I M i JKafiHiaa coTpyflHMLca npocbeccopa PeííHCpycca, x a p a K T e p r a y e T B C B O C M TeKCTe coGpaHHWíi Marepiiaji. Ha ero ocHOBe 6buio M3flaHO CBbmie 140 TpyflOB, ony6jiMKOBaHHMX B SojibiiruHCTBe CJiynaeiB na CTpaHiiqax Htypnajia „HojibCKoe HapoflHoe JíCKyccTBO" (Polska Sztuka Ludowa). H3^aHa TaKsce oana CMHTeTMHecKaa pa6oTa M 9 TCMaTM'ieoKJix MOHorpappMM (roTOBaTca K M3flaHMii flBe cjie- AyiomMe) — cp. npiiMenaHMa oSmeflOCTynHbi. 16—23. CoépaHMa ApxMBa pe- BKjia#y Tpyfla npodpeccopa PeííHCpyCca coscan apxwB HapoflHOíí flOKyMeiHTar^HM, HeoaeHMMaa MaTepMajibnaa 6a3a jiJia Bcex, KOTO MHTepecyeT MCKyccTBO nojibCKoro Hapo^a. AH«a KyHHMHbCKa-MpariKa — XPMCTOC HayHHoe M opraHMsarjMOiHHoe flocTOanMe npodpeccopa C K O P B H H I M l l M E r o MECTO B T P A f l M H M O H H b l X paccMaTpMBaeT BKpaTiie A j i e K c a H i i p H I I K O B C K M HAPOflHBIX BEPOBAHMHX B O BCTynMTeiibHOM CTaTbe: P O M A H PEKtH4>yCC M H A POAHOE M C K y C T B O . A B T O P CTaTbM nofliepKMBaeT neTbipe ocHOBHbie HanpaBjieHMH fleaTejibnoc™ npodpeccopa, XpMCTOT CKOpBamMM npMHaflJieHCMT K pejIOTMOSHOÜ a MMeHHo: TeMaTMKe n03flHero cpeflHeBeKOiBba. B Hojibrue noaBJia1 OpraHMSanMH MOCJieyOIOBaHMÍI ( H B03HMKUiaH erca na nepe.io.Me X V — X V I B B . , no¡nyjiapw3MpyeMbifi ocoB CBfEÍH C 3TMM jjpKyMeHTairMa); 6eHHO B X V I , X V I I B B . HMIIieHCTBylOmMMM MOHanieCKMMIl 2 — aBTOpcKMe Tpyflbi (HayiHbie M HayHHO-norryopseHaMM. K y j i b T OKOp6airrero BbicTynaeT TaKáie Ha T e p jiapHbie), HaciHTbiiBaiomMe O K . 270 GnBjiHorpacpHecTOx pUTOpiíM JlMTBbl, CjIOÍBaiKMM M flaJKe B Olí6lipit. OfflHaKO H03MHMÍÍ, B T O M HMCJie 9 K n u r . (ITojiHyío 6n6jiM0rpad5iíK) oico6oił nonynapHOCTbio nojib3yeTca X P M C T O C CKopSamíifí nySjiMKyer „JliOfl", 1980 r.). E O J I B I U M I H C T B O TpyflOB, naB rcoJibCKOM Hapofle. MHoroHwcjieHHbie M pa3iropoflHbie roicaHHbix flo 1948 r., K a c a e r c a KyjibTypbi jieMKOBCKoro CKyjibnTypHbie M3o6paJKeHMa X p n c T a CKopSaniero cjiyHacejieiHiia, npofíjieMbí pyOesteM J I C M K O B M S O M K O B H T.fl. JHMJIM npescfte Bcero H H T H M H O M M O J I H T B C , nacTHOMy KyjibIl03flHee npeo6naflaK)T Tpyírbí, cBa3anHbie e HapoflHbrM Ty. XapaKTepHO, H T O ecjni cpe^M 0To6pa2ceHMÍi MaflOHHbi HCKyCCTBOM M MCCJieflQBaHMaMM B oSjiaCTM HapOflHOM K y j l b - Typtt KapnaT; 3 — oxpaHa eoBpeMeH H O T O Hapo/nioro TBOpnecTBa, oprann3aqjiJi KOHKypcos, xiopn BbicraBOK; npodpeccop B03TJiaBjiaeT HayHHbiíí C O B C T 06uiecTBa naynacTMe B pO'flHMX TBOpUOB; 4 — neflaroriiHecKaa seaTenbHOCTb, nojrroTOBKa roiMCJieHHOíí r p y n n b i arHorpadpoB, ocooeHHO cymecTBOBaHMa pyKOBOifflMMOM npocpeccopoM HapoflHOro MCKyccrBa npn yHMBepCMTeTe KiOpM-CKjrOflOBCKOÍÍ B JlK)5jlMHe. MHO- B nepnofl Kacpeflpbi M M . Mapnn H a c T o a m i r i ł HOMep JKypHajia (copesaKTpoM K O T O D O T O npodpeccop Peííncpyoc a s n a e T c a co flHa ocHOBaHMa B 1947 r.) — ero coflepacnT nocBameHHbie npoppeccopy Tpy/rbí JTHeHMKOB M C0Tpy,ZrHMKOB. ApxMB 6bra ocHOBan B 1946 r. A B T O P O M ero nporpaMMbí M pyKOBOflMTejieM c nepBbix sce flneü a B j i a e T c a npod>eocop PoMaH Peünobycc. HaiMHaa c 1959 r. ApxMB pa60TaeT B paMKax MHCTMTyTa wcKyccTBa I I A H ; n a x o Airrca B KpaKOse, KapMejntnjKaa y j i . Na 70 K B . 