https://zbiory.etnologia.uw.edu.pl/files/original/006df191efd5c92f7263968ea381bc73.pdf 8df4df0eb34a853ebaf50a8ff2d0a468 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:4750 Date A point or period of time associated with an event in the lifecycle of the resource 1970 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:4408 Title A name given to the resource Summaries / Polska Sztuka Ludowa - Konteksty 1970 t.24 z.2 Description An account of the resource Polska Sztuka Ludowa 1970 t.24 z.2; s.127-129 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 I S H F O Q U A R T E R L Y P U B L I S H E D B Y T H E A R T I N S T I T U T E OF No 2 L K THE POLISH A ACADEMY OF R T SCIENCES YEAR BOOK X X I V 1970 SUMMARY OF ARTICLES Ewa Fryś-Pietraszkowa — F R O M STUDIES ON M A J O L I C A A N D S E M I - M A J O L I C A F O L K P O T T E ­ RY I N P O L A N D I n folk art majolica and semi-majolica are a late occurance, adopted by the potters' guilds when this k i n d of ceramic ware had already been ousted by f a i ­ ence and porcelain i n the 18th century. Production of folk pottery was concentrated i n the same urban cen­ tres as previously (Sokołów Małopolski, W y s z k ó w . L e ­ żajsk) and the court potteries (Miechocin) and i t was only i n the second half of the 19th century that a small number of r u r a l centres came i n t o being (Lążek O r d y ­ nacki, Bratucice). When the provinces, that is the v i l l a ­ ges and small towns, started buying these products, farreaching changes took place i n the pottery centres i n the direction of adapting output to the trend towards mass production and to the tastes of the folk customer. Above a l l , the decoration swas simplified. The most popular were plant motifs, only the potte­ ry of the K u r p i e region had geometical decoration to the same degree as plant motifs. As regards zoomorphic motifs, the most frequently found are birds. A n t h r o p o ­ morphic decoration is rare, only, found i n any quantity in the Bochnia centres — „ w e d d i n g bowls" were made there and also plates w i t h single female figures on them. Inscriptions are found sporadically. The painted decoration is done i n the „ h o r n " technique or w i t h a brush, more rarely w i t h the use of a sponge. Only i n some centres was the sgraffito technique used (fig. 8). The decoration was done i n green and various shades of b r o w n . Other colours were rarely used and i f they did appear they were usually: blue, brownish-mauve and yellow. The most frequently decorated were pla­ tes and bowls because apart from their functional uses they were also used as decorative elements. Sometimes t w i n vases and sprinklers were painted and more recen­ tly decoration is found on flower vases and flower pots. The production of majolica folk pottery i n Poland was concentrated i n the Mazovian and Podlaska regions (the centres of K u r p i e pottery i n the Puszcza Biała, the workshops at B r o k on the River Bug) and i n the M a ­ łopolska region (the Bochnia area. Leżajsk, L ą ż e k Or­ dynacki). But i t was also produced a l l over the country: in Police near Szczecin (export to Sweden and Den­ mark), i n Boruszyn near C z a r n k ó w , at Kolo i n Silesia, the Kashubian and Mazurian districts. The production of w h i t e slip pottery is only continued now i n a few centres. The most important