https://zbiory.etnologia.uw.edu.pl/files/original/8a215a6041c51153a8bc438b70f163c3.pdf fe7442a200406eed9413e7b398339cd0 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:4499 Date A point or period of time associated with an event in the lifecycle of the resource 1962 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:4184 Title A name given to the resource Summary/ Polska Sztuka Ludowa 1962 t.16 z.3 Description An account of the resource Polska Sztuka Ludowa 1962 t.16 z.3, s. 189-191 Language A language of the resource ang, ros. 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 P O L QUARTERLY N. 3 I S PUBLISHED H BY F THE ART O INSTITUTE OF L THE K POLISH YEAR BOOK X V I A ACADEMY OF R T SCIENCES 1962 SUMMARY OF ARTICLES Longin Malicki — T H E F O L K A R T O F GDAŃSK-POMERANIA ON T H E BASIS OF T H E COLLECTI­ ONS O F T H E P O M E R A N I A N M U S E U M IN G D A N S K T h e y e a r s of t h e G e r m a n c o l o n i z a t i o n d r i v e a c c e l ­ e r a t e d the p r o c e s s of the d i s a p p e a r a n c e of f o l k a r t i n the Gdańsk-Pomerania region. T h i s process g a i n e d i m p e t u s a s f r o m t h e m i d d l e of t h e 19 t h c e n t u r y . I n t h i s s i t u a t i o n , t h e c o l l e c t i o n s of m u s e u m s a n d tine d o c u m e n t a t i o n c a m p a i g n i n the a r e a u n d e r r e v i e w p l a y a p a r t i c u l a r l y i m p o r t a n t role. A r c h i t e c t u r e is r e p r e s e n t e d b y : cottages, f a r m b u i l ­ dings a n d churches. T h e typical south K a s h u b i a n cottage of the 17th to 19 t h c e n t u r i e s w a s a t h r e e r o o m e d b u i l d i n g of t h e a r c a d e t y p e w i t h a g a b l e roof (most f r e q u e n t l y t h a t c h e d — fig. 2). T h i s t y p e Oi buitaing is also met w i t n a t K o c i e w . I n the n o r t h e r n , coastal a n d c e n t r a l K a s h u b i a n region t h e r e a r e n u m e r o u s cottages of s k e l e t o n c o n s t r u c t i o n f i l l e d in w i t h c l a y or u n b u r n t bricks, w i t h either a gable or j e r k i n h e a d roff (thatched). A c h a r a c t e r i s t i c k i n d of o r n a m e n t a t i o n a r e p i n n a c l e s of v a r i o u s s h a p e s c u t out of b o a r d s (fig. 5). F a r m buildings stood a p a r t w i t h i n the f a r m p r e c i n c t s . W o r t h y of n o t i c e a r e t h e b r e a d b a k i n g o v e n s c o v e r e d w i t h a s m a l l g a b l e roof a n d r e s t i n g o n s h o r t p o s t s (fig. 7), w h i c h a r e u s u a l l y located near the farmhouse or in the garden. T h e m o r e w e a l t h y , L o w e r V i s t u l a p a r t of t h e K a s h u b ­ i a n region a n d the s u r r o u n d i n g d i s t r i c t s h a d m o r e impressive buildings. In Góraki ( S z t u m d i s t r i c t ) there w e r e l a r g e cottages w i t h m a n y rooms a n d deep a r c a d e s u p p o r t e d b y f i v e posts. I n Ż u ł a w y a n d the V i s t u l a L o w l a n d s , t h e r e a r e o l d cottages w i t h a v e r a n d a i n f r o n t (fig. 6). T h e s u p p o r t i n g posts, a n d the doors a r e s o m e t i m e s o r n a m e n t e d (fig. 8). I n t h e d i s t r i c t s of S z t u m , K w i d z y n a n d M a l b o r k , there a r e a l s o o r d i n a r y cottages w i t h t h a t c h e d roofs. Household E q u i p m e n t The small homemade stools w i t h b a c k s a n d t h e rough o r d i n a r y b e n c h e s t h a t h a v e been p r e s e r v e d testify t h a t the f u r n i s h i n g s of the cottages i n P o m e r a n i a w e r e r a t h e r p r i m i t i v e 200 y e a r s ago. D e v e l o p m e n t began a t the e n d of t h e 18th c e n t u r y a n d w e n t o n d u r i n g t h e 19 t h c e n t u r y u n d e r t h e i n f l u e n c e of t h e f u r n i t u r e u s e d by t h e g e n t r y a n d the t o w n p a p u l a t i o n , a n influence w h i c h i s e v i d e n t i n t h e d e c o r a t i v e e l e m e n t s of t h e h o u s e h o l d e q u i p m e n t . U p t i l l t h e s e c o n d h a l f of the 19th c e n t u r y , d o w r y coffers w e r e u s e d , W h i c h w e r e l a t e r ousted by urban furniture. T h e painted ornamenta­ tion on t h e K a s h u b i a n coffers m o s t l y c o n s i s t s of p l a n t motifs. I n p o o r e r homes, t h e coffers were p a i n t e d i n o n e colour. T h e s h a p e of the coffers w a s different i n different p a r t s of P o m e r a n i a (fig. 10 — 15). A p i e c e of f u r n i t u r e t y p i c a l of the K a s h u b i a n homes w a s a painted sideboard (they were also used by o t h e r e t h n i c groups in P o m e r a n i a ) . Ceratain features of h i s t o r i c a l s t y l e s a r e e v i d e n t i n t h e d e c o r a t i v e e l e m e n t s (fig 16, 17). T h e s e f e a t u r e s a r e also to b e f o u n d i n w a r d r o b e s , today r a r e l y u s e d (19). O