3. 3aflaia ApxwBa — cMcreMaTM^ecKoe coSwpaHue MaTepuajiOB, KacaiomMxca Bcex o r p a c j i e í i napOfliHoro ji30'6pa3WTejibHOro MCKyccTBa (BKjiiOHaa KOCTioMbí, apxMTeKTypy, npwKjiafl- Hoe MCKyccTBO, xyaoJKecTBeHHOe peMecjio, o&paflOByio njiacTMKy) na TeppMTopMM sceíí CTpaHbi. ApxMB MHTepecyerca pa'BHO TpaflwnMOHHbiM MCKyccrBOM, K a K n ero BitfflOM3MeHeHiiaMM. JJpiijiaraeMaa KapTa MCcseflyeMbix MecTHOCTeü OToSpascaeT oS^eM M MHTeHCMBHOCTb paSoT. MiccJieflOBaHMa 6bijiM npOBeseHbi npn6jra3M:- TejibHO B 3.500 MecTHOCTax, oxBaTbiBaa 85% TeppjrropiíM crpaHbi. KpOMe C H M M K O B (cBbmie 60.000) 6buio BbinojiHeHO O K . 57.000 pncyHKOB M UBeTHMx KJiMrne, 1038 O T T M C K O B HepesaHHbix dpopM fljia i¡a5irn;ioro nonOTHa, Sbijio coBpaHO O K . 2.000 oSpas^MKOs TKaHeił, a TaKHce OK. 1000 OpMTKHaUbHblX BbrpC30K n pacnMCHMx KapTM- HOK M3 6 y M a r M ¡M n o j i o T H a . . KpOMe T o r o B A p x i í s e xpaHMTca O K . 75.000 CTpaHMii p y K o n u c e f ł u ManiMHonMceíí npoBeaeHHbix onpocoB. O H H coflepscaT CBefleroia o flaiHI . I O M oiS^eKTe M ero KyjibTypHOM KOHTeKCTe. ApxMBH3aiíMa Bejiacb Ha ocnoiBe icyniecTByioniero B namHecaTbix r o ^ a x aflMMHMCTpaTiíBHoro flejieniia crpanw. CoopaHHbiü MaTepjrají HepaBHOi^eHeH. Ero 3HaneHMe 3aiB'HCHT OT MH'TeHCHBHOCTJÍ MCCJieflOBaiHHÍÍ, a TaKHCe OT 254 TO XpMCTOiC H T M M M C o6pa3bi M M3o6paaceHMH, CKOpiSarUMM BOlCnpMHMMajICH, K a K o6w¡Kü oflHa M3 e r o CKyjibnTyp ne n o j i y n m i a mw- vi H M poKoro pacnpocTpaHeHHa CMMBOJI B KanecTBe HyflOfleücTBeHHOü CMJibi, x o T a HeKOTopbie KOCTejibHbie CKyjibirrypbi ( s p e M6H nosfflHero opefflHeBeKOBba w 6apoKKo), nojib30BaBuineca MecTHbiM KyjibTOM (HanpwM. M J I J I . 1), CTaJiM o6pa3- ąOM fljia OKpeCTHblX HapOAHblX 'CKyJIbnTOpOB. A . KyH^MHbCKa-MpaiiiKa, aBTOp w3flaH¡H0¡ro 20 JieT TOMy Haaafl Tpy^a o HapoflHbix CKyjibnTypax, M3o6pascaBiuiix X p n c r a CKopSamero (npiiMen. 4), onwpaacb Ha HOBbie ycTaHOBJieHMa, a TaKHce Ha aHajiM3 M O J I M T B M pojiMTM03Hbix necen, nbiTaerea BOccraHOBUTb onepeflHbie cpa3bi cpopMwpOBaHMa TpaflMU,MM ii3o6pa3KeHna X p n c r a CiKop6amero B HapoflHOíi KynbType. BcJiefl 3a T . 7Ip62K HerrKMM (npuMeHw 15) aBTOp aHajrasupyeT coflepacaHiie KyjibTOBOií jiMTepaTypbi X V I B . , cpopMMpyíomee nyBCTBa HapoAHbix Mace. M3o6paJKeHMa CKOp6amero O M J I I > H O B J I M e 3 B a * p b i c b - r i e T p a u i K O B a — APXMB SOKyMEHTAI1MM n O J I B C K O r O H A P O f l H O r O M O K y C C T B A B M H C T M T y T E M C K y C C T B A ITOJIbCKOH A K A f l E M M M HAyK coBpeMeHHbiMH cyuíecTBOBajiM oco6o aBiiiMe Ha BneHaTjiMTenbHOCTb, flOjisíHbi SMJIM noMoraTb BepjnomiiM HanOBO nepescMBaTb CTpacTM rocnosHM. PacnpocTpaHeHiie M3o6pajKeHitíi XpncTa CKopfíarxiero B K O c r e r a x M npiiflopoHCHbix '•laooBeHKax ( M J I J I . 11) 6biJio CBH3aHO c HapoflHbiM xapaKTepoM HaSoJKHOCTM nepMOfla no3ftHero cpeflHeBeKOBba, oSiiefliiHaioiiieu pa3JiWHHbie 06niecTEeHHbie C J I O M . 