producer is the Ł ą ż e k Or­ dynacki centre i n J a n ó w Lubelski district. The autho­ ress points to the links between the Polish centres pro­ ducing majolica pottery and foreign centres (in Italy, Hungary and Austria); she discusses the problem of the interdependence between centres producing folk majo­ lica and workshops producing decorative tiles. S t e f a n i a K r z y s z t o f o w i c z — CHRIST STUMB­ LES A N D F A L L S UNDER T H E CROSS — T H E I C O NOGRAPHIC SOURCES A N D T H E I R I N T E R P R E T A ­ TION I N FOLK A R T In Polish folk sculptures and graphic art we find the iconographic type presenting the subject of Christ stumbling and falling under the cross. I n folk paintings this theme is almost u n k n o w n . The origin of the type we are discussing can be traced back to Mediaeval cycles representing the Passion, w h i c h were distributed by the Franciscan Fathers, the Bernadine Monks and the reformers i n the 17th and 18th centuries. The sub­ ject was also w i d e l y found i n devotional graphic art too, as illustrations to religious texts. The type we are discussing i n the present article is found i n two versions: the first has many figures, i n the other Christ is alone. We meet the first version i n the graphic art of folk artists (fig. 2, 3) and sporadically in sculptures (fig. 4). M u c h more frequent i n folk art is the version showing Christ alone, stumbling and f a l ­ ling under his cross. The sources i n „official" art are not numerous. They include three sculptures i n three road-side shrines i n K a l w a r i a Zebrzydowska set up at the beginning of the 17th century. The sculpture i n the shrine of the T h i r d F a l l gained the name of a „ m i r a cle" figure only a few years after i t was set up i n 1724. A n d i t is this sculpture that is the object of a special cult and the iconographic source of folk presentations of Christ stumbling and falling under the cross. This iconographic type is found frequently along the roads leading to K a l w a r i a Zebrzyowska i n M a ł o p o l s k a (vide map* and i n Slovakia. I t is almost u n k n o w n i n N o r t h e r n Poland. I n folk sculptures a l l attributes are rejected and the figure falling under the cross is given prominance. The position of the body of Christ differs i n different sculp­ tures. Some of them are supplemented w i t h an i n s c r i p ­ tion commenting the subject. Christ stumbling and f a l l ­ ing under the cross is a symbol of weakness and isola­ tion. The fact that the folk artists depict the single figuere and not the m a n y - f i g u r e d version of the icono­ graphic type under review indicates that they make their sculptures for themselves for local or i n d i v i d u a l cult. Irena Łopuszańska — ANDRZEJ CZYK, A FOLK ARTIST FROM WOŹNIKI KOWAL­ Andrzej Kowalczyk (1874—1955) f r o m the village of Woźniki i n Wadowice district, carved his sculptures i n linden wood or sandstone. The artist made religious sculptures for wayside shrines and churches. He paint­ ed his sculptures i n colours. His paintings, less nume­ rous than his sculptures, were done i n oils on wooden planks. Among the bas-reliefs he made, the feretories for the church i n Woźniki show advanced craft and departure from folk p r i m i t i v e w o r k . His works c o m p r i ­ se a wide range of iconographic types. Józef