https://zbiory.etnologia.uw.edu.pl/files/original/5f8c351d19842e43d94a85c3f84068b8.pdf 98aa78b6b198e3d85e7209479947f1e7 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:4027 Date A point or period of time associated with an event in the lifecycle of the resource 1961 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:3766 Title A name given to the resource Summary / Polska Sztuka Ludowa - Konteksty 1961, z.2 Description An account of the resource Polska Sztuka Ludowa - Konteksty 1961, z.2, s. 125-127 Language A language of the resource ang. ros. Publisher An entity responsible for making the resource available Instytut Sztuki PAN Type The nature or genre of the resource czas. Format The file format, physical medium, or dimensions of the resource application/pdf PDF Text Text capture metadata for PDF documents Text P O QUARTERLY L I S PUBLISHED H BY F THE ART N. 2 INSTITUTE Y E A R BOOK S U M M M A R Y Anna Świątkowska — ŁOWICZ PAPER CUTS Paper c u t s h a v e been m a d e i n t h e Ł o w i c z r e g i o n for a b o u t 100 y e a r s . U p t i l l t h e l a s t w a r t h i s k i n d of a r t i s t i c w o r k w a s t h e d o m a i n o f r u r a l w o m e n a n d girls w h o m a d e t h e p a p e r c u t s a l m o s t e x c l u s i v e l y f o r use i n t h e i r o w n m i l i e u . A t t h e b e g i n n i n g o f t h e 20th c e n t u r y , P o l i s h a r t i s t s d i s c o v e r e d t h e b e a u t y o f these p a p e r c u t s a n d f r o m t h a t t i m e o n t h e y h a v e been g a i n i n g e v e r m o r e a p p r e c i a t i o n a n d p o p u l a r i t y all over the c o u n t r y . After the last w a r , the paper cuts no longer fulfilled their o r i g i n a l f u n c t i o n a n d w e r e n o longer used b y t h e r u r a l p e o p l e . B u t t h e a r t d i d n o t d i e out. T h e g r e a t d e m a n d f o r t h e m i n t h e t o w n s , a l l over t h e c o u n t r y a n d a b r o a d h a s k e p t t h i s f i e l d o f folk a r t a l i v e a n d has c r e a t e d a f r e s h i n c e n t i v e f o r its c o n t i n u a t i o n . T h e o l d l a d i e s a d e p t i n t h i s w o r k are passing o n t h e i r s k i l l to t h e y o u n g e r g e n e r a t i o n and at p r e s e n t t h e r e a r e o v e r a h u n d r e d w o m e n making paper cuts i n t h e i r cottages i n the Ł o w i c z region. This article, e x a m i n i n g the o r i g i n of the Łowicz paper c u t s a r g u e s a g a i n s t D r . G r a b o w s k i ' s v i e w t h a t they w e r e d e r i v e d f r o m t h e p a p e r c u t s m a d e i n t h e districts s u r r o u n d i n g W a r s a w . A n a l y s i s o f t h e m o t i f s used is n o t s u f f i c i e n t a r g u m e n t , p a r t i c u l a r l y as a t the e n d o f t h e l a s t c e n t u r y t h e p a p e r o u t s w e r e a continuation of the traditional f o r m of decorating both t h e i n t e r o r a n d e x t e r i o r w a l l s o f r u r a l c o t t a g e s . T h e s i m i l a r i t y o f m o t i f s ( f i g . 1—4) o c c u r r i n g : i n t h e paper c u t s a n d i n t h e p a i n t i n g s d e c o r a t i n g the cottages s h o w t h a t f r o m t h e t i m e g l o s s y p a p e r b e g a n to r e a c h t h e r u r a l areas ( a b o u t 1860—65), p a p e r c u t s began t o r e p l a c e t h e f o r m e r s i n g l e - c o l o u r p a i n t i n g s (made w i t h a s t e n c i l ) a n d m u l t i c o l o u r e d p a i n t i n g s (painted i n w a t e r c o l o u r s ) . I n s t e a d o f these p a i n t i n g s , the c o t t a g e r o o m s w e r e d e c o r a t e d w i t h p a p e r c u t s on t h e w a l l s a n d o n t h e c e i l i n g b e a m s ( f i g . 9). F r o m s i n g l e m o t i f s , i.e. f l o w e r s , t r e e s , b o u q u e t s , which were glued to the w a l l s i n earlier times, the paper c u t s b e g a n t o d e v e l o p i n t o t h r e e b a s i c c o m ­ positions, a l l o f t h e m g l u e d o n g r e y p a p e r (now white paper) a n d a l l of s i m i l a r forms, w h i c h have been m a i n t a i n e d t o t h i s d a y : 1. R i b b o n s —> p a p e r r i b b o n s , u s u a l l y m e a s u r i n g 50 X 12 c m . , f i n i s h e d o f f a t t h e b o t t o m w i t h a fringe and decorated with the former ..bouquets" on a w h i t e or coloured b a c k g r o u n d (fig. 10—12). 