3aTO B X V I I B . B cBa3M c iMAeoJiorneM KOHTppeopopMariMM B nojibCKOíi jiepeBHe pa3BMBaeTca cneuMOpiiKa iHapaflHOü pejimnnosHOCTM, KOTopaa npo- SOJiHcaeT cymecTBOBaTb BnjioTb flo KOHua X I X B . Mso- SpajKenne Xp'iucTa CKopSauíero, KOTOpbiíi corjiacHO K O CTeJibHOM MfleoJiorMM cBa3aH ne TOJibKO eo C r p a c T a M n XpMCTOBblMM, HO H C rOCnOACTBOM Hafl MPTOOM (XpKCTOC B KopojieBCKOíi M a i M H na n j i e n a x M Tpo'CTbK) o pyKax), B r j i a s a x napofla a B j i a e T c a BonjiomeHMeM saooTM, c r p a flaHMfl M J I I O S B I Í . neCHM M MOJIMTBbl OBMfleTejIbCTBylOT 0'6 OTHOiueHMM K p e c T b a n K Mflee CKopSaniero. O H «BjiaeTca npM6ejKMUJ,eM M yTeuieHMeM. HacTynaeT npoiíecc ynpoHeHMa a Hapofliibix MOJiM'TBax anoKpncbMHecKoro o6pa3iía MiMcyca XpncTa, cMiramero Ha MopcKOíi csajie, OTOjKfleCTBJienMa TeMbí OKop6anrero co cTpajiaHMaMM B O H M H HejiOBenecTBa. MH K K X p M c r y CK0p6auieMy co C B O M ooaiecKoe K 3eMHbiM MacuiTaSaM, Hapofl oSpamaerca HyjKflaMM, flepesencKOMy OBOfla 6wTy, coxpaHaa npiMTOM rjiyGwny nepe- HCMBaHMK M HyBCTB. PaCCMarpHBaa 3T0T Bonpoc, aBTOp nojieMM3MipyeT co B3rjia,Ę0M HKoBbi HapoflHaa peJinrno3HOCTb o c T a s a j i a c b Ha ypoBHe MaranecKoro MbirnjieHMH. Jiña Toro, H T O 6 M noHarb s r y pejiurnosHOCTb HaflO B H M K H y T b B cymHOCTb o6pa3a HapoflHOro MbiuiJieima. fljia s-Toro cJieflOBajio 6bi npoaHajrM3MpoBaTb CTapbie MOJiMTBbi v¡ pejiMTM03Hbie necHM Hapofla. �3fl apfl BaJiurypa — PACHETHBIE 3HAKM rTOJIbCKMX 4 > O J I L B A P K O B O T X V I flO X X B B . B dpojibBap- jB nepMOfl O T X V I « o X X B B . BJiasejibnbi nojibiue BbinycKaJiiM p a c H e m b i e 3 H a K M , B KOB onflaHHBajrM T p y j j K p e c T b H H . K O T O P B I M M nenarabie B MCrajie, n a CTeKJie J I M & O KOJKe, K O H T p a c e M T H a u M M M flCHescni.ie 3HaKM, B b m y c K a e M b i e MOHerHbiM flsopoM n o 3aaca3y 3eMJieBJiafleJibiia. O H M CJiyHíJfjm c p e ^ c r B O M B u y T p e H H e r o 3TO 6MJIM n^aTeata ¡i p a c n e T a Meac^y ncweiuMKOM H KpecTbanaMH HanKMaeMbiMM fljia n o j i e s b i x p a o o T . CaMOíí fleniesoM tpopMOií noMeiHMHbeíí n e K a H K M MOHOT 6bijin HenoMMHajibHbie pacneTHbie 3HaKM, Bbipbrrbie M J I H BbrKOBainibie B MeTajiJie, TMCHenHbie no creicjiy, K O J K e , BbiJKHraeMbie no flepeoy B X V I — X V I I B B . 3 T O 6bijrn OfllIO- JIMfiOflByCTOpOHHMeMOHeTHbie 3HaKM C C K M B O J I M •lecKHMM M3o6paJKeHMHMH npcuMeroB flOManiHero o6nxo.ua, ooo3Ha iaiomMMM onpeseJieHHbui pofl 3aHHTitíl K p e c T b a HMiia. Jíiumnajibi M jiMraTypbi S M J I K CBasaHbi e o i n j i a x e T CKOM repajibfluxoíi. ^ M C J I O M X H e B e j i M K O . B03MOH5HO, 1 T O 3 T 0 6bIJIO CBH3aHO CO CpeflHeB6K0B0Ü H C Meinw>ü KOJiOHM3an,MeM, KaK T B e p s M J i M n e M e i n n i e n spyr n e MCCJieflOBaTejiM. OflHaKO B HacToamee BpeMa reopita ireMei;KOro npoMcxojKJíeHKa flOMa c K o n i o n i H e M B c e n a m e O'cinapMiBaeTca, X O T B HblX flOKa3aTeJIbCTB. — Ha«o CKasaTb — 6e3 ySeflMTejib- Hbix K a c a a c b B flaHHOM cjiy^ae Bonpoca BOSMOSíHoro J1M60 3aMMCTBOBaHHa M3BeCTHbIX apxwTCKTypsjieMeHTOB, cjieflyer OTMeTMTb, HTO yxe K KOHiry XIV B. B He SJIIIHHMÍI flepeBeHCKOM coiCTOHmMe M3 Tpex dpyHKiiHOHajibHaa cTpoMTejibCTBe noaBMjiJUCb noMemeBMM. Mx nporp&MMa flOMa, pacinMpMBiuaaca B W T e K a j i a M3 o6m;Mx 3 K O - HOMMMecKMx nepeMeH (<B cejibCKOM xo3aücTBe M H Í M B O T HOBOflCTBe), KOTopbie noBbiuiajiM noTpe6HOCTM nacejieHMa no cpaBHeHMio c X — X I I I B B . l B