Przy boro w ski •- JAN KŁOSIŃSKI, A N UNKNOWN WOOD-CARVER On the basis of archival materials, the author gives information about a wood-carver who l i v e d i n M i k l u szowice, i n Bochnia district, in the first half of the 19th century. Urszula B i e ł o u s — FILOMENA A SCULPTRESS F R O M W I T O N I A ROBAKOWSKA, Filomena Robakowska is one of very few folk sculp­ tresses in Poland. She comes from the district of Ł ę c z y ­ ca, an important centre of folk sculpture. She started to carve four years ago when she was S3 years old. A t first, she made religious sculptures, then she turned to Łęczyca folk types and statues of a k i n g and a quef n . A l l her sculptures are painted i n colours. Her hus­ band occasionally gives inspiration to her w o r k . Her sculptures are bought by C P L i A and are often sold abroad. Jerzy C z a j k o w s k i — ARCHITECTURE I N THE V I L L A G E OF K O Ł O M I A , WŁOCŁAWEK DISTRICT, I N 1787 A r c h i v a l materials quoted i n the second part of the article constitute a detailed inventory of the village of Koiomia i n K u j a w y region. The inventory consists of a description of mannor house buildings, 15 peasant houses and the. grounds. The first part of the article contains a synthesis of the archival materials based on research done so far i n the field of the history of r u ­ ral architecture. �n O J I b C K O E H f l P O A H O E H C K Y C C T B O KBAPTAJIbHbltí XyPHAJI, M3flABAEMblH MHCTHTyTOM MCKYCCTBA nOJIbCKOH AKAflEMMM JV° 2 TOR M3«AHMfl X X I V HAYK 1970 PE3IOME 3 Ba 9 > p n c b - I I e T p a u i K O B a — O HAPOftHOM M A M O J I M K E M n O J i y M A f ł O J I J l K E B nOJIblUE B HapOflHOM M C K y C C T B e MailOJIMKM M nOJiyMaMOJIMKM — H B J i e H M e no3flHee. O H M nepeiujin o r nexosoro peMecjia B T O BpeMa, Korfla B X V I I I B . 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Bejiyro nojiHBeHHyro MawojiMKy B b i n y c K a i O T Tenepb ABTOP THJKeCTbK) K p e C T a . B „OCpHIiMajIbHOM" MCKyCCTBe ee MCT O H H M K M HOMHoroHHcjieHHbi. B HacTHOCTM, e é n p e f l C T a BJiaioT T P M CKyjibnTypw M 3 T p e x n a c o B e n B K a j i b s a p u M SebscMflOBCKOM^ ocHOBaHHOM B Hanajie X V I I B . O K y j i b n T y p a B nacoBHe T p e r b e r o IlafleHKH, ycTaHOBjieHHaaTaM B 1724 r . , B C K o p e , cnycTa Bcero jiMxub H e c K O J i b K O j i e T , npocjibrjia „MyflOfleiicTBeHHOii". MineHo 3Ta C K y j i b n T y p a aBJiaerca npeflMeTOM oco6oro K y j i b T a M MKOHorpact>Mn e c K M M MCTOHHMKOM H a p o ^ H o r o n p e f l C T a B J i e H M H I l a f l e H M a X p M c r a . M6o 3TOT M K O H o r p a c p i « e c K M M T M n p a c n p o c T p a HMJica B f l a j i b s o p o r , BeflymMX a K a j i b s a p M i o 3e6jKMflOBCKyio B MajioM Ilojibuie (CM. K a p T a ) M B CjiOBaKMM, a B C e B e p H o í í u o j i b i u e noHTM HeM3BecTeH. M3 POBAKOBCKA, BMTOHMM <I>MjioMeHa Po6aKOBCKa — OAna M3 HeMHorrtx I l O J I b U i e JKeHIHjMH HapOflHblX CKyjIbnTOpOB. POflOM B OHa M3 JleHHMąKoro pafioHa — aaJKHoro i ^ e m p a HapoflHoro c K y j i b n T y p H o r o TBopnecTBa. Ha TBopnecKMU nyTt> C T a j i a Po5aKOBCKa HeflaBHo, B c e r o jiwuib n e T b i p e r o ^ a Ha3afl B B 0 3 p a c T e 63 j i e r . E e nepBbie pa6oTbi HOCMJIM peJiHrH03HbiM x a p a K T e p , 3 a T e M CTajiM n o a B j i a T b c a jieHHMi^KMe HapoflHbie Twnbi, cjpnrypbi Koponefi M K o p o J i e B . Bee CłtyjibnTypbi