https://zbiory.etnologia.uw.edu.pl/files/original/55a9b76bf650ed85e8b1516f0c541f53.pdf 0315a8d89b9553d4fbccb6d5a9981d41 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:4161 Date A point or period of time associated with an event in the lifecycle of the resource 1958 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:3881 Title A name given to the resource Streszczenie / Polska Sztuka Ludowa - Konteksty 1958 t.12 z.3 Description An account of the resource Polska Sztuka Ludowa 1958 t.12 z.3; s.190 Language A language of the resource pol Publisher An entity responsible for making the resource available Państwowy Instytut Sztuki Format The file format, physical medium, or dimensions of the resource application/pdf PDF Text Text capture metadata for PDF documents Text P O L I S QUARTERLY N. 3 H F PUBLISHED BY YEAR THE STATE BOOK SUMMARY M a r i a Przeździecka — T H E O R I G I N OF C A S U B I A N EMBROIDERY The problem of modern Casubian embroidery and its a f f i n i t y w i t h local popular traditions has been many times discussed i n Polish f o l k a r t l i t e r a t u r e . Yet, the p r o b l e m has never been treated i n a l l its complexity and a l l the accounts available on this subject are of a fragmentary character. I n r e v e r t i n g once more to this subject, Miss Przeź­ dziecka discuses the genesis of Casublan embroidery agaimt t h e background o f general a r t i s t i c trends at w o r k and the various local schools characteristic of certain periods of time Which influenced the development of Casublan! embroidery. The lack of p r i m a r y sources makes i t impossible to ascertain whether popular Casublan embroidery existed i n the past and the p u r e l y decorative cha­ racter and the rich variety of colours of modern Casublan embroidery are out o f l i n e w i t h Polish popular traditions. Present day Casuibian needle­ women use as many as seven different colours, w h i l e facilities f o r colouring were l i m i t e d i n the past. The assumption seems j u s t i f i e d that Casublan embroidery developed under the influence of u r b a n and guild a r t and the authoress puts special stress on the influence of convent embroidery w h i c h through the Church penetrated easily i n t o the peasant milieu. The convents i n Zukov and Żarnowiec were i n the 17th a n d 18th centuries i m p o r t a n t embroidery centres i n t h e Casublan area and the r i c h 'collections of embroidery w h i c h have been preserved show an a f f i n i t y w i t h Renaissance patterns w h i c h , beginning w i t h the 16th century w e r e p r i n t e d i n I t a l y and Germany. The preserved embroidery shows no l i n k w i t h folk art traditions of t h a t time. Modern Casubian embroidery has m u c h i n common w i t h the 17th century Z u k o w and Żarnowiec con­ vents embroidery and w i t h ornaments o f later periods w h i c h consisted m a i n l y o f f l o r a l designs, tulips, pomegranates and roses. A n analogy w i t h the convent embroidery can also be traced i n the themes of the compositions. I t w o u l d be d i f f i c u l t to state w h e n was i t that folk embroidery b a d reached f o r patterns of the e l i t a r i a n art. The preserved specimens of women's bonnets f r o m the 18«* century (cloth of gold) were most probably embroidered i n the convents. The most recent i n f o r m a t i o n on Casubian popular embroidery originates f r o m t h e beginning of the 20th century, but i t w o u l d be reasonable to date i t back to earlier times, w h e n r u r a l w o m e n a n d g i r l s embroidered robes to dress figures of saints. Charactaeristic of the Zarnow district, the robes were most probably closely l i n k e d w i t h the Zarnow convent. U n f o r t u ­ nately, not one of these robes has been preserved. Research into Casubian f o l k art does not exclude that Casuibian motifs, characteristic n o t only of em­ broidery, but of other speoimes o f Casubian f o l k a r t , 190 O OF L K A INSTITUTE OF R T ART XII 1958 ARTICLES take their o r i g i n f r o m ornaments dating back to the 17ch century. Casubian embroidery of o u r times was i n i t i a t e d at the beginning o f t h e 20th century b y Izydor G u l gowski, a teacher i n the village o f Wdzydze and his w i