X V I I I B . B O MHOriwx e p o j i b B a p K a x M Ky3HHu;ax c r a a u 6 n T b TOHKwe H c e c x a n b i e flepeBeHCKMx M O H C T M , T S K Ha3bmaeMbie KpecTbflHCKwe „6paKTeaTbi". Ky3Heu, noJib30B a n c a jKejiesHMM m r e M n e j i e M c o G c T B e H H O r o npoH3BOflCTBa, KOTOipblM BblftaBJIMBajI Ha TOHKOÍÍ HteC'TaHOM nJiaCTMHKe OTflejlbHbie 6yKBM M HMCppbl J I M O O npMMMTHBHble pwcyH- o&03HaHaioiirjie P°A ycjiyr M J I M 2Ke pa3Mepw B03Harpascfleniia. flpyroü (popMOü npoK3Boij,cTiBa 3HaK0B 6 b i j [ H KM, Kourpaoonri¡auiíM na McnojibsOBaHHbix MOHeTax. M o « e T b i BM3JtpOBajIil repOOM, MOHOrpaMMOM, HMdpDOÜ, SyKBOM J I H G O cMMBonMHecKMMM pMcyHKaMit. 3 T O T o6biHaíí npoflepscajica flo flBa/iuaTbix rOflOB X X BeKa. OGHapyjKeHbi T a i c a c e 6 y MaJKHbie odHbi Konna X V I I I B . M X BbiHycKajiM noMem.nK H , a r a K J K e cbaSpwKji M rnaxTbi, SasupoBaiBuiMeca n a icpecTbancKOM TpancnopTe. B O H W OTM nenaTajiM eme B TpjifluaTbix rqflax X X B e s a . HaHMHaa c nocjieAnero 25-jieroa X V I I I B . JJO K o n u a I MwpoBOíi s o í í H b i , ¡B K p y n H W X UMeHMax BbinycKajiMCb eoGcTBeH'Hbie MOHeTW. O H M npewMymecTBeHHO flByeropoHHMiMM, conpoBOSKflajuicb d)aMManeíi noMemwKa S M O O HasBaHweM K M C H K H , M O H O 6HJIM rpaMMOfí HOÜ UJIM rep60M, CTOMMO'CTPL a TaKHce o6o3HaHeHMeM H a m e Bcero OHM HanOMunaJin HOMimajib- paaMeHHbie MoneTbL B X I X M X X B B . n o B y H u j i j i p a c n p o c T p a H e H M e pacHeTHbie SHaKM 3a ycnyrw OflHO- J I W & O HBycTopoHHMe, na KOTopbix qwcbpOM o5b3HaHaJiocb KOJIMH©CTBO JIMOO CTOMMOCTb. BJiaxoBCKM— MBIHIJIEHMÍI B C B H 3 M KyPCOM B TOPYHE) CO O BBIPE3KAX (PA3- BCEnOJIbCKMM KOH- ABTop conocTaBJiaeT C B O M naSniofleHMa, npoBeflCHHbie B O BpeMa aHaji¡M3MpoBaHMa KOHKypcHoro MaTepMajia, KaK M MHOrojieTHMx MecTHbix MCCJiej^OBaHMM c cyjKfleHMaMM, KOTopbie BCTpeHaiOTCH B iny6jiMKairMHx, nooBa- uieHHbix HapofluoMy MicKyccTBy B O C O O C H H O C T M BbrpeaKaM. PaccMaTpMBaa o í f l e J i b H b i e B M A M M3flejrMM B oTpbise O T KpecTbaH'CKOM KyjibTypw B n;eJiOM, Mbi T e p a e í a J I M O O M3BpamaeM noHaTHe M3MeHaiomMeca perMOHa (HanpiiM. I O . rpaBoBCKM). Ha3saHMa aflMMHMCTpaTUBHOro fleneHMa n y T a w T c a c STHorpacpMHeeiKMM nonaTMCM perwoHa, B T O BpeMa K a x T O J I B K O noHaTMe perMOHa, K B K MCTopMiecKaa KaTeropMa, MOJKer 6biTb T O H K O M cooTHOHieHMa fljia MCCJieflOBaiHMíí HapoAHOíi KyjibTypbi. BbiHeJieiiMe aBJienMa M3 BpeMeHHOro M npocTpaHCTBeHHoro KOHTeKCTa jimuaer B03- MccjieflOsaTb MOJKHOCTM o6cToaTeJibCTBa ero BenMa, a TaKace CTeneHb ero A B T O P OTMenaer 4 MCTo^HMKa PC30K, a MMeHHO: 1 — TMBbl TpaflMUMOHHbie, (CBa3aHHbie MHcnupMpoBaHMa apxaMHeoKMe B H - jj,eKopaTHBHbie M O - C CeMa'HTfMKOÍi rpaCpMHeCKMX 3HaK0B, BCTpeHaioTca TaKsce Ha rracaHKax B HacreHHbix pocnncax M T . J I . nocToaHHO noBTopaioníMeca M O T M E B I sacTaBJiaioT flyMaTb 06 o6rnwx ieprax fleKopaTWBHOro MbnxtJieHMa nojibCKOro CMMBOJIOB (eme c M T.fí.). BO3HMKHO- TMIIMH.HOCTM. X — X I I I OHM BB.),. T CaMbiMH MHOroHHCJieHHbrMM co6pamiHMJi pacieTHbix KpaKOBCKJtíí SiiHorpacpir'jecKiMíí My- 3HaKOB paonojiaraioT 3eá, a TaKJKe HauMOHajibHwe My3eíi B BapniaBe M IIo3Ha- HC AjieKcaHAP CyiiiecTByiOT T a K s c e n a c T H b i e KOJiJieKin^m. Hapojta; 2 — KyjibTypa flepesHM, oGpafl, npasflHMK, HapHfl, a TaKSíe aKTyajibHbie scTeTMHecKMe B3rjiajn,i; 3 — McnojiHeHMe, oSycjiOBJieHHOe MaTepwajioM, K H - C T p y M C H T a M M M TeXHMKOÍÍ (HOZKHML(bI flJIH CTpMHCKM OBeE(, HCCJIEJIOBAHMÍI B OBJIAMCTOPMHECKOrO HEPEBEHCKOrO — ETKH HaííKOBCKM CTM PA3BHTOH A O M A B I 0 3 C H 0 1 Í nOJIblJJE rMHecKwe, 3KOHOMHHecKiie, noceJieHHecKMe, STHMHecKiie). 