2. S t a r s —• c i r c l e s 1 7 — 2 1 c m . i n d i a m e t e r , m a d e o f c a r d - b o a r d ( f i g . 13—20). mostly 3. „ K o d r y " ( d e r i v e d f r o m t h e I t a l i a n „coltre", „ c o l t r i n e " ) —> r e c t a n g u l a r , d e c o r a t e d h o r i z o n t a l b a n d s 80—100 c m . l o n g a n d 15—20 c m . w i d e , hung on beams and walls, alternated with " s t a r s " ( f i g . 22—39). OF O L OF THE K POLISH X V A ACADAMY OF R T SCIENCES 1961 ARTICLES I n the o r n a m e n t a l p a t t e r n o f a l l three types of paper cuts, the evolution was identical. The first m o t i f s , v e r y s i m p l e g e o m e t r i c a l o n e s (spots c i r c l e s , squares, etc.) and geometricized ones (schematic figures of dolls o r s i m p l i f i e d p l a n t forms), w e r e g r a d u a l l y replaced a t the e n d o f the 19th c e n t u r y b y more realistic h u m a n figures i n Łowicz regional costumes a n d by t r a d i t i o n a l p l a n t motifs, f o r instance, "the tree" w h i c h w e r e considerably developed (fig. 4 — 6 , 14—17, 22, 41). A d e f i n i t e n a t u r a l i s t i c t e n d e n c y c a n b e seen i n t h e s e c h a n g e s . A s f r o m 1910, n e w decorative tendencies w e r e added confusing the for­ m e r austere o r d e r of the composition, a n d reminiscent of t h e secession p e r i o d w i t h t h e c o m p l i c a t e d c h a r a c t e r o f t h e d e s i g n , t h e t w i s t i n g l i n e s a n d restless c o m p o ­ sition. The complete s y m m e t r y of the arrangement of e l e m e n t s b e g a n t o d i s a p p e a r a n d t h e c h a n g e s w e n t so far that, for instance, i n " K o d r y " w i t h p l a n t motifs, a three element composition w i t h a three axis symme­ try changed into a w a v y branch only maintaining the c e n t r a l axis o f s y m m e t r y , t h e rest o f the elements being arranged rather freely. The plant motifs themselves w e r e also changed. Changes, s i m i l a r t o those t h a t t o o k p l a c e i n e m b r o i d e r y a f t e r t h e F i r s t W o r l d War, also o c c u r r e d i n the paper cuts. Here too, the geometrical ornamentation was ousted by plant motifs treated i n a n ever m o r e n a t u r a l i s t i c way. The influence of the towns was not w i t h o u t its effects either. About 1923, o n t h e i n i t i a t i v e o f A . Chmielińska, t h e w e l l k n o w n c u l t u r a l w o r k e r a n d propagator of f o l k art, a n e w k i n d of „star" paper c u t b e g a n t o be m a d e — i n t h e f o r m o f o p e n w o r k circles. N e x t c a m e ellipses w i t h a n a r r a t i v e c o m p o s i ­ t i o n . I t m u s t be p o i n t e d o u t h o w e v e r • t h a t i n t h o s e t i m e s these f o r m s w e r e o n l y m a d e f o r use i n t h e t o w n s a n d w e r e n o t t o be f o u n d i n t h e r u r a l areas. The t r a d i t i o n a l „ K o d r y " themes d i d not undergo a n y p a r t i c u l a r changes r i g h t u p t o t h e last w a r ; t h e y w e r e u s u a l l y „ W e d d i n g " a n d „ C o a c h e s " , scenes f o r v i l l a g e l i f e , etc. ( n o t w i t h o u t a n o t e o f s a t i r e sometimes). B u t a b o u t 1900, a n e w f a s h i o n i n p a p e r c u t s a p p e a r e d : p a i n t i n g s o f heads p u r c h a s e d r e a d y m a d e w e r e g l u e d i n t h e p l a c e o f h e a d s a n d a b o u t 1920, heads c u t o u t f r o m p h o t o g r a p h s began to be used ( f i g . 34, 39). N o w , t h e y a r e d r a w n f r o m i l l u s t r a t e d weeklies. A f t e r t h e S e c o n d W o r l d W a r t h e scope o f t h e m e s became broader, m a i n l y o w i n g to the influence of o r d e r s f r o m o u t s i d e t h e r u r a l areas a n d c o m p e t i t i o n s on definite subjects. „ K o d r y " w i t h political and social themes began t o appear, made specially f o r e x h i b i t i o n s a n d f o r m u s e u m s , etc. C o n t e m p o r a r y p a p e r c u t s g a i n t h e i r effect not only by line but mainly by the intensity and purity of their colour. 