t h e r p i e c e s of f u r n i t u r e t h a t h a v e been p r e s e r v e d a r e stools w i t h b a c k s (fig. 18, 20) p a i n t e d one c o l o u r : r u s t y b r o w n o r blue, a n d b e n c h e s w i t h d e c o r a t i v e l y c a r v e d b a c k s (fig 22). T h e n t h e r e a r e coffer-benches, w h i c h w e r e used a s beds w i t h a seat t h a t l i f t e d up a n d a front t h a t c o u l d be d r a w n out. T h i s k i n d of bed w i t h a d r a w -out front a r e s t i l l i n c o m m o n u s e today (fig 24). T h e l i n e of the b a c k w a l l of t h e s e b e d s is r e m i n i s c e n t of 18th c e n t u r y b a r o q u e f u r n i t u r e . T h e r e a r e a l s o s o m e r a r e s p e c i m e n s of c r a d l e s (fig. 21) a n d o l d t a b l e s (fig 25) a n d a l s o spoon r a c k s (fig 23) Interior Decoration. A t t h e b e g i n n i n g of the 19th c e n t u r y , r o o m s w e r e d e c o r a t e d w i t h p i c t u r e s p a i n t e d on glass, p r o f u s e l y h u n g a l l a l o n g the w a l l s . T h e y w e r e later replaced by printed pictures. T h e p i c t u r e s w e r e d e c o r a t e d w i t h g a r l a n d s of h e r b s . T h e n there w e r e t h e f i g u r e s of s a i n t s , e n h a n c e d w i t h p a p e r f l o w e r s a n d rosettes. A t t h e b e g i n n i n g of 20th c e n t u r y , „pająki" c e i l i n g d e c o r a t i o n s of spider-like form, r a d i a t i n g f r o m a c e n t r a l point) m a d e of s t r a w s a n d b l o w n egg-shells w e r e u s e d to decorate t h e rooms, l a t e r they w e r e e n h a n c e d w i t h w o o d e n b i r d s . Pottery. Pomerania has long-standing tradi­ tions a s r e g a r d s pottery (fig 26, 27). T h e r e w e r e n u m e r o u s potteries s t i l l w o r k i n g t h e r e a t t h e e n d of the 19th c e n t u r y . A t t h e b e g i n n i n g of t h e 20th c e n t u r y , i n d u s t r y began to oust tne pottery proctucea i n t h e s e p a r t s , b u t t h e r e a r e s t i l l potteries w o r k i n g t h e r e to t h i s v e r y d a y , o n e i n C h m i e l n o ( K a r t u z y district) r u n b y t h e N e c e l f a m i l y (fig. 41) p r o d u c i n g painted ceramic w a r e and another i n K a r t u z y , c a r r y i n g o n t h e t r a d i t i o n s of t h e M e i s s n e r s a n d p r o d u c i n g pottery a c c o r d i n g to the o l d patterns. T n e t y p i c a l o l d c e r a m i c w a r e m a d e by t h e K a s h w b i a n s were large pitchers covered w i t h dark b r o w n glazing (fig 28) o r d e c o r a t e d w i t h p l a n t m o t i f s (fig. 31). S i m i l a r p i t c h e r s w e r e p r o d u c e d i n the L o w e r V i s t u l a region (fig. 32), b u t w i t h d i f f e r e n t ornamentation (fig 33, 34). In Góraki and Żuławy, the typical pottery products w e r e l a r g e bowls with verticie ilangeu edges c o v e r e d w i t h b r o w n glazing. T h e K a s h u b i a n s a n d the S l o v i n c y u s e d s m a l l e r b o w l s c o v e r e d w i t h w h i t e g l a z i n g (fig 30). I n the L o w e r V i s t u l a region a n d a t K o c i e w i e , b o w l - l i k e c o l a n d e r s w e r e u s e d (tig. 33). A l l o v e r Gdańsk- P o m e r a n i a d o u b l e pots w e r e v e r y w i d e l y u s e d (fig. 29, 3i2, 36, 37). T h e oldest s p e c i m e n s f r o m the s e c o n d h a l f of tne 19th c e n t u r y w e r e d e c o r a t e d w i t h geo­ m e t r i c a l p a t t e r n s a n d t h e n e w e r ones, w i t h p l a n t motifs. T h e p i t c h e r s a n d d o u b l e pots w e r e s o m e t i m e s c o v e r e d w i t h different g l a z i n g s i n s i d e a n d outside (fig. 36). A t t h e e n d of t h e 19th c e n t u r y t h e c e r a m i c w a r e m a d e h e r e i n c l u d e d s m a l l e a r t h e n w a r e w a l l fonts (fig. 42, 43). T h e o l d e r ones w e r e s i m p l e i n s h a p e a n d w e r e c o v e r e d w i t h o n e - c o l o u r glazing, While the l a t e r ones — w i t h b a s - r e l i e f c a r v e d figures — w e r e m u l t i c o l o u r e d . N o n e of t h e o l d toy e a r t h e n w a r e figures once m a d e h a v e been p r e s e r v e d . T o d a y t h e y a r e m a d e a t C h m i e l n o (fig 44). A t the e n d of t h e 19th c e n t u r y , t i l e - m a k i n g b e g a n to s p r e a d a m o n g the potters. T i l e ^ m a k i n g t r a d i t i o n s on the P o l i s h coast d a t e b a c k to m e d i a e v a l t i m e s . Wicker-work. T h i s craft w a s very wides­ p r e a d i n P o m e r a n i a . T h e m a t e r i a l s u s e d w e r e roots, j u n i p e r twigs, s r i p p e d o a k l i n g s a n d osier. Apart f r o m baskets (fig 48, 49), f i s h i n g nets a n d corn m e a s u r e s w e r e m a d e u s i n g the s p i r a l technique, (fig. 47, S I ) . O t h e r w i c k e r - w o r k w a s m a d e b y the c r o s s - w e a v e t e