3 r a cpaKropbi cnoco6cTBOBaJiM cpopMJipoBaHHK> pa3jiMHnbix cpopM KpecTbHHCKMx flBopoB, npescfle a c e r o njiaHOB pa3HOo6pa3Hbix T J O T O B . 3 T O T nocJieflHMü Bonpoc aBTop ciMTaeT caiabiM cymecrBeHHbrM. O H paccMaTpuBaeT B O 3 HMKIIOBeHIie M 5B0JIKDD;MK) OCHOBHblX TMnO'B flOMOB (flCJIO Kacaeica njiauMpoeKM) a ucropiiHecKOM acneKTe. TMIMHHblM fl^a ITOJIbLUH H B U a e T C a flOM COOTOamilM M3 c e n e n , H A M J I O M H 3 6 b i ( M ^ J I . 10 e — g ) . T a x n e flOMa T a H y T c a Bflojib JieBoro 6epera (MJIJI. BMCJIM 14). n o j i b C K M e OT BajiTUMCKOiro Mopa nooejieHiíbi n e p e H e c j i M TMn flOMOB lia TeppMTOpMK» CeBepHOM CjlOBaKMH ü ^o STOT BOC- TOHHbix K a p n a T (YKpaMHa). Haflo n o n a r a T b , H T O TaKoro pofla nocTpoiíKM CTaJiM n o a B j i a T b c a B XIV—XV BB. (KjiaflOBaa npM usoe B03HiíKJTa, BepoaTHO, B 'pe3yjibTaTe npnCTpOMKM K 50Jiee ripitMWTMBHOMy HCMJIbK), 'COCTOHlHeMy M3 ceneii M M36bi, a H C— «aK SHJIO MHOroKpaTHO 6yMara); 4 — E H e m a i e e ¡BjinaHMe M s a H M C T B O B a n M e K y j i b T y p w j r p y r M x r p y n n H e p e B e H C K O í l , MecTeHKOBOM M r o p o f l C K O f i 06meCTBeHHOCTM. B W H C H O M HacTM I l o j i b n m napoflHaa a p x n T O K T y p a pasBMBajiacb nofl BjipiaHiieM pa.ua dpaKTopoB (Mopopojio- KapnaT cjiOJKeHHaa BflBoe nojiaraiOT HeKOTopbie HCcneAOBaTeJiM — B BMfly BnyTpeHuero pa3fle:ieHMH M 3 6 b j ) . í p y r o w , TaKJKe x a p a K T e p H b i ü fljia I l o j i b u m TMn floiaa, BnponeM BbicTynaromiiíí nacTo y Bcex i^eHTpajibHbix M BOCTOHHbix cjiaBHH, — 3 T O ROM c ceHaMM no cepeflMHe, OTflejiaioin;¡nMM M36y O T KjiaflOBoií ( M J I J I . I3ib). TaKOM AOM BOSHMK B peayjibTaTe cuiMaHMa o J J H O K O M n a T H O T O jKMjiba c aMSapoM. Haflo nojiaraTb, H T O B Ilojibirie 3 T O rrpoM30HIJIO yace B X I V B . Roma TaKoro TMna MHOroKpaTHO B M flOM3MeHajiMCb ( M J I J I . 13 d—f). 3aTO flOM, B K O T O P O M ceHM OTjienajiM H36y O T K O IIIOIUHM (HJIJI. 13g) 6biji M3BecTeH B ü o n b u i e B X V B . fíajiee a s r o p pa3Mbnxrjiaer B KaKOK creiieHM Bbipe3Ka aBJiaerca KOJiJieKTMBHOM paooTOü, a B KaKOfí M H J B Í B H flyaJibHOM. OTMeiaeT, H T O c p a B H M T e J I B Í I O KpaTKOe c y m e CTBOBaHKe Bbipe3KM, (ee Haiajio flaTMpyerca cepefflMHOíi X I X B . ) HBjiaeTca npMiiMHOíi T O T O , H T O OHa. H e cTajia, KaK Hanp'MM. napafl, o6H3aTejibHOíi ocTeTM^ecKOfí H O P M O M , TpaAMi[Meíi, coSjnoflaeMOM BceMH. 3 T O cnocoGcTBOsajio HOBblM MOflaM M paSJIMHHblM HOBHieCTBaM. Mx BBOflMJIM caMwe cnocoOnbie „cneu¡iíajiMCTKii", K O T O P M M M nacTO 6wBajiM o6e3flOJieHHbie, oeflubie j K e n m M H b i , KOTopbie npwpa- SaTbiBaJiM, s e j i a a BbipesKM. 