f e Teodora, w h o had artistic inclinations and being a sister of the convent's vieary, came t o study the convent embroidery. M r s Gulgowska n e x t studied p a i n t i n g i n B e r l i n where, a l i k e i n Poland, folk a r t witnessed a stage of r e v i v a l at t h e end of the 1 9 and the beginning of t h e 20th centuries. The embroidery centre i n the village of Wdzydze set up b y M r s Gulgowska d i d n o t d r a w u p o n popular traditions. M r s Gulgowska herself composed the designs and decided o n t h e colours. Yet, she drew i n s p i r a t i o n f r o m Casubian p o p u l a r a r t , as for e x a m ­ ple, f r o m pottery, f u r n i t u r e and sometimes also f r o m o l d Casubian bonnets. Thus, the embroidery i n i t i a t e d by M r s Golgowska takes up i n an i n d i r e c t w a y local Casubian t r a d i t i o n s b y using creatively patterns f r o m other fields of f o l k art. A n d yet, f r o m the very moment of i t s b i r t h the Wdzydze embroidery has never been of a p u r e l y f o l k character and despite the fact t h a t b y n o w i t has been i n existence for 50 years i t d i d not take root among the Casubian people and remains a regional p e c u l i a r i t y produced for sale i n the towns. I t represents Casubian a r t outside the Casubian area, a factor w h i c h should not be underestimated w h e n t h i n k i n g about the future of Casuibian embroidery. th Władysław Muller ARCHITECTURE? — DECLINE OF POPULAR The r a d i c a l changes w h i c h had been going on i n the Polish countryside since after the f i r s t w o r l d w a r and the impact b r o u g h t about b y the last, war dealt a severe b l o w to t r a d i t i o n a l r u r a l architecture. The advancing indiustriailization h a d 'also reached the countryside w h e r e wooden huts, m i l l s , tuileries and smithies are being ousted by modern i n d u s t r i a l b u i l ­ dings a n d concrete and bricks are definitely repla­ cing wood, u n t i l recently the f a m i l i a r b u i l d i n g ma­ t e r i a l i n the Polish countryside. Higher standards of l i v i n g induce the peasants to abandon the old, t r a d i t i o n a l b u i l d i n g patterns and to b u i l d along mo­ dern lines. I t w o u l d be useless to t r y and check this inevitable process of modernisation, b u t something should be done to save the fine t r a d i t i o n a l r u r a l architecture f r o m complete decay. Under the present c i r c u m ­ stances m a n y among the finest specimens of r u r a l architecture are i n a state of d i l a p i d a t i o n , some are reconstructed along modern lines, w h i l e m a n y more are p u l l e d d o w n altogether. The voivodsbip (regional) Conservator, is the official i n charge w i t h the d u t y to protect the buildings w o r t h y of being preserved. I t w o u l d , be, however, t o much t o expect o f t h e Conservator to take care of each i n d i v i d u a l b u i l d i n g i n the area under his �supervision; overburdened w i t h his daily r o u t i n e work, the Conservator is content i f he manages to keep an accurate i n v e n t o r y of a l l the buildings which badly need repair. Next come the financial worries: the conservatory cannot afford to meet a l l the expenses connected with the upkeep of buildings w h i c h on account of their historic value should be preserved, w h i l e the owners show no interest i n investing money i n o l d fashioned dilapidataed b u i l d i n g s ; they prefer to b u i l d houses w i t h modern amenities. The author suggests as the o n l y possible solution for saving r u r a l architecture f r o m complete o b l i v i o n , the setting u p of a Skanson centre, composed of buildings i n various regional styles. The accumu­ lation of the finest specimens i n one area has, i n the author's opinion, m a n y advantages: i t makes easier the study of the various styles to experts and offers an interesting sight-seeing to tourists. In conclusion, the author criticises the w o r k of the designing offices w h i c h , according t o h i m , show a lack of understanding f o r the need t o preserve the fine traditions i n popular architecture, even though they also lack i n understanding f o r m o d e m requirements i n present-day b u i l d i