c h n i q u e (fig. 53) o r m a d e of s t r i p p i n g s w o v e n w i t h p i n e roots o r of s t r a w w o v e n w i t h roots or osier. T o d a y , w i c k e r - w o r k o c c u p i e s a n i m p o r t a n t 189 �p l a c e i n the a r t i s t i c folk a r t i n d u s t r y a n d is m u c h in d e m a n d i n t h e t o w n s . W e a v i n g , w h i c h w a s once e x t e n s i v e l y d e v e l o p e d in P o m e r a n i a , d e c l i n e d a t the e n d of the 19th c e n t u r y . T h e s p e c i a l i t y of the region w a s w o o l l e n h o m e s p u n , n a v y b l u e for m e n ' s s u i t s a n d b r o w n , green a n d r e d for w o m e n ' s dresses. I n the w e a v i n g d o n e i n the L o w e r V i s t u l a region, the i n f l u e n c e of the W a i i m i a n a n d M a z u r i a n w e a v e r s c o u l d be s e e n (fig. 54, 55). R e s e a r c h h a s s h o w n that the W a r m i a n a n d M a z u r i a n w e a v e r s w h o s e t t l e d t h e r e o r passed t h r o u g h this region on t h e i r w a n d e r i n g s p r o d u c e d l i n e n a n d r a g rugs T o d a y , t h e r e a r e o n l y a f e w w e a v i n g centres in the K a s h u b i a n region a n d in B o r y , w h e r e rugs a r e m a d e (fig. 56, 58). I n the past, t h e r e w e r e also w o r k s h o p s p r o d u c i n g p r i n t e d l i n e n s (fig. 59). C o s t u m e s , E m b r o i d e r y a n d L a c e . About the 19th c e n t u r y , folk c o s t u m e s w e r e n o l o n g e r w o r n i n t h e region u n d e r r e v i e w . W e h a v e v e r y l i t t l e i n ­ formation a b o u t the c o s t u m e s of t h e e t h n i c groups l i v i n g there, w i t h the exception of the K a s h u b i a n s . T h e b a s i c g a r m e n t w o r n by m e n i n the m i d d l e of the 19th c e n t u r y w a s a l o n g russet coat, w h i c h w a s either blue o r n a v y blue. A p a r t f r o m dresses, the w o m e n w o r e bodices o r j a c k e t s of one colour. E m ­ broidery o n c l o t h i n g w a s c o n f i n e d to t h e g o l d b r o ­ c a d e d S u n d a y c a p s w o r n b y the w o m e n (fig. 60, 62) m a d e of v e l v e t . S i l k caps, o r n a m e n t e d w i t h m u l t i ­ coloured e m b r o i d e r y w e r e also w o r n (fig. 61). T h e gold b r o c a t e d c a p s w e r e no longer w o r n after the m i d d l e of t h e 19th c e n t u r y a n d it w a s not w o r n after the 'middle of t h e 19th c e n t u r y a n d it w a s not long before s i l k e m b r o i d e r y d i s a p p e a r e d too. A m o n g the o r n a m e n t a l m o t i f s u s e d i n t h i s region the most c h a r a c t e r i s t i c w a s the p o m m e g r a n a t e f r u i t . A t the beginning of the 20th c e n t u r y , t h a n k s to the p r o p a ­ ganda conducted by the K a s h u b i a n I n t e l l i g e n t s i a , n u m e r o u s e m b r o i d e r y c e n t r e s w e r e set up, m a i n l y p r o d u c i n g for the towns. W h i t e e m b r o i d e r y w a s found s o m e t i m e s on the c o l l a r s a n d cuffs of women's blouses, a n d a t the b e g i n n i n g of the 20th c e n t u r y it w a s u s e d to o r n a m e n t the h e m of s k i r t s . A t this time there w e r e also costumes e n h a n c e d w i t h c r o ­ cheted l a c e . C r o c h e t e d l a c e w a s a l s o found o n bed­ spreads (fig. 64). (fig. 79). T h e figures a r e u s u a l l y m o v i n g ones w i t h c a r v e d h e a d s a n d d r e s s e d i n v a r i o u s c o l o u r e d rags. T h e c a r o l - s i n g e r s s t a r is l e s s common, the d e c o r a t i o n being v e r y modest. O n the o t h e r h a n d there a r e a l a r g e v a r i e t y of m a s k s for m a s q u e r a d e s . T h e m a s k s a r e m a d e of wood, leather, h o r n , c a r d b o a r d , tow, h o r s e - h a i r , etc (fig. 81, 83, 84, 86, 89) a n d s o m e m a s q u e r a d e c l o t h e s a r e w o v e n f r o m s t r a w (fig. 89). O n e of the a r t i s t i c f o r m s c o n n e c t e d w i t h c u s t o m w a s the v i l l a g e e m b l e m (fig. 87, 88), w h i c h w a s s t i l l found up to the b e g i n n i n g of the 20th c e n t u r y . As regards m u s i c a l i n s t r u m e n t s , t h e r e w e r e the o r i g i n a l „Devil's f i d d l e s " (fig. 80). Ornamentation in Wood w a s not f r e ­ q u e n t l y f o u n d h e r e . I n r e l i c s d a t i n g b a c k to the 18th—20th centuries, it i s o n l y found i n some k i n d s of objects; c a r v e d o r n a m e n t a t i o n : y o k e s for d r a w i n g f i s h i n g n e t s (fig. 65), m a n g l e s a n d w e a v i n g boards, the l i d s of d o u b l e pots (fig. 66), stools, butter m o u l d s (fig. 69), a n d distaffs. T h i s a r t i c l e d e a l s w i t h 4 portfolios e n t i t l e d „Relics of the N a t i v e A r t of W e s t e r n P o l a n d " issued s e v e r a l y e a r s a f t e r the F i r s