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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:4125 Date A point or period of time associated with an event in the lifecycle of the resource 1957 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:3848 Title A name given to the resource Spis treści i strony tytułowe / Polska Sztuka Ludowa - Konteksty 1957 t.11 z.4 Description An account of the resource Polska Sztuka Ludowa 1957 t.11 z.4 ; s.193-4 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 �TREŚĆ: str. Ludwik Maria Olga Dubiel Cieszyńska ceramika Woleńska Rzeźby Dymitra Mulkiewicz Ozdoby rysowane Nicolae Dunare Siedmiogrodzkie . . . Bilińskiego . . . piaskiem . . . kafle ludowe . . . Anna Kowalska-Lewicka H a f t biały na P o d h a l u Maria Przeździecka Na ludowa . 195 . 216 208 224 229 ochweśników . 250 Na okładce: Kobieta „pisząca" wzór p i a s k i e m . Gorzuchowo, pow. Fot. J. Swiderski. Na stronie tytułowej: Pieta (fragment), rzeźba w wykonał D. Biliński. Fot. Michał Maśliński. Gniezno. drzewie, tropach skulskich �P O L I S H QUARTERLY F PUBLISHED N. 4 BY O THE L STATE K A INSTITUTE OF R T ART YEAR BOOK X I 1957 SUMMARY OF ARTICLES Ludwik Dubiel The Cieszyn extinct CIESZYN Silesia branches workshop down — was before of pottery folk last POTTERY to bellongs today industry. close in The Jan to 1936, o t h e r s The the Roszka's closed 1914. Wisła Pottery. B y t o m and Cieszyn of earthenware exhibits in Wisła. are They Museums have a produced large number most dishes, probably bottle-like and p o t - l i k e vessels as w e l l as a s p e r g i l l a ( D r a w i n g s 33, 34). I n t h e 1 9 - t h c e n t u r y , Jabłonkowe, Skoczów, Wisła, Strumień, T o s z o w i c e , B i r y a n d C i e s z y n were pottery centres. The The earthenware sand content. were all pottery was made Workshops of fat clay w i t h were workshops land. Pottery-ware made poorly equipped, i n other parts t o e a r l e r , c o u l d be d i s t i n g u i s h e d b y s h a p e Po­ referred and orna­ mentation. Jan Skamander ware for ka's jugs 19-th This 16 centre red clay The and covered known already in patterns were made with 4). T h e sed glazed jugs the appearance also engravings glazed 29 — A of (Drawing jugs with sented by often the period — Table vessels, o r vessels. preceding potters unomamented used else cups mode on to jugs. 8). the Oven-ware the II and began t o be 10, T a b l e 1—10) Smaill glazed period feed babies, preceding The the clay, w i t h earlier parallel (Drawing engraved beer and (50 water potters also those they to Table dishes I I , 1—7, cm. be tripod placed with were in common world were a the end near use in ravian have the The glazing was directly pottery. 9) w e r e u s u a l l y influenced name of — white. (42 cm vodka the owner either turn with of or From among worthy of floral the other m e n t i o n is pat­ of belly. and vesels are them on the dark, Raszka's Drawing unomamented inside the plain 25) Some some­ are 26). V e r y very numerous light-brown p i p k i n s . ( T a b l e I I I 19—21), as w e r e h i s dishes of recent (Drawing painted light Some high — Raszka's Rasz- painted 1915—1935. F r o m t h e o l d e r holding is large were the more t h e i r o r i g i n a l shape. times glazed cone-shaped ornamentation. vessels of this workshop, the oven-foaking-ware of va­ r i o u s shapes: r o u n d , i n t h e f o r m o f a h e a r t , o r i n t h e s h a p e o f v a r i o u s a n i m a l s , as w e l l as t h e s m o k e - b e e s devices a n d aspergilla. T h e l a t t e r , made i n the T h i r ­ ties, w e r e i n s p i r e d b y K a r o l Prauss, a local All of t h e m are brown convex ornaments punch-press). glazed (with the The and aid of aspergilla are inferior to their collector. decorated with an engraver overloaded ornaments and f r o m the aesthetic p o i n t of The on or with view are predecessors!. pottery by The pottery made i n t h e Strumień w o r k s h o p many the p r o d u c t s are k n o w n . Smaill non-tglazed cream gla­ c h a r a c t e r i s t i c o f Strurndeń e a r t h e n w a r e , 1—13, the (the Slovak Pottery. vicinity. Not ornamented covering Strumień sold red brown on them. (Table Jaibłonkowo for from and groups: the) war. entire only earliest i n t h e nearest jugs produced by the potter Leopold as a r e f l o w e r - p o t s a n d t w i n s . (Talbie The was its colou­ Kasza (Drawing a n d other pots With t w o are 30) handles I I I , 1.). earthenware destined of from Strumień workshops sale i n towns; its for was ornamented vessels d i d n o t l i v e u p t o S i l e s i a n p o t t e r y t r a d i t i o n s ; 18 cen­ p a r t l y i t i m i t a t e d S l o v a k p o t t e r y . I n 1937, t h e w o r k s ­ and Mo­ hops p a t t e r n s k n o w n to t h e a u t h o r are f r o m t h e tury) centuries earthen­ aspergilla. into two originating for also "skillets" directly stem u s u a l l y of grooves vessels mainly general, divided jugs all kinds of and D r a w h i n g 3. were to 16, surface. In use, Reszka). diameter) m a n u