3aKa3bi, Syflb T O B eoGcTBeHHOM cpe^e M J I M — no3¡3Hee — co cropoHbi KO^jieKUMO- HepoB M ToproBbix npc;mpMHTKM ( H e n e j i n a ) , BonpeKM pacnpoerpaiieHHOMy MHCH'MK), H C Bbi3MBajiM CHMaceHMa ypoBHa paGoT, BbinojiHaeMbix saMe^aTejibubiMH MacTepHHjaMM. O H M fflo O M X nop co3flaiOT „MHflMBMflyajibHOie MCKycB CTBO npeaejiax CTMJiMCTMHecKMx ocoGeHHOCTeM p e r M O H a " . B HacToaiHee s p e M a BbipesKM fleJiawT MCKjiiOHUTejibHO na npoflaxy. HeMHoro ocTajiocb ysce B S C M B W X ZKeHmwH, KOTopwe B MOJiOflOCTM yKpauíajiM C B O M M36bi BbipesKaMM (HanpuM. B J I O B M I ( K O M pavone ocTajincb TOJibKO flBe). BOJIbUIMHCTBO 3KeHUÜ¡MH CTaJIO Tenepb Bbipe3bIBaTb MCKJIK)H H T e j i b H O ftjia r o p o f l a B a npoflascy. J B nocjieflHMe roflbi CTajio noaBjiaTbca B c e Gojibiue aKo6bi perMOHajibHbix Bbrpe30K, peKOHCTpynpyeMbix M B B I nojiHaeMbix ropoiflCKMMM jiioGurejiaMM. BjiaxoBCKM ooparuaeT BHMMaHMe Ha sosHMKaioiiryío Hbine onacHOCTb C H M jKeHMa y p o B H a Bbipe30K. B ffiaeT nocTynMBiuioi na no perMonaM. KOHu;e C T a T b M a B T o p oGcysc- KOHKypc MaTepMají, rpynnMpya e r o 2 5 5 �M a j i r o x a T a M a T y c e x — O IIPOMCX02CÍ;EH1ÍM nOJIbOKMX H A P O f l H H X ,ĘByXOCHOBHbIX KOBPOB B X I X M X X e s . flo I I MMDOBOM BOMHfci B ceoepo-BOCTOTOOií l a C T H IIOJIBniIÍ M3rOTOBJiaroiCb flByXOCHOBHbie M flByxyTOTHbie „ K O B P Ł I " (TKaHM) name acero flByxUBerHbie c HeraTHBHbiM y3opoM no o5enM cropoKaM. Ü 3 rOTOB. I H H e M KOBPOB 3aHHMajIMCb p a s H O TKaiM-peMecneHHUKiH, Kax w flepesencKne x e H i i n í H b i . A B T O P cTaTbM BbifleJiíieT n a r t . r p y n n KOBPOB B 3 a B M CHMOCTM OT T u n a y s o p a (TpaflMirMOHHbie, HcaKxapsoBbie, KOBpbi-nOKpbiBajia, MHonwpjípoBanHbie 3;iéoHopoM Ü J I I O TJÍHJCKOM, TeMaTMHecKMe — .HOMHHMKM ByíLHOBtKOíí). HMiHoíí xapaKTepHoñ oflesefle, o^HaKo B 6oflbmwHCTBP cjiy^aeB He rrpiiflaiOT H M oeMMTCKHx i e p r Ji*ma. 3odpna H e c b n a - P e ń H C p y c c — AJIEKCAH, nOJIHHbCKA-rPMHbHyK, JIEMKOBCKAH M A C T E P ; HA nMCAHOK 1 CymecTByeT HecKOJibKO rnnoTe3 OTHOcwTejibHQ npoM c x o J K f l e H i n H K o o p o B B n o j i b u i e ; 6 b i T b MOHcer o6pa3rj;aM(M 6bIJIH KOBpbl CKaHflMHaBCKMie, pyocKMe, HeMeUKKe ( T 3 K Ha3. IIlJie3BM¡r-roiibmTjiHCKMe, Beiderwand), auTiaiüasMe (Kidderminster), MTajibaHCKne H McnaHCXMe. BOSMOHCHO, I T O KOBpoflenne 6 b i j i o npjtBe3eHO MaHyopaíOTypOH JIM6O TKaiaMM-peMecJieHHiiKaMM, KOTopbix rrpKrjrauíajiM B Ilojibniy. Tepeca KapBMiiKa — OEŁIHAH TAK HA3. „MAEB" B nOJIbCKOn HAPO/JHOÍI K y j I B T y P E HA EBPOnEUCKOM * O H E B eBponeücKHx j j e p e a H a x 6bHio n p i m a r o craBMTb BecHXJií, l a n i e B c e r o H a K a H y H e 1 Man, B b i c o s c u e crojiSbi JIM6O aepeBBH, yBeHiaiHHbie pa3yKpauieHHbrMM BepxymxaMM, BOKpyr KOTopbix ycrpaMBajiH Tawubi. B n o j i b u i e nofloSHbie CTOJi6bi, H a 3 b i s a e M b i e „MaaMH" MJTM , j 3 M x a M H " , BbiJiM pacnpocTpaHeHbi Ha TeppMTopM BejinKOnojibum, Cmiesim M Ha lore Majionojibiuii. B npejrropHbix perwoHax o6biHaíí STOT coxpaHMjica ;;o cepeflUHbi X X B . Hajjo nojiaraTb, HTO nepBOHa^ajibHO „Man" HOCMJIH KyjnyrOBbtíi x a p a K r e p , 3aTeM H X craJTM 0Ba3biBaTb c BereraTHBHOH MarMeiŁ B KOHue X I X B . KyjrbTOBaa M MaranecKaa dpyHKUMM OTMepjiM a o6pnfl npeBpaTMJica B Mrpwne, npMHMMaa B TOjKe speMa dpopMy 3anrpbiBaHłiH