t W o r l d W a r a n d c o n t a i n i n g the l i t h o g r a p h s of the Poznań p a i n t e r Professor W i k t o r Gosieniecki. These lithographs are a valuable docu­ m e n t a t i o n of a r t i s t i c r e l i c s . I t w a s p l a n n e d to issue a fifth portfolio d e v o t e d to the K a s h u b i a n s . I t w a s to b e b a s e d m a i n l y on the collections of M r G u l g o w ski i n a cottage-museum, w h i c h w a s later burnt d o w n , a n d the s u p p l e m e n t a r y d o c u m e n t a t i o n that Professor G o s i e n i e c k i e l a b o r a t e d after the F i r s t W o r l d War from specimens found in areas previously i n ­ a c c e s s i b l e to P o l i s h r e s e a r c h e s . T h e fifth portfolio w a s to h a v e c o n t a i n e d 20 llthograps s h o w i n g K a ­ shubian architecture. W e are printing reproductions of s o m e of t h e m . I r o n O r n a m e n t a t i o n . I r o n w a s not w i d e l y used; a b o v e a l l , f i s h h o o k s w e r e m a d e of iron (fig. 70) a n d also w r o u g h t a n c h o r s . S o m e t i m e s , b l a c k ­ s m i t h s tools w e r e decorated, (fig. 73). I r o n o r n a m e n ­ tation w a s used most i n b u i l d i n g : hinges, the i r o n ­ w o r k r o u n d l o c k s , etc. a n d a l s o o n i r o n w a y s i d e crosses (fig. 72), roof c r o s s e s a n d weather-cocks (fig. 71), t h e oldest of w h i c h date b a c k to the t u r n of t h e 17th a n d 18th c e n t u r i e s . A r t i s t i c s m i t h e r y in Pomerania declined at the beginning of the 20th c e n t u r y , o u s t e d b y i n d u s t r i a l p r o d u c t i o n . Objects and Ornaments from Horn and Amber a r e r e p r e s e n t e d a b o v e a l l by snuff­ boxes m a d e of h o r n , m o s t p o p u l a r a m o n g the K a ­ s h u b i a n s (fig. 75, 76). T h e y a r e s h a p e d l i k e s m a l l horns, c a n i s t e r s , top-boots a n d 'bottles. T h e y are often o r n a m e n t e d . A m b e r w a s u s e d to m a k e j e w e l ­ lery. T o y s — m a d e of wood. T h e y a r e u s u a l l y h o r s e s (fig. 77). M o v i n g toys a r e also m e t w i t h . Art in rites and c u s t o m s . T h e custom of c a r r y i n g the C h r i s t m a s c r i b h a s been k e p t h e r e 190 W o o d C a r v i n g . W o o d c a r v i n g w a s s t i l l Wides­ p r e a d at t h e t u r n of the 19th a n d 20th c e n t u r i e s — i n w a y s i d e s h r i n e s o n posts. A s , h o w e v e r , w o o d d i d not s t a n d up v e r y w e l l to the d a m p c l i m a t e , they w e r e r e p l a c e d by f i g u r e s m a d e of 'porcelain, i r o n or plaster. T h e m o s t t y p i c a l K a s h u b i a n s h r i n e s a r e t a l l crosses w i t h a s m a l l p o r c h - l i k e roof o v e r the figure of the c r u c i f i e d C h r i s t . T h i s figure i s a l s o found on t h e c r u c i f i x e s c a r r i e d i n processions a n d i s m a r k e d for the elongation of t h e body. T h e r e is m o r e v a r i e t y in the figures of s a i n t s (fig. 9 1 ^ 9 6 , 98) a p a r t f r o m v e r y p r i m i t i v e c a r v i n g s , t h e r e a r e r e a l i s t i c c a r v i n g s often after h i s t o r i c a l styles. T h e f o l k c a r v i n g traditions a r e s t i l l k e p t u p today (fig. 95, 96), but religious t h e m e s a r e g i v i n g w a y to s e c u l a r ones. B a s - r e l i e f s are r a r e l y met w i t h . P a i n t i n g . T h e most common here were p a i n ­ tings o n l i n e n a n d glass, p a i n t e d in the 18th a n d 19th c e n t u r y for the p e o p l e by the c r a f t s m e n i n the s m a l l towns. A t the a n d of t h e 19th c e n t u r y they began to g i v e w a y to p r i n t e d religious p i c t u r e s a n d v e r y few of t h e m h a v e b e e n p r e s e r v e d till t h i s d a y (fig. 102—107). A s e p a r a t e group a r e p i c t u r e s made f r o m w o o d c a r v i n g s glued onto t h e b a c k g r o u n d (fig. 104 t y p i c a l a m o n g the K a s h u b i a n s . Feliks Markowski — RELICS OF THE KASHUBIAN REGION IN T H E LITHOGRAPHS OF WIKTOR GO­ SIENIECKI. Feliks Markowski — THE FOLK ARCHITECTURE OF N O R T H E R N POLAND IN T H E W O R K OF T H E A R C H I T E C T U R E AND R U R A L PLANNING CHAIR OF T H E GDAŃSK T E C H N I C A L U N I V E R S I T Y T h e C h a i r w a s founded i n 1945. S t u d e n t s w h o p a r t i ­ c i p a t e i n i n v e s t m e n t w o r k a r e a l s o e n c o u r a g e d to m a k e t h e i r c o n t r i b u t i o n to the r e s e a r c h w o r k c o n ­ d u c t e d by t h e C h a i r . T o d a y , the C h a i r h a s d o c u m e n ­ tation of the f o l k a r c h i t e c t u r e of v a r i o u s regions of P o l a n d , but a b o v e a l l , f r o m t h e K a s h u b i a n region. �n O / l b C K O E KBAPTAJIbHblH H A P O f l H O E JKyPHAJI H3flABABMbIK N° 3 MajiHi^KHÍí HAPOßHOE M C K y C