xyflojKHMi^bi nojinxpoMiipoBaiibi. BflOXHOBMTejieM p a 6 o T PoOaKOBCKOM ObiBaeT nopoii ee Myx. CicyjibnTypbi Po5aKOBCKoü noKynaeT DjenejiMH (I^emp HapOflHblX-XyflOJKeCTBeHHblX npOMbICJIOB), npMHeM r n e M3 H M X npeflHa3HaHaiOTCH fljia 3KcnopTa. E J K M H a i ł K O B C K H — 3 A C T P O Í 1 K A AEPEBHM JIOMMH ( I I O B H T B J I O I ^ J I A B E K ) B 1787 r . MHO- KO- ApxHBHbie MaTepnajibi, nojiHocTbro npwBefleHHh BTopoit n a c T M CTaTbw, aBJiaraTca noflpo6HbiM HHBeH. KyaBCKoii flepeBHM K O J I O M M M . M H B e H T a p b S T O T cofle^ ortMcaHMe r o c n o f l C K M x nocTpoeK M 15 KpecTbaHCKMX , poB, a T a K x c e 3eMejibHbix yroflMÍí. B n e p B o i i H&CTH cra\^ flaeTca cwHTe3 STMX MaTepnajiOB H a ocHOBe npoBoflMBUiMXca flo C M X n o p MccneflOBaHMH no B o n p o c y flepeBeHCKoro C T p o M T e n b C T B a . ' 4 \ �CZASOPISMA I N S T Y T U T U S Z T U K I P A N wydawane przez P.P. W Y D A W N I C T W A A R T Y S T Y C Z N E I F I L M O W E 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 p ó ł r o c z n a 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 m a t e r i a ł ilustracyjny. Cena 18 zł, prenumerata p ó ł r o c z n a 36 zł, roczna — 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 , ponad 170 str. d r u k u , około 100 ilustracji. Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł. M U Z Y K A , k w a r t a l n i k , około 130 str. druku, liczne p r z y k ł a d y nutowe, Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł. Wszystkie czasopisma n a b y w a ć m o ż n a regularnie jedynie w p r e n u ­ meracie. W A R U N K I PRENUMERATY „POLSKIEJ SZTUKI LUDOWEJ" P r z e d p ł a t y na p r e n u m e r a t ę przyjmowane są w terminie do dnia 10 miesiąca p o p r z e d z a j ą c e g o okres prenumeraty. P r e n u m e r a t ę na kraj dla c z y t e l n i k ó w indywidualnych p r z y j m u j ą u r z ę d y pocztowe oraz listonosze. Czytelnicy indywidualni mogą d o k o n y w a ć w p ł a t r ó w n i e ż n-.i konto P K O nr 1-6-100020 — Centrala K o l p o r t a ż u Prasy i Wydawnictw „ R u c h " — Warszawa, u l . Towarowa 28. Wszystkie instytucje p a ń s t w o w e i społeczne mogą z a m a w i a ć prenume­ r a t ę wyłącznie za p o ś r e d n i c t w e m O d d z i a ł ó w i Delegatur „ R u c h " . Cena prenumeraty: półrocznie zł 36, rocznie zł 72. Cena prenumeraty za g r a n i c ę jest o 40°/o droższa od ceny podanej w y ­ żej. P r z e d p ł a t y na tę p r e n u m e r a t ę przyjmuje na okresy półroczne i rocz­ ne P r z e d s i ę b i o r s t w o K o l p o r t a ż u Wydawnictw Zagranicznych „ R u c h " w Warszawie, ul, Wronia 23, za p o ś r e d n i c t w e m P K O Warszawa, konto nr 1-6-100024, tel. 20-46-88. SPRZEDAŻ Egzemplarze n u m e r ó w /.dezaktualizowanych można n a b y w a ć w Punk­ cie W y s y ł k o w y m Prasy Archiwalnej „ R u c h " , Warszawa, ul. N o w o miejska nr 15/17 na miejscu, lub na z a m ó w i e n i e za zaliczeniem poczto­ w y m . Konto P K O Nr 114-6-700041 V I I O/M Warszawa. A k t u a l n e numery czasopism I n s t y t u t u Sztuki P A N posiada O ś r o d e k Rozpowszechniania W y d a w n i c t w Naukowych P A N w P a ł a c u K u l t u r y i Nauki w Warszawie. Indeks 37132 Zaklaciy Graficzne „ T a m k a " Z a k ł a d Nr 2. W-wa, P o d c h o r ą ż y c h 39. zam. 831. Pap. ilustr. kl. III, 125 g. Ul + karton b i a ł y kl. II!, 220 g. BI. N a k ł a d 1710 egz. K-59. �