M yxaJKHBaHMa. B TO BpeMH B flep©BHax craBiuiH ,,inan" Ha B e p x y n i K e BbrcoKoro m e c r a , n o M e m a H TaM Harpafly flua Tex, KTO B36mpajica HaBepx, JIMSO ace B ycaflb6ax, rp,e 6aum fleB y r u K H n a BbiflaHbe. O j t r a rojibflfiepT-MyjibKeBMH — B nOJIbOKOÍl HAPOffHOÍl C K y j I M I T y P E EBPEH B ycTHOM dpojibKjiope c y m e c T B y e T crepeoTMn e B p e a , BbicTynaionrjíM a KyKOJibHbix rrpeflCTaBJieitKax, oopafloB M X MacKax, 3MaycoBOM w r p y í i i K e , CBa3aHHbifł c pojibio AaHHBrx JTMII B o é p a f l a x . Hbrne 3TOT cTepeoTMH 3 a T y m o BbiBaerca, 3a6biBaeTca e s p e i ł , ero Hapa^, p e i b , *reprbi jimąa. IC cepeffMHbi X V I I I B. M3BecTHbi dpMrypHbie ynbM npejiCTaBJiaiomMe eBpea, Kcnojraaiomero 6bm> MOHCCT, MarMHecKyio cbyHKirjiK). B HeMHOroHMC^eHHbix npuMepax c s e r c K O M CKyjibnrypbi M e s c B o e H H O r o nepMOiZra, T e j u a e a p e a noaBJiajiacb B eflUHM^Hbix c j i y n a a x ; noflHepKMBajiMCb B H e m H w e rrpMMerbí, OTJiMHaK>mne e s p e a — H e p T b i j m ą a , Hapafl, pofl saHaTKíí (cTpaHCTByiornKń ToproBeii, jiaBOHHMK, HeJIOBeK C K H H r a M H , CTpaHCTByiOmMM My3bIK3HT). B nocjieBoeiHHOM CKyjibTrrype dpurypa e s p e a crajia MCTOPMHecKOíí TeMoñ; cKyjibnTopbi oCpamaiOTca K oíCTaBuiMMCa B n a M a T M C T e p e o T M n a M JIK6O B c n o M K H a w T K O H KperHbie .roma, cn,eHbr. Omt OToGpascaiOT eBpeeB B 6yi;- 2 5 6 A B T O P n u m e r o HCM3HM ¡st TBopnecTBe OflHOíí H3 :¡a''Sojiee Bbmaiorniixca MacTepitii, BbtnojiHaiouiiix infcaHK no^aHbCKa-IpyHbHyK ipo¡zp«iacb B 1911 r. B ^epesHe JI 6oBa 6JTM3 HOBOTO Cowna; ona BOcnuTbiBajiacb B kp ti jieMKOiBicKoił KyjibTypbi. C narujieTHero B03pacra sesosKr pa'CKpaiujiBaaia niíeaHKM, n p n o e r a a K BOCKOBOÍÍ M 6,IT;T KOBOÜ TeXHMKe. A B T O P onMCbísaeT rexHMKy BbinojiHeHiia, n p n B O , i i MHOroTOcjieHHbie BbiCKa3biBaHna MacTepnubi, KOTOIJ B c e r ^ a nojib3yeTica ecTeeTBeBHbiMM KpatMTejia.Mii. OÍ BbrnojiHaer paBHO Tpasiiu;iiOHHbie y s o p w (TpexLCBeTHbie/, KaK M co6cTBeHHbie, y n o T p e S j i a a 3HainTejibH0e KOJIMHecTBO Kpa COK («o 10). y Hee CBoe M3JHo6jieHHoe COMCT a n n e UBeroB, HarrpMM. Senbrií — jKejiTbiñ — Kpacubiíí. BbmojiHeHHe OflHOíi nucaHKM c Sojiee cjiostHbiM ysopow He pa3 npcflO^Hcaerca cBbnue 10 n a c o s . nonaHbCKa-TpHHbn y K HMKOrfla He fleJiaeT OfflitHaKOBbix nmcaT-iOK A B T O P CTaTbH n n u i e r o pa3JiMHHbix BMflax fle.^opaTMBH b l X p e U i e H M Í Í XyflOHÍHMICbl, O MOTMBaX, K KOT07T O H f narne acero rrpn6eiraeT, 0Ba3biBaa wx. c BOicnoMjír MOJioflbix jieT. 3TO óbiBaer HanpMM.: .vcojiHbnuKo",, „ y T p a i e H H b i n BeHOK", „iraeTOK nanopoTHMKa", ,, jS>m,vse 6a6bi", „6oHeHKM" (BocnoMHHanna o CBanbík,,. CBOU n*tcaHKM xyflOJKHMTia conpoBOHmaeT eoGcTBeHHbrMH c j xaMM. Ona roBopMT o ce6e: „M3TOTOBjiaa nucaHKM, a M B I cjieuHO nepeHoniycb B JlaooBy M B TOJIOBC y MeHa Tec« a r c a KapTMHbi fleTCTBa". KoHKypcbi « a rrncaHKM, B KOTOpbix noaaHbCKa-rpMHbHyK npMHKMaeT yHacTMe, noorupaiOT ee K flajibHeiłrneił p a 6 o r e , K HOBBIM CMejibiM p e m e n n a M . fleTM x y flOJKHimbí H e noiruru n o C T o n a M M a T e p M , HC n o a f l e p s í n Bawr MCKyccTBa rmcaHOK. O H M HCMByT B ropowe: jjo^b — jjOKTop