C T B O r ^ A H C K O r O n O M O P B H H A 3>OHE K O J I JIEKIIMÏÏ n O M O P C K O r O M y 3 E H roflti repMaHCKoro KOJioHM3au,MOHHoro HaTwcKa 5'CKopmiM npouecc 3aiwMpaHMH HapoflHoro MCKyccTBa Ha TeppMTopMM T f l a H C K o r o n o M o p t a . n p o q e c c stot b ^aTwpyeTca nojiOBMHe X I X Bena. B co3ßaBmeMCH m H a ^ a T a n KaiunaHMH T e p p M T o p M M SToro STHMHecKoro oöcTaHOBKe KOJiJieKinro My3eeB cöopa flOKyMeHTOB OKpyra MMeiOT H a cymecTBeHHoe ApxMTeKTypa 3Ha«łeHne. npeflCTaBjieHa: n36aMn, xo3HMCTBeH- HMMM nOCTpOMKaMM, 3flaHMHMM pejiMrno3Horo npesHa3HaneHMH. H a TeppnTopnn lOJKHbix KauíyS BecbMa xapaKTepHW 60BbIM TpëxKOMHaTHbie MeTOflOM, flByxcKaTHOií M36bi, BHGHIHMM C Kpbimeü nocTpoeHHbie c p y - HaBeCOM, nOKpbITbie (npewMymecTBeHHO coJiOMeH- (pMC. 2). 3tot o6pa3eu, M36bi BCTpenaeTca TOJKe b K o u e B e . H a ceBepe, b n o a c e n o 6 e p e ? K b a m u , e H T p a j i b H O M n a c T M TeppuTopMM K a m y 6 HaxoflMTca MHoro M36, nocTpoeHHblX Ha OCHOBe flepeBHHHOÍÍ CKejieTHOÍÍ KOHCTpyKU,MH, KOTOpyK) 3anOJIHHJIM rJIMHOH MJIM HeBbIJKJKeHHblM KMpnHHOM. 3 t M M 3 S b I TOJKe nOKpbITbl flByXCKaTHOÍÍ K p b l mePí, a M H o r ^ a cojiomoü. X a p a K T e p H b i M y K p a i u e H n e M M 3 6 b l «BJiaeTCa K 0 H € K , B b i p e 3 a H H b l f í M 3 flOCOK b p a 3 Hoo6pa3Hbix dpopMax ( p u c . 5). X03HMCTBeHHbie nOCTpOÜKM CTpOMJIMCb OTßejIbHO, xoTH b n p e f l e j i e K p e c T b í m c K o r o flBopa. CpeflM n o c T HOÜ) poeK BbifleJiHHDTCH KynoJioo6pa3Hbie xjieÖHwe nenn, flByxcKaTHOíi K p b i m e M m ycTaHOBjieHHbie HH3KHX CTOJiÔMKax ( p w c 7), pacnojiojKeHHbie b6jim3m noKpbiTbie Ha mjim b c a ^ y . ABopoB paíIOH H M J K H e r O n O B M C J I H M OKpecTHocTeü MMeJí C T p o M T e j i b C T B o 6oJiee nbiuiHoe. H a TeppMTopMM T y p a K y B (iiobht HlTyM) y a c e b H a n a j i e B e K a CTpOMJIMCb M H O r O K O M H a T H b i e M36bl C TJiyBoKMM B H e U I HMM HaBecoM, ynnpaBiuMMCH H a iihtm cTOJiSax. H a TeppMTOpHM X y j i a B M H a f l B M C J I H H C K O M H M 3 M G H H 0 C T M HaxoflHTca a e p e B H H H b i e c p y ß H b i e H 3 6 b i c BbiflBWHyTbiM Bnepëfl KpbijieHHbiM HaBecoM ( p u c . 6). CTOJi6bi m flBepM dbijim Tosce y K p a m e H b i (pmc. 8). B noBHTe HlTyM, K B M f l 3 b I H b , MajIbOOpr HaXOflHTCfl TOJKe npOCTbie CpyÔHbie M36bt C flByXCKaTHbIMM KpbllliaMW, n O K p b I T b i e COJIOMOM. floMauíHua yTBapb: C o x p a H M B U i M e c H caMO«ejIbHbie CTyjIbHaKM (3bIflejIbKM) J'I npOCTbie CKaMbM, 3aJKMTOHHbIÍÍ CBMfleTejibCTByro, b npouijioM hto HCKVCCTBA UOJlbCKOH AKAJ1EMHH HAYK oBopyflOBaHMe M 3 6 Ha noMopbe 1962 OcoSeHHOCTblO c noflHMMaeMoii HacTbK). HBJIJIIOTCH C n a j I b H b i e CKaMbM-CyHflyKM, KpbmiKOM m B b i f l B M r a e M o i ł nepeflHeii PacnpocTpaHeHbi BbiflBHraeMOM c B H y T p e H H e e B X I X Hanajie CTeKJie, rycTo y ö p a H C T B o pa3BemaHHbiMM 3aTeM yKpamajiM T o H H a p H o e UaeT. <ï>opMbi pacKpauiMBajiM cyHflyKOB cyHflyKM pa3Hoo6pa3Hbi b b ojhh pa3Hbix paííoHax ñoMopba ( p u c . 10 — 15). Oco6eHHOCTbK> K a u i y 6 o B HBJiajiMCb KpameHbie 5 y o b e T b i , K O T o p b i e mohcho h3mtm m y . z i p y r a x STHHnecKMx rpynn Ha T e p p M T o p M M n o M o p b a . B mx «eKopaTMB- HOM BblnOJIHeHMM 3aMeTHbI HepTbl CTMJIbHOM MCTOpMHecKoii Me6ejiM ( p w c . 16, 17). 3tm nepThi 3 a M e T H b i y iiiKacpoB, 'laeMbix npe«Ha3HaHeHHbix b nacToamee CoxpaHMJiMCb eme pacKpaiueHHbie km: c oneub oflejKflbi, pe^Ko (3bifljie) (pmc. BCTpe- (pmc. 19). 18 — 20), o«hmm l^bctom. y n o T p e ö J i a e M b i e K p a c mjim r o j i y ö a a . C o x p a H w i H C b y 3 o p H O Bbipe3aHHoii cühhkom (pmc. 22). p»aBO-KopMHHeBaa eine CKaMbM BpeMH CTyjibHaKM fljia ctch. Ha no3flHee Ha nimKaMH. TeppMTopMM noMopba MMeeT orpoMHyio TpaflML(Mio. M H o r w e i^eHTpbi p a 6 o TajiM e m e b KOHi;e X I X B e K a . B H a n a j i e X X BeKa npOMbILUJieHHOCTb HaMajia BblTeCHHTb 3fleUIHMe H 3 ho flejiMH, Bcë-TaKM coxpaHMJiMCb TpaflMi(HK) MaücHepoB, flefłcTByioinne iieH- Tpbi roHHapHoro flejia: oflHH b X M e J i b H e (noBHT K a p Ty3bi) b MacTepcKOM ceMbM H e i ; e j i b (pmc. 41), B b i p a ö a T b i B a r o m M ü KpameHyio KepaMMKy. Btopoü, n p o f l o n JKHBmMii Ty3ax poii m b paéoTe KamyScKOM ÖOJIbLUWe 6a3npyeT KepaMMKe KyBUIMHbl, H a HaxoflMTCH b Kap- CTapwx y3opax. CBoiicTBeHHbi nOKpbITbie C T a - TMnMHecKMe TeMHO-KopMHHeBOM (pmc 28), mjim y K p a u i e H H w e pacTMTejibHbiiw O p H a M e H T O M ( p M C 31). O i e H b C X O J K M C H M M M KyBIIIMHbl, npOM3BOflMMbie B H w j K H e M noBMcjie (pMC. 32), ho c flpyrMM npMMeHeHMeM opHaiweHTa (pmc. 33, 34). PaüoHy TypaKOB m X y j i a B CBOMCTBeHHbi SoJibrnne Ta3bl C BepTMKajIbHbIMM SeperOBbIMM BOpOTHMKaMM, noKpwTbie KopMHHeBOM SMajiMeii. K a u i y B b i m CjioBMHUbi ynoTpeôJiHjiM T a 3 b i noMeHbiiie, noKpbiTbie 6 e jioM r j i a 3 y p b i o (pmc 30). H a TeppMTopMM HMHCHero rjia3ypbK) noBMCJia m b KoueHe BCTpenajiMCb Ta3oo5pa3Hbie p e - uieTa (pmc. 33). H a TeppMTopMM T^aHCKoro n o