125 �Once, w h e n v a r i o u s glossy papers w e r e a v a i l a b l e i n t h e r u r a l areas, t h e w o m e n m a k i n g p a p e r cuts u s e d a b o u t 40 shades. T o d a y , t h e s m a l l e r r a n g e o f p a p e r s h a s l i m i t e d t h e r a n g e t o o n l y 10 c o l o u r s . A l t h o u g h the w o m e n w h o made paper cuts have passed d o w n t h e i r s k i l l f r o m generation t o generation, the' degree o f s k i l l w a s v a r i e d . A p a r t f r o m some w h o c o u l d m a k e paper c u t s s i m i l a r t o those m a d e b y t h e i r predecessors a n d c o n t e m p o r a r i e s , there were also t a l e n t e d f o l k a r t i s t s c r e a t i n g t h e i r o w n k i n d o f paper cuts o f a specific style. T h e a u t h o r w r i t e s about some of the most o u t s t a n d i n g paper c u t artists — Jadwiga Klimkiewicz, Franciszka Burzyńska, the S t r y c h a r s k i f a m i l y , Elżbieta Żaczek, A n a s t a z j a Pawlikówna a n d others. Today, a l l those the „new" fashion, works, even being t h e m —• 7 1 - y e a r - o l d Bogusz — are s t i l l old patterns. m a k i n g paper cuts are f o l l o w i n g critically evaluating their earlier ashamed of t h e m . O n l y t w o of K a t a r z y n a G u z e k a n d Stanisława m a k i n g paper outs s i m i l a r to the T h e a u t h o r concludes her a r t i c l e w i t h the postu­ late for more care for the paper c u t makers, not o v e r b u r d e n i n g t h e m w i t h o r d e r s , h e l p i n g t h e m t o get c o l o u r e d p a p e r , etc. so as t o h e l p m a i n t a i n as l o n g as p o s s i b l e t h e a r t i s t i c v a l u e s w h i c h h a v e b e e n p r e ­ served to a great e x t e n t i n the Łowicz region paper cuts. Jadimga and CENTURY Anatoliusz BIŁGORAJ RELIGIOUS — Czerpiński FOLK PICTURES 18TH COSTUMES FROM THE IN T a k i n g as a basis a c y c l e o f 1 8 t h c e n t u r y r e l i g i o u s pictures of peasant theme f r o m the Solska Forest r e g i o n (Biłgoraj d i s t r i c t ) , w h i c h is t h e o n l y k n o w n cycle of this type, the authors analyse the regional costumes of t h a t time. The cycle comprises eight scenes f r o m t h e r e v e l a t i o n a n d o f m i r a c l e s , a l l o f w h i c h go t o m a k e u p t w o p i c t u r e s m e a s u r i n g 2.04 m . b y 1.82 m . w i t h l o n g i n s c r i p t i o n s i n v e r s e . T h e s e a r e pictures of the k i n d p a i n t e d by artisans and, f r o m the f o r m a l p o i n t of view, are k i n d r e d to the a r t of t h e o l d g e n t r y o f t h e 17th a n d 18th c e n t u r i e s w i t h their cult of a l l that was national. The realistic native character of the paintings make them a va­ l u a b l e source o f i n f o r m a t i o n c o n c e r n i n g t h e Biłgoraj regional costumes of the 18th century. Analysis of the pictures c o n f i r m s i n general the results o f research c a r r i e d o n i n these parts a n d also yielded some additional details. THE Pękalski BIŁGORAJ — WOODEN TOMB SHRINES IN DISTRICT T h e t o m b s h r i n e s f o u n d i n t h e Biłgoraj d i s t r i c t are a rarity i n our country a n d nothing like t h e m h a s b e e n f o u n d i n o t h e r r e g i o n s so f a r . A d o z e n o r so y e a r s ago t h e r e w e r e t h r e e o f t h e m i n t h e ce­ m e t e r y a t Puszcza Solska; n o w there are o n l y t w o that have survived. A l l of t h e m have the same characteristic s o l i d shape a n d a l l o f t h e m have been carved out o f a single large block o f wood, i n w h i c h niches w e r e h o l l o w e d o u t for the figures o f saints. T h e o l d e s t s h r i n e ( f i g . 3) p r o b a b l y d a t e s b a c k t w o h u n d r e d y e a r s , a n d t h e m o s t r e c e n t is s h o w n i n f i g . 5. I n a d d i t i o n , a t o m b s h r i n e f r o m G ó r e c k o K o ­ ścielne (Biłgoraj d i s t r i c t — f i g . 