n g . Janina Krajewska — CASUBIAN POTTERY This article contains the data w h i c h Miss Janina Krajewska collected i n the Casubian area i n the years 1934—39, a t the time she was m a k i n g research which preceded the opening of an ethnographie sec­ tion i n the Gdynia M u n i c i p a l Museum. Miss K r a j e w ­ ska makes a survey of Casubian pottery, 'including the production technique of Casubian earthenware (pottery for domestic use, religious objects, o r n a m e n ­ ted tiles) and t h e methods o f ornamentation. The biggest pottery centres w e r e concentrated in the towns of Kościerzyna, K a r t u z y and Chmielno, followed by Wejherowo and Puck. Some of the p o t ­ ters also settled i n villages. The earliest i n f o r m a t i o n the authoress succeded i n t r a c i n g about the Casubian potters dates back to the beginning of the 19th cen­ tury. Clay, Technique and Ornamentation The Casubian potters used for t h e i r products local clay. The preparation process started i n the a u t u m n and lasted several months. Cleansing was usually done by hand a n d o n l y bigger workshops h a d at their disposal a slime-cleaner. (See drawings 2 & 4) It was not u n t i l the end of the 19th c e n t u r y that machines replaced hand-cleaning. The earthenware was shaped either on whetstones or i n moulds. The latter technique was m a i n l y used to produce r e ­ ligious objects (minute figurines of saints, aspergilla, etc). A t the end of the 18th century, the K a r tusian Monastery produced these religious objects in mass quantities. Glazing and Enamel In the period under r e v i e w (end of the 19th and beginning of the 20th centuries) flower-pots and saucers to be placed under t h e m were mostly left unglazed, b u t j u d g i n g b y t h e pottery i n the n e i g h ­ bouring regions i t w o u l d be safe to assume t h a t more biscuit vessels for domestic use were produced in earlier times. Varnished pottery was glazed i n b r o w n , yellow, white and green and then covered w i t h a vitreous brown, green or dark blue coating w h i c h served as a basis for ornamentation. The Technique of Ornamentation The Casubian potters used various ornamentation techniques, i n c l u d i n g engraving and glued applica­ tions. Religious figures were usually adorned w i t h glued on plastic ornaments, w h i l e painted ornaments w e r e don© b y means of a funnel o r brush i n white, green and b r o w n . Whitewash and metal oxide were used to obtain the colours. Ovens a n d F i r i n g The ovens were m a i n l y b u i l t of bricks, b u t clayovens — s i m i l a r to bread ovens — were also used i n earlier times. N o t infrequently, the equipment was m u c h more p r i m i t i v e , w i t h a p i t i n the earth, or a chimney being used as an oven. The authoress gives a description of a l l types of ovens and t h e i r construction, discussing i n detail the methods of f i r i n g and placing the vessels i n the oven. Organisation of W o r k and Sale of Wares The poorer potters w o r k e d usually by themselves. Owners of bigger workshops employed apprentices, each one of w h o m performed just one stage of the w o r k . The potters themselves travelled to small townships and villages to sell t h e i r wares. Olga Mulkiewicz — KAŃCZUGA NET-LAGE The art of net-lace m a k i n g has not been much discussed i n Polish f o l k a r t l i t e r a t u r e . Miss Olga M u l k i e w i c z ' detailed account o f the net-lace history i n Kańczuga (Rzeszów Voivodship) is a n attempt at f i l l i n g the gap. The study contains m u c h compa­ r a t i v e data f r o m other regions. Bordering upon w i c k e r - w o r k and weaving, the net-lace technique was k n o w n i n the remote past and is s t i l l alive i n m a n y European countries. Formerly, Kańczuga net-lace was chiefly used — or a t least i t appears so i n the l i g h t of present day findings — f o r m a k i n g bonnets and belts and almost every w o m a n i n Kańczuga was a skilled lace-maker. The production of net-lace bonnets 'began to dwindle away i n the i n t e r - w a r period and i t vanished alto­ gether i n the years 1940—1942. Jewish vendors used to finance the p r o d u c t i o n of net-lace, they then dyed the lace, l i n e d i t w i t h