M o p b a 6bijiM p a c n p o c T p a H e H b i äbomhmkm (pmc. 29, 32, 36, 37). C T a p w e o 6 p a 3 U b i 2-om nojioBMHbi X I X b. yKpameHbi reOMeTpMHeCKMM OpHaMeHTOM, HOBbie mmöot pacTMTejIbHblM OpHaMeHT. KyBUIMHbl M flBOMHMKM MHOTfla ÖbIJIM nOKpbITbl r j i a 3 y p b K > BHyTpM m CHapyjKM (pmc. 36). B KOHrie XIX B. BCTpenajIMCb CpeflM KepaMMHeCKMX M3fleJIMM rjiMHHHbie K p o n M j i b H M U b i (pMC. 42, 43). C a M b i e CTapwe M3 HMX OTJIMHajIMCb npOCTOM CppOMOÜ M OflHOtfBeTHOM pacKpacKOM ( r j i a 3 y p H o í i ) , n o 3 f l H e i i r i i M e c dpnrypHbiM öapejibedpoM, MMejiM MHorouBeTHyio pacKpacKy. He coxpaHMJiMCb CTapwe (pMrypHwe MrpyuiKM w3 rJiMHbi. C o B p e M e H H O MrpyuiKM flejiaiOTCH b X M e J i b H e (pmc. 44). e m eco BeflHHKM flepeBaHHUMH ÄeJio SepejKbM opHaineHT. pacTMTejibHbiii Bflojib n e n a T H b i e KapTMHKM. K a p T M H b i y K p a m a j i M B e HOHKaMM M3 JieHeÖHblX TpaB. ft>nrypKM CBHTblX ÖbIJIM yKpameHbi ßyMaroM m po3eTKaMw. E m e b Hanajie XX B e K a pa3BeuiMBajiM b W36ax n a y K M n 3 cojiomm. fljia H3roTOBjieHMH nayKOB y n o T p e Ô J i H J i n c b a f ł ą a , m3 KOTOpblX BblflyBajIM C O f l e p j K M M O e ( T . H a 3 . „BblflMyUIKM"). flejio Bcero, n o M e m e H M ü : KapTMHKaMM BBejiH KapbejibHoe npejK^e Kpo- nepeflHeń yKpamajiM M36bi BeKa BecbMa xapaKTepeH, n o c e r o f l H a u i H M M ^eHb ^acTbio (pmc. 24). HepTbi m x 3 a f l H n x c j i M H O K HanoMMHaiOT M e ß e j i b X V I I I BeKa (CTMJlb B a p O K K o ) . H a X O f l H M p e ^ K O C T H b i e 3K3eMn j i a p b i KOJibi6ejieü ( p M C . 21) m coxpaHMBUiweca npejKHMe CTOJibi (pmc. 25) m iiojiohkm fljia JiojKeK (pmc. 23). BaTM (npwMepHO 200 jieT c jm i mh i mm TOMy Ha3a/í) OHeHb npMMMTMBHbIM. Pa3BMTMe flaTMpyeTCH, HaHMHaa c K o m i a X V I I I BeKa m npoflOJiscaeTca b X I X BeKe nofl BJiMflHMeM äbophhckom m ropoflCKoń iue6ejiM. 3to BJiMHHwe iiauíJio OTpaateHMe b .ąeKopaTWBHbix fleiajiflx yTBapM. C o BTopoü nojioBMHbi X I X BeKa y n o T p e Ô J i a ï O T C H KpameHbie c y H f l y K M flJia npMflaHHoro, KOTOpbie BnOCJieflCTBMM ÔbIJIM BblTeCHeHbl TOpOflCKOM MeôejibK). Rjin KapTMHOK, HaxoflflinHxca Ha c y H ^ y K a x , ôbijio BO rOß H3^AHHfl X V I P E 3 K) M E — JIohthh HHCTHTyTOM M C K Y C C T B KOHije X I X — b. pacnpocTpaHMjiocb — TpaßMinroHHoe cpe^M peMecjio roHnapoB Ha n o - cpeflHeBeKOBbH. n j i e T e H M e (njieiiëHKapcTBo) Ha noMopbe oneHb pacnpocTpaHeHo. ynoTpe6jiaeMbiM MaTepMaji: kophm. MOJKHteBejibHMK, flëpTbie flyÖKM m paKMTa. K p o M e Kop3MH (pmc. 48, 49), TyT njiejiM pw5ojioBHbie BepuiM m 3epHOBbie MepKM, njieTëHHbie cnMpajibHoíí TexHMKOM (pmc. 47.51). Ä p y r M e M3«ejiMH M 3 r o T O B J i a j i M C b KpecTO- BOM TeXHMKOM (pMC. 53), MJM I 3anjieTajIM JIbIKO COCHOBbiM KopHeM, a M H o r f l a y n o T p e 6 j i a j i M c o j i o i w y , K O T o p y w cnjieTajiM c kophhmh mjm i paKMTOM. Tenepb njieTeBoe 3aHMMaeT nonëTHoe MecTO b xy^oÄecTBeHHOM H a p o ^ H O M TBopnecTBe, H a x o ^ a pwHOK c S b i T a b r o poflax. T K a ą K o e npoM3BOflCTBO, Kor^a-To oieHb pa3BMTOe Ha TeppMTopMM nOMOpbH, nOHTM MCHe3JIO flejio 191 - �b b KoHue X I X BeKa. Oco6eHHocTtio 3TOM paíioHe HBJiaeTCH uiepcTHHOM b CHHHÜ i n s e T , iiieHHbiíi npoM3BO^CTi3a pacKpa- xojict, npeflHa3HaHajica H a MyjKCKyio — ofleíKfly, a K o p M H H e B b i í í , 3ejiéHbiií m KpacHbiü Ha HceHCKMe nnaTbH. B TKauKOM npoH3B0flCTBe Hn?KHero IIOBMCJIH (Pmc. 3aMeTHO 54, 55). 3flecb CKHe TKaHH BapMMHCKO-Ma3yp- M3rOTOBJIHJIM nOJIOTHO COXpaHMJIOCb BJIMHHMe hto jkmb- noflTBepflMJiw, mjim n y T e u i e c T B y i o i n i i e iiine I^flKH). BapMHHCK0-Ma3ypCK0e MccjieflOBaHHH HeCKOJIbKO JIOCKyTKM H (uiMa- TKai^Koro ueHTpOB npon3BOflCTBa Ha TeppMTopMH K a m y 6 m b B o p a x , r ^ e M3rOTOBJIHK)T nOJIOBMKM (pHC. 56, 58). B npomjioM cymecTBOBajiM TaKHte M a c T e p c K M e , n e HaTaBuiMe nojioTHo (phc 59). H a p n f l , B b i u i M B K a , k p y hc e b a : Okojio X I X b. HapoflHbiw Hapnfl pnflax nepecTají uawn CMaTMBaeMoii MecTHbix pacnpocTpaHHTbca TeppHTopwM. HauíM STHHHecKMX rpynn, Ha p a c - cBefleHMH o H a - 3 a MCKjiiOHeHMeM K a m y S o B , oneHb CKynbi. Ochobhoíí nacTbio MyjKCKOíi ofle>Kflbi nojioBMHbi X I X b. H B J i H J i a c b r o J i y 6 a a mjim cmhhh cepinara. JKeHmHHbi KpoMe n j i a T b a hoCMJIM OflHOLÍBeTHbie JIMCpHMKH MJIM KOCpTbI. B b l I X I M B K a HapHfla npMMeHHJiacb n p M yKpaiueHMM 30Jiotom npa3flHMHHbix HíeHCKMX H e n u , O B (pmc. 60—62), M 3 r o TOBJieHHbix M3 S a p x a T a . Hocmjim TaKJKe mejiKOBbie n e n u b i , yKpameHHbie MHorou,BeTHOw BbiuiMBKOM (pmc. — 61). BbiuiMBKa b 30JioTbiM — i^BeTOM n e n i j o B npeKpaTMjiacb 1-OM nojioBMHe X I X b., a B C K o p e n p e n p a T M j i M y n o Tpe6jIHTb UiejIKOByiO BblHIMBKy. CpeflM OpHaMeHTajIbHblX MOTMBOB 3T0r0 paÜOHa BblflejIHeTCH MOTMB n j i o flOB r p a H a T a . B Hanajie X X b., Sjiaroflapa nponaraH^e, npOBOflMMOM K a i I i y S C K O M M H T e j I J I M r e H U , M e M , S b I J I M C 0 3 flaHbi