4) has b e e n p r e s e r v e d 126 Ewa Fryś-Pietraszkowa — JÓZEF GIBULA'S FUR­ NITURE I n the Powiśle Lubelskie region, where decorative f u r n i t u r e has n o i n t e r e s t i n g t r a d i t i o n s , being l i m i t e d , i n general, to p a i n t e d coffers, a set o f f u r n i t u r e d e c o r a t e d w i t h c a r v i n g s t h a t has b e e n p r e s e r v e d i n Z a b o r z e a n d a f e w v i l l a g e s o f O p o l e L u b e l s k i e is w o r t h y of attention. This furniture was made by Józef Gibuła, a f a r m l a b o u r e r w h o l i v e d i n S ł o t w i n y (Opole Lubelskie district). His hobby was carpentry a n d h e m a d e f u r n i t u r e f o r h i s o w n use a n d f o r his relations a n d friends. His f u r n i t u r e was r i c h l y decorated w i t h polychromic carving, very original b o t h as r e g a r d s i t s a p p l i c a t i o n (on e l e m e n t s o f f u r ­ n i t u r e w h i c h i t was n o t t h e c u s t o m to decorate, for i n s t a n c e , t h e v e r t i c a l b o a r d s o f c h a i r b a c k s ) , a n d as regards the o r n a m e n t a l presentation of the motifs, rather reminiscent of children's drawings i n their simplicity. W h i l e i t is d i f f i c u l t t o f i n d a n y d i r e c t c o n n e c t i o n w i t h t h e t r a d i t i o n s o f f o l k a r t , G i b u l a ' s w o r k has c e r t a i n characteristic of f o l k a r t a n d analysis of the v a r i o u s m o t i f s used s h o w e d t h e m t o be a n a l o g i c a l w i t h those o n distaffs f r o m R a d o m a n d the moulds h i g h l a n d e r s u s e d f o r m a k i n g cheeses. SOLSKA FOREST Michał i n t h e c o l l e c t i o n s o f t h e M u s e u m a t Zamość. T h e o r i g i n of these shrines c a n be traced to the t r a d i t i o n , s p e c i f i c f o r t h e Biłgoraj r e g i o n , o f h o l l o w i n g o u t wayside shrines i n tree t r u n k s , and this proves that t h e shrines f o u n d i n t h e Puszcza Solska cemetery w e r e a l s o m a d e i n o t h e r v i l l a g e s of t h e Biłgoraj district. T H E S E C T I O N : H I S T O R I C A L A R C H I V E S contains the second p a r t o f E d w a r d Pietraszek's w o r k "Pottery C e n t r e s o n t h e E s t a t e s o f t h e Tonczyński F a m i l y i n t h e 1 8 t h C e n t u r y a n d t h e F i r s t H a l f o f t h e 19th Century" based o n i n f o r m a t i o n copied out from i n v e n t o r i a l books, a n d a s h o r t a r t i c l e b y J a n i n a Kamińska: "Some S u p p l e m e n t a r y Information on t h e H i s t o r y o f P o l i s h S t r i p e d F a b r i c s " . O n t h e basis o f r e s e a r c h o n m a t e r i a l s f r o m t h e 1 1 t h a n d 12th centuries f o u n d i n archeological excavations it was c o n c l u d e d t h a t s t r i p e d fabrics w e r e used i n the area from Silesia to Pomerania (Opole—Gdańsk). The a u t h o r , o n t h e basis o f d o c u m e n t s f r o m the C h u r c h l a w s (1233, 1320 a n d 1402) p r o h i b i t i n g p r i e s t s t o w e a r coloured " s t r i p e d " c l o t h i n g , concludes t h a t striped f a b r i c s w e r e w o r n a n d used a l l o v e r P o l a n d i n t h e 13th, 1 4 t h a n d 1 5 t h c e n t u r i e s . W r i t i n g about the exhibition of Polish folk a r t i n B a s e l , o r g a n i z e d i n t h e M u s e u m für V ö l k e r k u n d e b y P r o f e s s o r R. W i l d h a i b e r , K. Mathys is v e r y enthusiastic about the v a l u e o f t h e exhibits, expressing his special a d m i r a t i o n for the f o l k " s p i d e r s " w h i c h he considers to be the p r o t o t y p e of Calder's " m o b i l e s " . I n another article about the e x h i b i t i o n , A. Jackowski lays emphasis on the great care taken by Professor W i l d h a b e r i n a r r a n g i n g t h e e x h i b i t i o n , s a y i n g t h a t he h a d succeeded i n assembling a beautiful collection of Polish f o l k a r t objects. B u t he considers t h a t the n u m b e r of exhibits of H u c u l i folk a r t was unproport i o n a l l y large a n d t h a t the inclusion of a whole section of H u c u l i a r t i n an e x h i b i t i o n of Polish folk a r t is f u n d a