neflarorjiHecKJix n a y K , c b m OKOIÍHJÍJI cejibOKOxo3aMCTBeHHyK> aKafleMCHio. flHHHaneiepaHACOBEHKH M K)3E<E>A K B H T K O B C K O r O CKyjIbnTyPbl KBaTKOBCKM 6bIJI CTpaHCTByiOmMM CKyjIbnTOpO* BTopoM nojiOBMHbi X I X BeKa. J¡,o CMX nop ycraHOBaenc aJBTopcTBo CBbinre 10 e r o paooT. HeKOTopbie M3 H M Í npMo6peji JlK>6jrMHCKJiM M y 3 e ü . A B T O P n o c s a n i a e r mi CBOK) C T a T b K ) . l O s e c p 4 > y p f l b i H a — K 3 3 E * CJIOHMHA — H b l í í C K y j I b n T O P M3 B O r i l A H O B K M HAPOfl- K)3edp C j i O i H H H a (1925—1978) p o f f M J i c a B B o r A a n o B K e B MOJiOflOCTM 6i>m n a c T y x O M , 3 a T e M p a S o T a j í B J i e c y B p e s y j i b T a T e HecHacTHOro c j i y n a a CTan MHBajiJiAOM r p y js¡a, n o j i y n a u i oenCMio, e r a B i u y i o cpejiCTBOM e r o c o a e p j K a H M a . H p M M e p H O B 1956 r . CjionMiHa 3 a H a j i c a c K y j i b n T y p o ü CHanajia ł i c n o n b 3 y a KOPHM (najitKM c MSOiopaHíenMaMM JKIÍB O T H b i x ) , 3 a T C M peH>Hbie KaMHM M flpeBecMuy. 3 T O T MaTepMají nocJiyscM^ e M y SJIH B b i n o j i u e H M a p a f l a opMryj; CBaTblX, CXOJKMX IIO TMny C TpaflMIIMOiIiHblMM HapOSHMMM c K y ^ b n T y p a M M , a -raxxe opMrypbi, O T o 6 p a 3 K a i o u ; M ' . mofxeñ 3 a p a G o T o í í . �Ryszard B r y k o w s k i W s e t n ą rocznicę pierwszej polskiej wystawy etnograficznej w Kołomyi Jerzy Czajkowski M a r i a n Pokropek, Budownictwo ludowe Zofia Czerwosz Sztuka ludowa w dzieci i młodzieży Aleksander Jackowski Józef L u r k a . Portret r z e ź b i a r z a Ewa Korulska Przemiany wzorca estetycznego — wzory, glądy, modele Jan Postacie o b r z ę d o w e w koncepcji ś w i a t a śląskich Kurek estetycznym Jri Langer Rzeźba kamienna na Orawie Czesław Robotycki Listy z nieba Czesław Robotycki P o g l ą d y etyczne i estetyczne wychowaniu po­ Górali Anna Ś w i ą t k o w s k a Hafty w stroju Krzysztof Jana Bernasiewicza M a ł e Muzeum w Jaworzni Wójcik łowickim W numerze 2 opublikujemy odpowiedzi na a n k i e t ę d o t y c z ą c ą przedmiotu zainte­ r e s o w a ń i metod w ł a ś c i w y c h etnografii i etnologii, m.in. w zakresie b a d a ń nad s z t u k ą l u d o w ą oraz w s t ę p p o d s u m o w u j ą c y w y n i k i tej ankiety. M.in. u k a ż ą się wypowiedzi prof. prof.: Józefa Burszty, A n n y Kutrzeby-Pojnarowej, Edwar­ da Pietraszka, Zofii Sokolewicz, Witolda Dynowskiego, doc. dr doc. dr Marcina Czerwińskiego, W ł o d z i m i e r z a Pawluczuka, dr dr Zbigniewa Benedyktowicza, Ta­ deusza Chrzanowskiego, L u d w i k a Stommy, Ryszarda Tomickiego. Specjalny numer p o ś w i ę c o n y będzie kulturze C y g a n ó w polskich. M.in. znajdują się w n i m a r t y k u ł y Adama Bartosza, Lecha Mroza, Renaty H r y ń , P a w ł a Le­ chowskiego, Pala Bansky'ego. Z a k ł a d Narodowy imienia Ossolińskich — W y d a w n i c t w o W r o c ł a w , Oddział w War­ szawie 1980. N a k ł a d 2000 egz. Objętość 20,10 ark. w y d . , 16,00 ark. druk. Papier powlekany k l . V, 90 g, 61X86. Oddano do s k ł a d u 12.VIII.1980 r. Podpisano do d r u k u w k w i e t n i u 1981 r. W y d r u k o w a n o w m a j u 1981 r. Zakł. Graf. „ T a m k a " . Z. 2. Zam. 360. L-20. Cena 60.— zł �