MHorMe u,eHTpbi MymecTBeHHo, BbimMBKa fljia BbiuiMBKM, ropoflCKnx ynoTpe6jiajiacb bopothmkob m M a H H c e T O B paSoTaBiiiMe, npeM- Bejiaa noTpeSMTejieft. MHorfla npn M3roTOBJieHMM sieHCKMx pySameK. B H a n a j i e X X b. yKpamajiM STOÜ BbiuiMBKOM HMXHHe 6 e p e r a k>6ok. B c T p e i a e M T a K s c e Hapaflbi, y K p a m e H Hbie BH3aHHbIM KpyjK6BOM, K O T O p b i e ynOTpeÓJIHJIM MHor^a fljia yKpameHMH noKpbmají Ha KpoBaTM (Pmc. 64). I T p M K j i a f l H o e MCKyccTBO n o flepeay npMMeHHJIOCb OHeHb pe^KO. B COXpaHMBIHMXCH naMHTHMKaX C X V I I I •— X X BB. HaXOflMM e r o CJieflbl TOJIbko H a HeKOTopbix koíí: cpopMbí fljia npeflineTbix. yKpamajiM rpaBnpoB- fljia CTarMBaHMa Macjia (pmc I I p M K J i a f l H o e JKejie30 M3 Hero (pMC. 70), Hbie 69), npacjinubi. M C K y c c T B O b oneHb y3KOM MacuiTa6e. M3roTOBJiajiM, npewMymecTBeHHO, ocTpora K O B a H H b i e «Ropa, M H o r ^ a yKpamajiM K y 3 H e n (pmc. 73). yKpamajiM, npesc^e Bcero, jKene3Hwe M3flejiMH, ynoTpe6jiaeMbie b cTpoMTejibHOM npoM3BOflCTBe: flBepHbie neTjiM, apiwaTypy 3aMK0B, m KpbiuieBbie npMflopoJKHbie 72), cpjiajKKM, flejieHMH CpJiaJKKM BeTpa M3rOTOBJieHbI SiecTBeHHoe scejie3Hbie ycTaHaBJiMBaeMbie HanpaBjieHMH M 3 j e j i n a 3to M 3 — XVIII peMecjio npocTpaHeHHbie cpep,n SaKepKM cpopMy MMeiOT JieHHineM, HHTapH 6yTbiJiKM. TOTOBHT Ha JiouiafléHKM KamySoB pojkkob, BbiBaiOT 77). cTapbie BB. X y , z ; o 3aMM- npoMbimjieHHbiM h h t a p h. M3 (pMC 6anoK, MHorfla üpejKfle 75, 76). b canora c yKpauueHbi. M3 — MacKM c M3roTOBJieHbi oieHb MacKapaflM3 flepeBa, poroB, KaproHa, naKjiM, kohckoto BOJioca m T.n. (Pmc. 81, 83, 84, 86, 89), HeKOTopbie o6pa3u,bi ofleJKflbi cnjieTeHbi M3 cojiOMbi. CpeflM xyflojKecTBeHHbix p e K BM3MTOB STOrO 06bIHaH O C o S e H H O C T b K ) S b I J I BOJIOCTHOM 3HaK (pmc 87 m 88), BCTpenaeMbiM e m e b Hanajie XX BeKa. C p e f l M My3biKajibHbix MHCTpyMeHTOB BCTpeHajIMCb OpMrMHajIbHbie „HépTOBbI CKpMnKM" (PMC. 80). P e 3 b 6 a n o flepeBy. Pe3b6a ynoTpe6jiHJiacb e m e b X I X — X X bb., b npMflopojKHbix nacoBHHX, Ha CTOJiSax. OflHaKO, flepeBO o n e H b HeycToííHHBOe bo BJiajKHOM KJIMMaTe, 3aMeHMJIM cpapcpopoBbiMM, 2 K e jie3HbiMM m rMncoBbiMM cpMrypKaMM. H a K a u i y 6 a x BbiflejiaiOTca npMflopoxíHbie BbicoKMe KpecTbi c npo- CpMJIMpOBaHHblM ctojiBom M KpbiuieM, KOTopaa n p M KpbiBaeT cpMrypKy P a c n a T M H . O n r y p y 3Ty BCTpenaeM Ha K p e c T a x , hocmmbix bo B p e M H K p o c T H o r o Xofla. TyjioBMine cpMrypKM yfljiMHeHo. Bojiee pa3Hoo6pa3Hbi cpMrypKM CBHTbix (pmc. 91—96, 98). H a p a f l y c npMMMtmbhoíí CKyjibnTypoií BCTpenaeM peajiMCTMHecKMe p a CoTbi, MMeromwe HepTw MCTopMHecKMx CTMjieíi. T p a flMUMOHHaa C K y j i t n T y p a e m e MaroTOBJiaeTCH (pMC. 95, 96, 98), ho pejiMrM03Haa Tenia 3aMeHeHa cbctckom TeMOH. P e f l K o BCTpenaeM Sapejibepp. X H B o n w c b . b stmx PacnpocrpaHeHbi MecTax SbijiM KapTMHbi H a nojioTHe m H a cTeKJie, M 3 r o T O B j i e H Hbie b X V I I I m X I X bb. fljia H a p o f l a , ropoflCKMMM peMecjieHHMKaMM. B KOHi;e X I X b. BbiTecHeHbi n e HaTHblMM KapTHHaMM, ynoTpe6jiaeMbiMM B O BpeMH MHflyjIbreHIÍMM. KapTMH ,ÍT,0 CMX n o p pyHHoíi BbiflejiKM COXpaHMJIOCb ( p n c . 102 — OHeHb 107). B — MajIO oTflejib- Hyio r p y n n y mojkho BbiflejiMTb K a p T M H b i noflKJieeHHbie rpaBiopbi Ha «epeBe (pmc 104). 3 T a r p y n n a oneHb TMnMHHa fljia K a i u y S o B . BcTpenaioTca o S p n ^ a x íejiMKC MapKOBCKMÍi — nAMHTHMKM C T A PMHbl K A H i y B C K O H 3EMJIM B JIMTOrPA4>MHECKMX PABOTAX BMKTOPA rOCEHEH,KOrO B c T a T b e o G c y j K f l a i o T c a 4 ajibóoivia n o f l o6iumm H a 3 BeHMeMb „naMHTHMKM OTHeCTBeHHOrO M C K y C C T B a 3 a naflHoíí IIojibiiiM", M3flaHHbie HecKOJibKo JieT nocjie OKOHHaHMH 1 - O M MMpOBOÍÍ BOMHbl, B KOTOpblX HaXO^MJiMCb jiMTorpacpMH n o 3 H a H C K o r e xyfloatHMKa, n p o cpeccopa CH BMKTopa ToceHeuRoro. I^eHHOM flOKyMeHTalíMeM noAroTOBjiaeMbifí 5-bifi XyfloJKHMK 3tm p a 6 o T b i hbjihiot- naMHTHHKOB ajibSoM o6ocHOBaji CTapMHbl. Smji n o c B a m e H cbom pa6oTbi H a KOJIJieKUHHX, COÓpaHHblX M 3 ^ 0 p O M TyJIbKOBCKMM B M36e-My3ee, KOTopbiü noTOM c r o p e j i . ñocjie 1-oií MMpoboíí BOMHbi x y ^ o J K H M K n o n o J i H M J i M M e í o i n y i o c H y H e r o AOKyMeHTauMio o6"beKTaMM, co6paHHWMM Ha T e p p n topmm, paHbine HeflocTynHOií noJibCKOMy M C C J i e f l o BaTejno. AjIb60M (5-bIÍÍ) M M e j I COCTOHTb M3 20-TM JIMTOrpacpMü flOKyiueHTOB KauíyScKoro cTpoMTejibCTBa. — HecKOJibKO paSoT Mbi ny6jiMKyeM. * e j i M K C MapKOBCKHÜ — HAPOAHAH APXMTEKTYPA CEBEPHOIÍ nOJIblIIM B PABOTAX K A O E ^ P B I APXMTEKTYPBI M njIAHMPOBAHMH «EPEBHM TjlAHCKOrO nOJIMTEXHMHECKOrO MHCTMTYTA TapH3aL(MM. B npeMMymecTBeHHo flBMJKyiUMecH m o S b i H a a x . Co- x p a H M J i c a oObinaü uiecTBMH c BepTenoM (pmc. 79). <I>MrypKM, BbicTynaBuiMe b stom BepTene, noHTM B c e r fla no^BMJKHbie c pe3HWMM r o j i o B K a M M , ofleTbie b p a 3 Hoi^BeTHbie jiocKyTOHKM. P e s c e BCTpenaeM odbinaü 192 noxoflaMM. yKpauíaioT CBH3aHHbIX Kacpoflpa 6bijia co3flana b 1945 ro,ay. B mccjigaoT a - BaTejibCKofi p a S o T e npMHMMaioT ynacTMe CTyfleHTbi, r o KOTOpbie aKTMBHO c o T p y ^ H M H a i o T b p a S o T e n o M H B e H - MrpyuíKM. M c K y c c T B O KOTopyío pora, p a c - M3flejIMH. ^epeBHHHwe (pmc. onpe- IToMopbe M3roTOBJieHHbie K)BejIMpHbie M r p y u í K M : m p o r o B TaSaKepKM, fljia ( p w c . 