m e n t a l l y i n c o r r e c t , f o r i t g r e w u p f r o m d i f f e r e n t e t h n i c sources a n d o n l y a s m a l l p a r t o f i t shows the ethnic influence of Polish culture. �H O / l b C K O E KBAPTAJIbHblH >KyPHAJI H A P O f l H O E H3AABAEMMH N°l HHCTH TYTOM HCKyCCTBA TO^I, M 3 ^ A H H a P Anna CbBCHTKOBOKa (BMPE3KH H3 — JlOBHUKaH E 3 „BblllHIIAMKH" BYMArH). JIOBHUKHC BbipesKH H3 6yMarH cymecTByiOT y w e OKOJIO 100 jieT. Boer/ia 6HJIH MaccoBUM TBOPTOCTBOM, KOTopwM :iail!'MiWIHCb flepeoeHCRHC JKeHIUHHM H apByillKH M CJiyJKHJIH nOITH HCKJHOIMTejIbHO, AO riOCJie/tfieH BOHMbl, AJIH HX co6cTBe]iiibix norpeOHOCTOH. B HaMajie ABaAuaToro BeKa nojibCKHe xy.io}KH5łKu oTKpwjiH nx KpacoTy. C Tex nop Bbipc3Kn nojiywajiH Bce óbjibuiee npH3Ha«He u nonyjisipHOCTb. floCJIC II MlłpBOH BOHHbl 3aMH>pa«T npe>KH)lH pojib BblM30K — OHH noTepHjin CBOC npuMeHewHe B AepeBeHCKoii cpcie. Ho no Hciea/iH. OrpoBiibift cnpoc Ha Bbipe3KH H3 6ywarH B iopoAax xax n crpaHe, TaK >H 3a npa«Hmeft, noaAepwMBaeT >KH3HGHHocTb 3Toft o 6 j i a c r n HapoAHoro HcnyccTBa H miiHeTcsi HOBbiM cTUMyjioM AJIH ec JiajibHeHinero KyjibTHBHpoBaHHfl. CTapwe Bbipe3ajibmH'Hbi TIOCTOHHHO nepe.iaioT CBOC yMeHHe MOJioAOM-y noKojiemHio u, B HacTOHiuee BpeMH, CBbiuie 100 JK6HU1HIH B JloBHUKOM paHOHe 3a«H'MalOTCH KyCTapHbIM iipołOBO.iCTBOM Bwpe30K H3 fiyMarii. PaccMaTpiHBas! reHC3y JIOBHUKHX Bbipe30K H3 B y w a m , craTba nojieMH3HpyeT co B3rviHAOM AOKTopa rpafioBCKoro. KOTopbift BHAHT .naiajio 3THX BbipesoK B noA,BapmaBCK'Hx Bbipe3Kax H3 6yMarn. AHajwa MOTHBOB He MOJKCT 6biTb apryMeHTOM, B OCOBeHHOCTH, eCJIH B3HTb BO BHHMaHHC 4>aiabi, CBHAercjibCTByiomHe o TOM, <rro B KOHiie n p o m . i o r o cTo. ieTHsi, Bbipe3aHKa npeACTaBjiHjia coóbft npoAOJiweHHe TpaaHUHOMHoro yKpaiiieiniH c/reti c BHeiiiHeft M BHyrpe.HHeft tropów, r CxOACTBO MOTMBOB ( HJIJI. 1—4), BbICTyiiaiOmHX B BblpełKax M na KapTHHax, yKpauiaiouiHx CTSHM HSÓM — AOKa3HBaeT, ITO C MOMCHTOM noHBjieHim B .lepeBHe j i o m e n HOH CyMara (OKOJIO 1860—1865 r r . ) Bbipe3Ka Haiajia saMenaTb npencHne OAHOUBeTHbie KapTHHbi (BbinojitisieMbie no TpacpapeTy) u pa3H0HBeTHbie (HapHCOBaHHMG aKBapejIbllblMH KpaCKaMll). BMeCTO HHX nOHBHJIHCb Ha CTeHax yKpameiiiHH, Bbipesamibie H3 CyMarn H noMemeHHbie Ha CTeHax H 6ajiKax noTOJiKa (HJIJI. 9 ) . H3 0TacjibHbix MOTHBOB, HanpHMep iiBeTbi, AepeBua, oyKCTbi,. HaK.neiiBaBiuHeca BHaiajie Ha creHy — B B U pe3KaX OblCTpO CCpOpMMpOBajIHiCb TpH OCHOBHbIX KOMIIO3HUHH — Boe HaKjieHBaBiuHecH npe}Kfl,e Ha oepyro a Tenepb Ha Sejiyio óyMary, BbiflepwaHbie B T3KOM JKC (bopMaTO H oymecTByiomMe AO iHacToamero BpeMeHH: 1. TeceMiKH — SyMawHbie jieHTbi, npeMymecTBeHHo pa3MepoM 50 X 12 CM, oKatmHBaioiuHecH BHH3y 6axipoMoft u yKpauieH.Hbie CTapHHHWMII „óyKeraMH" na 6ejioM HJIH UBCTHOM dx>He. (H.HJI. 10—12). 2. 3B€3AbI — Kpy>KKH AHaMeTpOM 17—21 OM, BMnoJiHeHHbie ^ame Bcero H3 KaproHa. (HJIJI. 1 3 — 2 0 ) . 3. „Koapbi" (OT MTajibflHCKoro „ c o l t r e " , „ c o l t r i n e " ) •— npsiMoyrojibHbie yKpaineHHbie ropieoiiTajibHbie nojiocw .IJiHiiofl 80—100 CM. ujiipiiHoft 15—20 CM, noBeiueHUbie na 6ajiKax u creHax ti oTAejiemibie „3Be3.i.aMH" (HJIJI. 2 2 — 3 9 ) . B opHaMeiiTajibHbix pa3peuieHMHX Bcex STHX Tpex THIIOB HaifijiioAaJiHCb OAHHaKOBbie napajuiejibHbie H3iMeHe«Hsi. BHcTynaiomiie iiepBOHaiajibno npwMHTHBiHbie reoMerpHiecKHe MOTHBbI ( T O H K H , KpySCKH, KBaApaTbl H T.JJ..) H re0MCTpH3HpoBaHHbic (cxeMaTH iecKHc (t»HTypbi KyKOJi HJIH ynpomeHi K) M H C K Y C C T B O nOJIbCKOH AKAflEMHH XV HAYK 1961 E Hbie diopMbi pacTeHiifl) B KOHue XIX BCKa 6bUlH BbrrecHeHM Sojiee peajiHCTimccKH ccpopMHpoBaHHWMH (piirypaMH JtKWefl B JIOBHUKHX KOCTK)MaX, a TpaAHUHOHHbie MOTHBbI pacrenHft, HanpHMep, „AepeBua'" noa-ieraioT SHMHTeJlbHOMy paaeHTHK) (HJIJI. 