l i n e n 'and sold readymade bonnets i n a l l the regions neighbouring on Kańczuga. S m a l l looms were used for cotton o r silk y a m weaving. (See d r a w i n g 1). The technique and weaving desings as applied by the various neeldle-women are discussed i n detail by Miss M u l k i e w i c z (See drawings 4, 5, 6). Vertical stripes and sometimes chequer desings were cha­ racteristic of Kańczuga bonnets. There is n o suffi­ cient comparative m a t e r i a l to f i n d out whether groups of p a r t i c u l a r desings can be l i n k e d u p w i t h either regions or p r o d u c t i o n centres. A general con­ clusion seems t o be justified t h a t though the Kań­ czuga bonnets were distinguished for the variety of t h e i r designs, the bonnets f r o m L u b l i n and Pod­ lasie regions testify to better workmanship of the women lace-makers f r o m t h a t regions. Similar i n t h e i r general character to the net-lace products i n ' other European countries, the Polish specimens are most a k i n to Czechoslovakian and Wołyń net-lace articles, w h i c h can be explained by close neighbourhood and trade relations. m �Teresa Karwicka L U B L I N AREA — NUPTIAL VERGES IN THE The custom of n u p t i a l w i c k e r verges has r i c h traditions i n Europe. I n Poland i t was a general custom i n the middle of the 1 9 century, though now i t has completely vanished. I n the L u b l i n area, the bride's maids made the verges f r o m tree b r a n ­ ches and adorned them w i t h coloured glossy paper, feathers, ribbons and sometimes w i t h candles. When the verge was properly adorned, the bride's maids used to go to the bridegroom who hung gifts for his future wife on the verge. Miss K a r w i c k a makes a detailed analysis of the various kinds of verges used i n the L u b l i n area and the mode of adorning them t h Zofia B. Głowa — CRACOW E M B R O I D E R Y ANCIENT „ŁOKTUSE". AND Miss Głowa makes an analysis of some exhibits of the Cracow Ethnographic Museum. She dwells i n p a r t i c u l a r on square home-spun l i n e n kerchiefs, either p l a i n or w i t h embroidered edges, k n o w n i n the past as „łoktuse", w h i c h i n southern Poland were an i m p o r t a n t element o f a woman's gala dress. The custom of weaving „łoktuse', as a shoulder kerchief, survived u n t i l the end of the 1 9 century. l h Ewa Fryś — E X H I B I T I O N FABRICS A N D REGIONAL OF N O R T H COSTUMES LUBLIN Miss Fryś reviews the e x h i b i t i o n of N o r t h L u b l i n fabrics and regional costumes w h i c h was organized in Biała Podlaska by the People's Council's Cultural Department, i n cooperation w i t h the L u b l i n Museum and the L u b l i n Ethnographic Society. G i v i n g a short description of the exhibits, Miss Fryś h i g h l y values the i n i t i a t i v e of the organizers, saying that e x h i ­ bitions of this k i n d are m u c h more useful than the usual regional exhibitions including a l l forms of folk art. �POLSKA SZTUKA LUDO W A R. X I — 1 9 5 7 S P I S T R E Ś C I Błachowski Aleksander Wystawa ukraińskiej sztuki ludowej w Warsza­ wie s. 44—53 Bogatyński Władysław Elementy strojów ludowych mieszczan i chłopów w świetle materiałów źródłowych s. 159—167 Brzeska Wanda Bożena Stelmachowska (1889—1956) s. 190—191 . Chitimia, Jon. Const. O rumuńskiej literaturze ludowej s. 53—56 . . Cieśla-Reinfussowa Zofia Brańskie dywany dwuosnowowe s. 68—107. . Dubiel Ludwik Cieszyńska ceramika ludowa s. 195—207 Dunare Nicolae Siedmiogrodzkie kafle ludowe s. 224—228. . . . Fryś Ewa Garncarstwo ludowe Lubelszczyzny s. 37—42 . . . Fryś Ewa Rzeźby Jana Gładysza z Chlebowa s. 157—158. . . . Gawrak ZbignieiD Filmografia sztuki ludowej i f o l k l o r u za lata 1945—1956 s. 121—124 . . . Gawrak Zbigniew O filmowe a r c h i w u m polskiej twórczości ludowej s. 119—121 Gerlach Alicja Wystawa sztuki ludowej w Koszalinie s. 183—136. . . Glapa Adam Sztuka ludowa w Muzeum w Lesznie Wielkopolskim s. 182—183 Głowa Zofia Dziesięć l a t A r c h i w u m Sekcji Badania Plastyki Ludowej P.I.S. s. 187—190 Głowa Zofia Materiały do mapy ośrodków garncarskich w Polsce s. 56—60 Głowa Zofia Materiały do mapy ośrodków garncarskich w Polsce, cz. V I s. 124—127 . Jasiewicz Zbigniew A r t y z m w wyrobach z metalu s. 181—182. . . Kotula