71). C a M b i e p a e T b Hanajie X X b., BbiTecHaeMoe np0M3B0flCTB0M. Bcero, KpecTbi (pnc. H a Kpbinie b XVII Ky3HenH0e HbiMM kojkm, Kauiy6aM. ik e ji e 3 y . n o ynoTpeSjiajiocb npM6opw c o 3Be3floíí, CKpOMHO. 3 a T 0 MHOTO MaCOK, fljiH pbi6ojioBbix c e T e ü (pmc. 65), p y S e j i a fljia KaTaHMH S e j i b a , T K a i n a i e flouieHKM, KpblUIKM flBOÜHMKOB (pMC 66), CnMHKM C T y j I b H a K O B , apMa KoJiaflOBaHMa Kacpeflpe TeKTypbl M3 MMeeTca pa3HbIX b oojibixiMHCTBe M3 ^oKyMeHTauMH CTOPOH TeppMTopMH HapoflHOíí nojIbUIM KauíySoB. — apxwO^HaKO KpoMe y n o M H H y T b i x CTaTefi, b H O M e p e H a x o f l f l T C H : ,,MaTepMaji ^jih 6 M 6 j i M o r p a c p M H e c K H X CBefleHHÍí n o HapoflHOMy MCKyccTBy C^oBMHiíeB" T a f l s y u í a BojiflyaHa, peqeH3MM H a M 3 f l a H w a m x p o H H K a B a H C H e i í u i M X COSbITMM. �CZASOPISMA INSTYTUTU wydawane P.P. WYDAWNICTWA SZTUKI PAN przez ARTYSTYCZNE I FILMOWE 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 f o r m a t u , około 100 i l u s t r a c j i . C e n a 24 zł, p r e n u m e r a t a półroczna 48 zł, r o c z n a — 96 zł. POLSKA SZTUKA L U D O W A , k w a r t a l n i k , 64 s t r . dużego f o r m a t u , bogaty materiał i l u s t r a c y j n y . C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł, r o c z n a — 72 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 , p o n a d 170 str. d r u k u , około 100 i l u s t r a c j i . C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł, r o c z n a — 72 zł. K W A R T A L N I K F I L M O W Y , około 100 s t r . d r u k u , kilkanaście i l u s t r a c j i . C e n a 10 zł, p r e n u m e r a t a półroczna 20 zł, r o c z n a — 40 zł. M U Z Y K A , k w a r t a l n i k , około 130 str. d r u k u , l i c z n e przykłady C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł, r o c z n a — 72 zł. nutowe. PRENUMERATA Zamówienia i przedpłaty n a prenumeratę p r z y j m o w a n e są w t e r m i n i e do d n i a 15-go miesiąca poprzedzającego o k r e s p r e n u m e r a t y — p r z e z : Urzędy Pocztowe, listonoszy o r a z Oddziały i D e l e g a t u r y „Ruchu". Można również zamówić prenumeratę dokonując wpłaty n a konto P K O n r 1-6-100020 — C e n t r a l a Kolportażu P r a s y i Wydawnictw „Ruch" — W a r s z a w a , u l . S r e b r n a 12. C e n a p r e n u m e r a t y z a granicę j e s t o 40"/o droższa od c e n y podanej w y ­ żej. Przedpłaty n a tę prenumeratę p r z y j m u j e n a o k r e s y półroczne i r o c z n e Przedsiębiorstwo E k s p o r t u i I m p o r t u „Ruch" w Warszawie, W i l c z a 46, konto 2-6-71 w N a r o d o w y m B a n k u P o l s k i m w W a r s z a w i e , u l . W a r e c k a 10. SPRZEDAŻ E g z e m p l a r z e z d e z a k t u a l i z o w a n e można nabyć w s k l e p i e „Ruchu" p r z y u l . W i e j s k i e j 14 w W a r s z a w i e . Zamówienia spoza W a r s z a w y należy kierować d o C e n t r a l i Kolportażu P r a s y i W y d a w n i c t w „Ruch", W a r ­ s z a w a , u l . S r e b r n a 12. Aktualne numery czasopism Instytutu Sztuki P A N w większych księgarniach m i a s t wojewódzkich: Białystok — L i p o w a 43 B i e l s k o — Dzierżyńskiego 33 B y d g o s z c z — 1 M a j a 17, D w o r ­ c o w a 14 B y t o m — Kościuszki 4 Chorzów — Wolności 13 Częstochowa — A l . N M P 8 Gdań&k-Wrzeszcz — G r u n w a l d z ­ ka 8 G d y n i a — Świętojańska 47 G l i w i c e — Zwycięstwa 31 Grudziądz — R y n e k 13 Inowrocław — Królowej J a d w i ­ gi 31 K a l i s z — Śródmiejska 14 Katowice — Warszawska 11 K o s z a l i n — Młyńska, b l o k 12 K i e l c e — S i e n k i e w i c z a 30, S i e n ­ k i e w i c z a 60 Kraków — Podwale 6 Lublin — Krakowskie Przed­ mieście 68 są do nabycia Łódź — P i o t r k o w s k a 102a Poznań — M a r c i n k o w s k i e g o A r m i i C z e r w o n e j 37 21, Przemyśl — Franciszkańska 19 R a d o m — Żeromskiego 27 Rzeszów — Kościuszki 3 S a n d o m i e r z — płk. S k o p e n k i 4 Słupsk — P I . Zwycięstwa 11 Sopot — Bohaterów M o n t e C a s s i ­ no 26 Sosnowiec — Czerwone Zagłę­ bie 23 Toruń — R y n e k S t a r o m i e j s k i 30 Warszawa — Krakowskie Przed­ mieście 7, K r e d y t o w a 9, Pięk­ n a 31/37, B r a c k a 20, N o w y Świat 35, Rynek Starego M i a s t a 22/24 Włocławek — 3 M a j a 25 W r o c ł a w — Kuźnicza 42 Z a b r z e —• Wolności 276 Stołeczne Zakłady G r a f i c z n e . D. W. W - w a , Podchorążych 39. Z a m . 472 P a p . i l U B t r . k l . I I I , 120 g B I ł k a r t o n biały k l . I I I , 220 g. B I . N a k ł a d 1.550 egz. H-76 