4 — 6 , 14—17, 22, 4 1 ) . B 3THX H3MeHeHHSix MOJKHO 3aMeTHTb pacTyuiyio naTypajiHCTHleoKyio TeHAeHUHio. C 1910 r o a a croaa BKJiKmaeTCH HOBoe CTpełUKHtie, H3MeHHBiuee CTapbifl c r p o r n i i KOMno3HH.HOHHbift nopHAOK H HanoMHnaiornee ceuecHio H3-3a sanyTawHOCTH pncyHKa B H3OrHyT0M 6ere J I I H H H H H 6eCnOKOHCTBC KOMn03HHHH. rToHeMHory HC^esaeT n p e w i i n a nojiean cwMMeTpiia B CHcreMe eocTa®Hbix lacTeft. H3MeneHHH npoABiiraioTcsi AaJibiiie, TaK 'HanpHMep, B ,,KOApax", c pacTHTCJibHbiMH MOTHIiaiMH Tp ex SJieMC H T H a H «OMn03HU,HH c TpeMH CHMiMeTpimHHMH ocflMłi npeo6pa>KaeTCH B BOJiHHcryio BeTKy (OKOJIO 1930 r o a a ) , B Koropoft ocTaBJisieTCH TOJibKO lieHTpajibHan OCb CHMMCTpHH, npH AOBOJIbHO CBO60AHOM JIOJIO>KellHH ocTajibHbix sjieMeJHTOB. ripeo6pa>xaioTcsi TSKWC H pacTHTejibiibie MOTHBbi. Te >Ke nepeMenw, BOSHHKUIHP nocjic I MHpOBOH BOHHbl B BblUlHBaHIHH, BbICTynaiOT Ta«>KC II B Bbipe3Kax. H reoMeTpimecKHH opna\ieHT 6HJI BbireoHCH pacTHTejibiibrM, TpaKTOBaHHbiM Bce 6ojiee naTypajnicTHM60KH. He ocrajiocb TaK>Ke 6e3 pe3yjibTaTOB BCP 6OJH?C pacTymee BJiHHHHe ropo.ia. OKOJIO 1923 r. no KHOniipaitHM lOBecTHoro aeHTejia u .'iioóHTejiH napoAHoii KyjibTypw A . XMejiHHCKofl, óbijio w a i a r o Bbipe3bi'BaiHHo HOBOH paanoBHAHOCTH „3Be3jj.bi": o dx>pMe a?KypHbix KpyroB. OAHOBpeMeHHO C HHMH nOHBHJICH SJIJIHnC C nOBeCTBOBaTe.FIbHOH KOMnoarniHeft. OAHaKO, STU opopMbi B Te BpeMeiia, n p o » 3 BoanjiMCb TOjibKo A-15I ropowa: B AepeBHe OIHH HP HSOUIH npHiMeHCHHfl. B >KaiiipoBbix ,,Ko,apax" TeMaTHiiecKHx ,i.i>Ke AO nocjie,aliefl BOHHbl — C3MH T6MbI HO nOAAaB3JI!I'Ch 3HalHT0JlbHb!M H3MeHeHiiaM: „oBaAbóbi" u „KapeTbi", o i e i i b i H3 JKH3HII AepeaHH H noMecTbH ( « e jiHiueHHbie HHoraa caTHpu). H 3Aecb, oAHaKO, OKOJIO 1900 roaa nosiBjiaeTCH HOBasi uoaa: BMecTO j i n n a naicjieHBaioTCH KynjieHHbie jiyóoMHbic KapTHHKH. OKOJIO 1920 r o j i a HX 'MecTO safiMyr TOJIOBKU, Bbipe3aHHbie H3 d>oTorpa(pHH (HJIJI. 34, 3 9 ) . B MacToamee BpeMH nx nepepwcoBbiBaioT « 3 HjijnocTpHpoBa«Hbix eweHeflejIbHHKOB. TTocjie II MHpoBoft BOHHHH pacuiHipfleTca o6T>eM TeM3THKH, TJiaiBHblM o6pa30M, nOA BJI«HHHeM 3aKa3QB ¡13 HeAepeBeHCKOH cpeAbi H KOHKypcoB Ha onpeAejieHHyio TCMaTHKy. BoSHHKaiOT „KOpAbl" .Ha 'nOJIHTHMeCKyiO H oómecTBeHHyio TeMaTHKH, BbinojiHeHHbi-e AJIH BbicraBOK, My3eeB H T.n. CoapeMenHbie Bbipe3KH H3 Oy.Mani iipon.SBOAHT CH.ibHoe BneiaTJiemiie ne TOJibKO piicyHKOM, no, r.naB«błM oÓpaaoM, IlBeTOM, IłHTe HC HBHOCTb K) WHCTbIX H HaCbIlHCHHbIX KpaCOK. KorA.a-To B .lepesnio AocTaBjiaJiacb rjiaHiie.BaH 6yMara pa3jiHiiHbix uBeTOB. Bbipe3ajibmMUbi 3iiajin OKOJIO 40 OTTenKOB. Tenepb w e HeSojibinoft accopTiiMeiiT uBeTHoii ftyMarn 3acTaBJiaeT orpaHHiHBaTbca TOJibKO 10 UBeTaMH. * XOTH MacTepcTBO Bbipe3ajibmHU nepe.aaBajiocb KOJieimn B noKOjieHiie, pa3jiHqHofl 6bijia cTencHb H3 nocnocofi127 �n o c n i KajK/ioii !(cnoji«iiTe.n.]inui>i. HapaBHe c Bbtpe3aJibutHitaMH, KonnpyK)uui*iH noxoxcHe BbipesKw, cACJiaHHwe KHubiMii MacrepHuaMH cymecTBOBajw H cymecTByioT HapoAHHe Macrcpimbi, TBopamne coOcToemibiii w a H p Bbipe3KH C H'HAHBM,nyajIbHbIMH 'lepTaMH CTHJIH. ABTOp p3C0K33bIBaeT O BbWaK)mHXCH MaCTepH'U.aX — TBOpieCTB€ H . i B i i n i KJIHMK€BHH, OpaHUHuiKH By>KHHbCKoft. ceMeflcTBa CrpbHCapOKHK, 3;ib>K6eTbi >KaweK, AHacTa3HH rtaBJiHKyBHbi H ,apyrHx. 15 HaCTOSIIUCe BpCMH BCO Bbipe3ajIbIWIUbl TBOpHT no „HOBOH Moa.e", KpHTimeCKH oiieHHBan CBOH paHHHe paÓOTU K ,ia>Ke CTbIJIHCb HX. ToJIbKO ABC Bbipe3ajIblHHUbI, 71-jieTHHH K a T a w m i a TyacK u CTaHHCJiaBa B o r y i u , — ece eme libinOJJHHlOT BbipC3K!I 113 6 y M a n i , 6jlH3KHe OBOHM CTapbIM o6pa3naM. B Koime e r a m i .-iBTop roBopiiT o Heo6xo.i.HMO'CTH y n y i iiioMMH 3aóoTbi IIAA B b i p e 3 a j i b U i H u a M H , no oSpoKenemifl MX 3a'Ka3aMH, noMoimi H nojiyMenwi UBCTHOH óyMarn II T.A., TaK "ITOÓbl BO3M0JKH0 .TOJlbUIC C0XpalI'HTb TO Xy,TO>K€CTBCHHOC KaWCCTBO, KOTOpMM JIOBHUKIIC BbIpC3KM H3 óyMarn oojiaaaiOT B eme Tax BbicoKoft creneHH. flABiira u AHaTOjmioiii MepetiHHCKHe — BH/ITOPAPICKHPT HAHHOHAJlbHblH KOCHOM XVIII BEKA HA PE/IHPri03IIblX KAPTIIHAX H3 CO/IbCKOH nynjjH. B:IHB 3a •ociioMy miKji pejmrH03Hblx KapTuii X V I I I neKn na KpccTbaHCKyK) TeMy H3 Cojibc-KOH r i y u u i (Bn.nropa['iCKaSI OÓJiaCTb), eaMHCTBeHIlblii H3BCCTllbIH UI1K.I KapTIIII IIOAOÓHOTO xapaKTcpa, aBTop aHajlH3HpyeT napojiibic KOCTIOMbl TOTO BpOMCHH. UJMA COAepWHT 8 CUCH H3 OTKpObe«HH II tyn/eC, KOTOpbie COCTaBJIHKJT ABC KapTHMbl p a . i McpoM 2,04 X 1,82 M c AAHWHOH Ha.iniicbio B CTHxaX. 