Franciszek Wpływ m e b l i małomieszczańskich na urządzenie izby wiejskiej s. 167—174 Kowalska-Lewicka Anna Haft biały na Podhalu s. 229—249. . . Mulfciewicz Olga Ozdoby rysowane piaskiem s. 216—223. . Mulfciewicz Olga Wystawa sztuki ludowej w Rzeszowie s. 42—14. , . Pachoński Jan Z historycznego a r c h i w u m s. 186—187. . . , . Pietkiewicz Kazimierz Z okazji wystawy ludowej sztuki litewskiej w Pol­ sce s. 131—157 Przeździecka Maria Na tropach skulskich ochweśników s. 250—256. . Przeździecka Maria Szymon Czerniakiewicz — podlaski wycinkatrz ludowy s. 33—37 Reinfuss Roman Z doświadczeń nad stosowaniem f i l m u w dokumentacji etnograficznej s. 117—119 . : Rss. Banicka Dedina Zakarowce s. 180—181 Rss. A r c h i t e k t u r a polska do połowy X I X w i e k u s. 63—64 . . . . Rss. Kazimierz Saysse-Tobiczyk „Pod w i e r c h a m i T a t r " s. 62—63. Rss. Przemysł l u d o w y i artystyczny s. 60—61 Rss. Slovensky ludovy odev w m i n u l o s i s. 61—62 Tippenhauer Wanda Józef Bigos s. 25—33 Tippenhauer Wanda Stanisław Szymoszek-Gąsienica s. 174—180. . . Tippenhauer Wanda Wanda Kossecka (1893—1955) s. 191—192. . . Seweryn Tadeusz Z a b a w k i ludowe jako odbicie zwyczajów, obyczajów, baśni i legend s. 3—21 Żywirska Maria Rzeźbione formy piernikarskie s. 67—107 . . . Wystawa sztuki ludowej Mazowsza Płockiego s. 187 Wystawa litewskiej sztuki ludowej s. 137 . . . . nr 1 nr nr nr nr nr nr nr nr 3 3 1 2 4 4 1 3 nr 2 nr 2 nr 3 nr 3 nr 3 nr 1 nr 2 nr 3 nr nr nr nr nr 3 4 4 1 3 nr 3 nr 4 nr 1 nr nr nr nr nr nr nr nr nr 2 3 ł 1 1 1 1 3 3 nr nr nr nr 1 2 3 3 �CZASOPISMA PAŃSTWOWEGO I N S T Y T U T U W A R S Z A W A , U L . DŁUGA 26 SZTUKI S Z T U K A I K R Y T Y K A , k w a r t a l n i k , ponad 200 str. d r u k u , w t y m k i l ­ kadziesiąt całostronicowych r e p r o d u k c j i dzieł sztuki polskiej i . obcej. Cena 24 zł, prenumerata półroczna 48 zł, roczna — 96 zł. B I U L E T Y N H I S T O R I I S Z T U K I , k w a r t a l n i k , ponad 100 str. dużego formatu, około 100 ilustracji. Cena 24 zł, prenumerata półroczna 48 zł, roczna — 96 zł. P O L S K A S Z T U K A L U D O W A , k w a r t a l n i k , 64 str. dużego formatu, bogaty materiał ilustracyjny. Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł. PRZEGLĄD A R T Y S T Y C Z N Y , dwumiesięcznik poświęcony nowoczes­ nej twórczości plastycznej, 64 str. dużego formatu, bogata szata i l u ­ stracyjna w technice r o t o g r a w i u r o w e j . Cena 18 zł, prenumerata pół­ roczna 54 zł, roczna — 108 zł. P A M I Ę T N I K T E A T R A L N Y , k w a r t a l n i k , ponad 160 str. d r u k u , około 100 ilustracji. Cena 18 zT, prenumerata półroczna 36, roczna — 72 zł. K W A R T A L N I K F I L M O W Y , ponad 90 str. d r u k u , kilkanaście ilustracji. Cena 10 zł, prenumerata półroczna 20 zł, roczna — 40 zł. M U Z Y K A , k w a r t a l n i k , około 170 str. d r u k u , liczne przykłady nutowe. Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł. PRENUMERATA Zamówienia i przedpłaty na prenumeratę przyjmowane są w terminie do dnia 15-go miesiąca poprzedzającego okres prenumeraty — przez: Urzędy Pocztowe, listonoszy oraz Oddziały i Delegatury ,,Ruchu". Można również zamówić prenumeratę dokonując wpłaty na konto P K O n r 1-6-100020 — Centrala Kolportażu Prasy i W y d a w n i c t w „Ruch" — Warszawa, u l . Srebrna 12. Cena prenumeraty za granicę jest o 40°/o droższa od ceny podanej w y ­ żej. Przedpłaty na tę prenumeratę przyjmuje na okresy półroczne i roczne Przedsiębiorstwo Kolportażu W y d a w n i c t w Zagranicznych „Ruch" w Warszawie, Wilcza 46 za pośrednictwem P K O Warszawa konto Nr. 1-6-100024. SPRZEDAŻ Aktualne n u m e r y czasopism Państwowego I n s t y t u t u Sztuki są - do na­ bycia: w kioskach „Ruchu", w większych księgarniach miast wojewódzkich. Egzemplarze zdezaktualizowane można nabyć w sklepie przy u l . W i e j ­ skiej 14 w Warszawie. Zamówienia spoza Warszawy należy kierować do Centrali Kolportażu Prasy i W y d a w n i c t w „Ruch", Warszawa, ul. Srebrna 12. Stołeczne Z a k ł a d y G r a f i c z n e . Zlakład W y d a w n i c z y . W - w a , Podchorążych 39. Z a m . 653. P a p . i l u s t r . k l . I I I , 100 g A l + k a r t o n b i a ł y k l . I I I , 220 g B I . N a k ł a d 2.000 egz. W-72. D r u k ukończono w k w i e t n i u 1959. �