3TH KapTHHbi, iiapncoBaHiibie peMecJiełłHHKaifH u c rbopM M M O f l T04KII aptMHH, nOXO>Klle Ha HCKyCCTBO MejIKOMOMOCTlIOro .IBOpHHCTBa X V I ] II X X I I I 'BeKOB C KyjlbTOM Bccro, HTO HBJineTca 'HapoAHbiM. PeajiHCTHMeoKHH Meerubiii xapaKTep KapTim ACJiaeT HX ueHHHM HCTOWiHKOM, coAcpw a u w M cseA^HMO o BiHJiropaiicKOM HaiiHOHajibHOM KOCTIOMC X V I I I Be«a. AHajiH3 3THX KapTHii noATBepwAaeT, B oómew, pc3yjibTaTbi HCCJie.T,oBaHHH, npoBo.iH BiuHxcH B 3T»x paiioHax u npHHecuinx HeeKOJibKo AanojiiiHTeJibHbix ,ieTajinii. i MHxaji neHKajibCKH — MACOBEHKH B | flEPEBJIHHblE EH/irOPAFICKOH BbimcynoMHHyTbie oöieKTU H3 KjiaAÖiiuia B CojibCKofi r i y m e —• nancHHe, BMCTynaiomee n B a p y r i i x ,iepcBii<i.\ BHjiiropaiicKOM oöjiacm. 3 o a cppbieb-neTpaujKOBa — M E B E / I b r 0 3 E ( f A T H E y / I b l . H a TeppiiTopnii .TiooejibCKoro n o B i i o b a ÄOKopaTHBiioc MeöejibHoe npoM3BO.TCTB0, orpaiiHHeimoe B oömeM, n p o ayKUHeü K p a i i i e H i i b i x oyH.ayKOB, HC HMCJIO HHTcpeotiMX Tpa.antiHfl. OcoöoHHoro eiwMaHHd 38cnyHCHBaeT KOMn.icKc Meöe.iii, yKpauieHHbiii pe3b6oft, coxpancHHbift B 3a6<»Ky, a TaK>Ke >B «ecKOJibKHX ü.epeBHnx Onojie-,riio6ejibCKoii o6jia€TH. H x aBTop, r03e4) THÖyjia, cejibCKoxosflHCTBeHHbiü paooTOÖ, npwKHBaiBiuHH B CjioTOHuax (Onojie-JlKifiejibCKan oöjiacTb) yBJieKajicsi CTOJwpCTBOM H aejiaji weGejib unn OeÖH M CBOHX 6JIH3KHX. YspaiüHBaji HX öoraToii pc3iioii nOJIHXpOMOBOft ÄSKOpaUHeH H OpiirHHa.nbHOH KaK B cnocoöe ( « a Tex aeTajinx Meoejiii, KOTopue o6biKiioBeHno ne yKpauiHBajiHCB, iianpiiMcp, BcpTiiKajibiibic 6a.noMK:i cnHHKH), TaK H B MOTHBax opuaMOHTa, iianoMimaioiueM HeMHoro no OBoefl npocTOTc pHcyiiKii ACTCH. Hc noKa3biBan «cmocpe-acTBCM-Hbix 0B«i3cfi c T p a . i i u i i o n HbtM HapO.TiHblM MCKyDCTBOM, TIBOpieCTBO THßyjIbl Bbl.iepiKaHO B napoTHOM x a p a K T e p e , a manm oTAO.ibHHX MOTIIHO'B H03BOJIHT HaÜTii iicKOTopyw anajiorHK), IialipilMi'|), cpeAii patHOMöKHx npajioK HJIH r o p c K i i x cpopM MR cwpa. * OTAejiciiiic: HcropiiMCOKiifi apxiiB c o a e p w i n B r o p y w lacTb oöpaöoTKii 3 . n e T p a in K a „ToHMapHbie ueiiTpbi B TOHI>H'HHCKHX MMeHHHX B X V I I I H nepBOÜ IIOJIOBHHe X I X BPKOB", ooHOsaHwyio n a Bbinwcxax H3 HHBciiTapHbix KHKI\ a THK>KC iio6o.iibuiiyio CTaTbio H. K a M i i H b c K o i i „HecKOJibKo :ionOJIHCHHii K HCTOpHH IlOJIbCKOH nOJIOCaTOÜ TKaHIl". I i i ) iiccjiCAOBa.HHHM, ocHOBaiibiM Ha HCKonaeMOM MaTcpna.ic X I — X I I BCKOB, npOBe/l,eHHbIM T.O OeTO BpPMeHIl IIO.T,TBep>K.T,e«o noaiBJieHMe nojiocaToro MaTepnajia na Teppinopini OT Cujie3HH flp noiviopbsi (Onojie-rA.'i'HbeiK). ABtop na ooHooe nojio>KeiHHH uepKOBUbix 3aKOHOB (1233 r., 1320 r., 1402 r . ) , 3anpematoiiiMx CBfliueHHKaM iiocHTb üpMio HapaAbi H3 MaTepna.ia B no^ocxy, ,>u\na<»T 3aKjiK><KHHe O MaOCOBOM noHBJleHHM IlOJIOCaTOH TK3HH Ha TeppiiTopnii r i o j i b i i m B X I I I , X I V , H X V Benax. HA/irPOBHBIE * OEJIACTH. HajłrpooHbte MacoBeiiKii, cyiuecrByKrniiie B B i u i r o p a i i CKoii oójiacTH — po.TKoe HBJIPIIHO B iiaujcii cTpane. Orni He HMeiOT aHajiorHH B A p y r n x paftoHax. Ha KJia.T,6Hme B CojIbCKOH n y m e 6bIJIO Tpil HaCOBGHKiH HCCKO.TbKO JieT TOMy HasaA. B HacToamee BpeMH ocTajiocb TO,nbKO ftBe. Bce OHH xapaKTepii3yioTcsi oAHiiaiKoeoii (popiwoW rjiwSbi ti BblTecaiHbl H3 OJ.«OrO OrpOMHOrO 6peBHa, B KOTOpOM Bbi.ioji&ieHbi yr«iy6.neH»H, npeaHasiiaMeHHbie ,i,ji5i no\ielueiniH T»M (pinrypoK OBHTHX. CaMasi „ipeBHHH iiacmiTbiBaeT, BepoHTHo, OKOJIO 200 -IBT (wut, 3 ) , cainaH MOJio^an npeiicraiBjieiHa Ha HJIJI. 5. Kpowc HHX coxpa«HJiacb B co6pa«HHX My3ea B 3aMOCTbio Haj,rpofiHaH qacoBeHKa H3 TypeuKa KocTejibHoro (BiuiropaiicKaa o o j i a c r b — ujm. 4 ) . re«e3a STHX Haar!po6Hbix wacoBeiio* noK33biBaeT ciBH3b c xapaKTep'Hofi j.Ji$i BHJITOpaftOKOfl o & i a c T i i TpaaHUHeft npH;i,opo>K!ihix lacoBeiioK, UbIAOJl6jleiIHblX B II1I5IX, MTO CBH/ieTejIbCTByCT O TOM, '1TO 06cy>K;i.aH BbicTaBKy nojibCKoro Kapo/Uioro HCKycCTBa B BasHJiim, opraiHH30Bannyio B My3ee für V ö l k e r k u n d e npo4>. P. BHJUxaöepoM, K. MaTxnc c 3HTy3iia3MOM xapaxTepH3yeT UCHHOCTb 3KCnOHaTOB, B OOOÖeHHOCTH, BOCTOpraacb HapOAHMMH „nayxaMH", npoTOTwnoiM KOTopbix cmTaeT KajibAepoBCKHe „MOÖHJIH". A. HUKOBOKH B .apyrow BbICKa3bIBaHHH Ha T6My BbICTaiBKll IIOAiepKHBaCT yCHJlHH npoep. BHjiAxaöepa, KOTopoMy yAajiocb coöpaTb npeKpacnyio KOJiJieKmiio npeflMeTOB nojibCKoro HapoiaiHoro HCKycCTBa. OAHaxo, nojie MH3HpyeT c HenponopuHOHajibHO 6oJibIUHIM (»ojiHqecTiBOM sKcnoiHaTOB, npeACTa:BJiHK>iHHX ryuyjibcKoe HoxyccTBO, yTBepw.naH, HTO BKJiioMeiHHe B EbiCTaBKy nojibCKoro napOAHoro HCKycCTBa uejioro OTaeJia ryiiy^bcx o r o HcxyccTBa »BJiHeTcsi no c y m e c T B y HenpaiBHJibHbiM, T.K. 3TOT BIIA HapOA«oro HCKycCTBa öeper CBoe Hanajio H3 APyrHX STHHMeCKHX HCTOUHHlKOB H TO.nbKO B HCOOJIblUOH Mepe ecTb HBJieHMeM, na Koropoe lacTHiiHo nojibOKoc napo.iHoe H c x y c c T B O o'Ka3biBaeT e s o e BJIHHHHC. : �CZASOPISMA INSTYTUTU SZTUKI wydawane PJ. WYDAWNICTWA PAN przez ARTYSTYCZNE I FILMOWE BIULETYN H I S T O R I I S Z T U K I , k w a r t a l n i k , p o n a d 100 s t r . d u ż e g o f o r m a t u , o k o ł o 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 LUDOWA, k w a r t a l n i k 64 s t r . d u ż e g o f o r m a t u , b o g a t y m a t e r i a ł 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 z l , 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 s t r . d r u k u , o k o ł o 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 , o k o ł o 100 s t r . d r u k u , k i l k a n a ś c i e C e n a 10 zł, p r e n u m e r a t a p ó ł r o c z n a 20 zł, r o c z n a — 40 zł. ilustracji. M U Z Y K A , k w a r t a l n i k , o k o ł o 130 s t r . d r u k u , l i c z n e p r z y k ł a d y C e n a 18 zł, p r e n u m e r a t a półroczna 36 z l , r o c z n a — 72 zł. nutowe. PRENUMERATA Z a m ó w i e n i a i przedpłaty n a p r e n u m e r a t ę p r z y j m o w a n e są w t e r m i n i e d o d n i a 15-go miesiąca p o p r z e d z a j ą c e g o o k r e s p r e n u m e r a t y — p r z e z : Urzędy P o c z t o w e , 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 k o n t o P K O n r 1-6-100020 — C e n t r a l a K o l p o r t a ż u P r a s y i Wydawnictw „ R u c h " — 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 g r a n i c ę j e s t o 40'°/o droższa o d c e n y p o d a n e j w y ­ ż e j . P r z e d p ł a t y n a tę p r e n u m e r a t ę p r z y j m u j e n a o k r e s y półroczne i roczne 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, k o n t o 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 Warszawie, 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 m o ż n a nabyć w s k l e p i e „ R u c h u " 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 . Z a m ó w i e n i a s p o z a W a r s z a w y należy kierować d o C e n t r a l i Kolportażu Prasy 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. A k t u a l n e n u m e r y czasopism I n s t y t u t u S z t u k i P A N w w i ę k s z y c h księgarniach m i a s t w o j e w ó d z k i c h . Białystok — L i p o w a 43 B i e l s k o — D z i e r ż y ń s k i e g o 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 C h o r z ó w — W o l n o ś c i 13 Częstochowa — A l . N M P 8 Gdańsk-Wrzeszcz — G r u n w a l d z ­ ka 8 G d y n i a — Ś w i ę t o j a ń s k a 47 G l i w i c e — Z w y c i ę s t w a 31 Grudziądz — R y n e k 13 Inowrocław — Królowej J a d w i ­ g i 31 K a l i s z — Ś r ó d m i e j s k a 14 K a t o w i c e — W a r s z a w s k a 11 K o s z a l i n — M ł y ń s k a 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 Ł ó d ź — 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 2 1 , A r m i i C z e r w o n e j 37 P r z e m y ś l — Franciszkańska 19 R a d o m — Ż e r o m s k i e g o 27 R z e s z ó w — Kościuszki 3 Słupsk — P I . Z w y c i ę s t w a 11 S a n d o m i e r z — płk. S k o p e n k i 4 Sopot — Bohaterów M o n t e Cas i n o 26 Sosnowiec b i e 23 — Czerwone Zagłę­ T o r u ń — R y n e k S t a r o m i e j s k i 30 Warszawa — K r a k o w s k i e Przed­ mieście 7, K r e d y t o w a 9, P i ę k ­ 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. W ł o c ł a w e k — 3 M a j a 25 W r o c ł a w — K u ź n i c z a 42 Z a b r z e — Wolności 276 Stołeczne Zakłady Graficzne. Z. W. Wnwa, Podchorążych 39. Z a m . 217. Pap. ilutstr. k l . I I I , 120 g Ali + k a r t o n biały ,kl. I I I , 220 g. B I . Nakład 1300 egz. S-fl6 D r u k ukończono w czerwcu 1961 r . �