f a c t u r e d ait t h e no ornaments 14, 25). T w i n s Ja­ they resembled jugs first Jabłonkowe pots II, brown similar These (Drawing (most dark 6 and large the handle to pre­ w o r l d war, plain, Jabłonkowe ornaments 19th c e n t u r y . fire. is 4,5, T a b l e s first make The (Drawing 25 1 — a n d s m a l l e r <(31 c m d i a m e t e r ) — with (Table pottery imitated stoneware with 22, 24, zed and 1). jugs. I n shape (Drawing made of with glazed jugs w i t h p a i n t e d ornaments in white paint błonkowo 18, (Tab­ witnes­ I I I , 27, 28) ornaments ; of ornamented 5, T a b l e Jabłonkowe a n d 12—14, D r a w i n g In 19th c e n t u r y convex of be 20-th remarkable 31). distinct group 1—6 the plastic ornaments le I — 1 — 3 , D r a w i n g — floral can and terns, was earlier Reszka made jugs f r o m the years Pottery. ptitery century. of J a n Sfcamander every-day ornamented Jabłonkowo Pottery. (The W o r k s h o p as of i n the workshops Skoczów small were reactivated motion of Folk Arts. by the Society for the Pro­ �I m p o r t s F r o m The Slovakia. desings geometric Imports This is from Slovakia above w h i c h w h i t e enamelled tings o n with were all true of tric circles glazing, with Silesia. among 35,39) a n d r e d c l a y adorned with on the bottom and ornamented in ware, jugs w i t h m u l t i c o l o u r e d p a i n ­ them (Drawings brownish numerous enamelled floral particularly worthy of white white desings dishes concen­ glazed {Drawing dishes 37) are mention. animals It or is Woleńska THE — SCULPTOR appear WORK OF that the floor arts, the among to very rare ascertain surface is of the all from and also figures, exceptions. compositions sand to in links was treated drawings murals, folk coloured designs. decide view on of the a genesis lack of The authores was w e l l acquainted w i t h the works the second world The further where­ thern Koledzlny village. we Biliński u p t o t h e o u t b r e a k o f war. Nothing abouts of is 'known this sculptor from The m a j o r i t y of war and In simple technique, the m a t e r i a l between the ornamentation and no the the his w o r k was photographs destroyed have been during the preserved. t r a d i t i o n i n peasant decorations Denmark should in view as well of decoration. i n sand made are not interior the by reminiscent look for any distance as c u l t u r a l sculptured only leisure hours, w h e n fields. But works were he sought in one to time from work women of in sou­ the Polish. influence separating of Yet, cultures the countries, differences. he gained renown by buyers, he in wood block, covered of with often clad resigned that is w h y portionalyy in folk above the his all Nicolae Dunare — Rumanian tiling folk in were only Inspired by his artist's figures features in as THE SIEDMIOGRÓD art plays an i m p o r t a n t p a r t that 'country's historic ethnography, a yet the insufficiently explored. history and the Dr. application of expression, Biliński p l a n personages are into this section of Anna IN Kowalska THE folk art. Lewicka PODHALE Among the ORNAMENTS "DRAWN" IN — WHITE EMBROIDERY REGION. t h e numerous types most variety As SAND peasant t h e Clay presents custom floors of decorative sand designs of t h e h u t s , o r i n f r o n t o f them, a n i n t e r e s t i n g subject of e x p l o r a t i o n of interior decoration of village the dwellings. no of decorative this sub­ ject. In her article the authoress availed materials collected d u r i n g research of the conducted o n herself the spot b y the F o l k A r t Plastic Research Section Institute views The of Art), drawings, with local peasants. decorative photographs (Polish and inter­ c u s t o m is connected has been preserved in art proved a rich p r i m a l sources relating are to the available, the history of authoress g i v e s an a n a l y s i s o f m o d e r n e m b r o i d e r y , d a t i n g b a c k to the last White decade o f embroidery on the 19th was women's century. above all ornamental and the short linen pettitcoat w o r n under the skirt. For­ merly, also aprons adorned with and till the Men's was end a head-lkerchiefs The preserved of garments for linen embroideries, a linen kerchief men garments, o n an the chemise except sand-designing and folk has forms. embroidery element Etnographic l i t e r a t u r e d i d not deal w i t h vital of Podhale The orna­ m e n t a l t i l i n g , g i v i n g a n o u t l i n e o n present researches unpro- small. — analyses Rumanian and f r o m r e a l i s t i c -truthfulness to n a t u r e , Mulkiewicz discipline Dunare in the Podhale region, w h i t e embroidery Olga TILES. garments. artistic his second Dr. abandoned polychromy his career. surroundings, this peasant Stressing in and a n d his figures scenes f r o m r e l i g i o u s l i f e h a d p e a s a n t s were often during himself to sculpture. the Initial period rustic time free after He mostly engraved made from was later, w h e n f a r m i n g and devoted on the very t h e f i r s t ^ p e r i o d o f h i s c r e a t i v e w o r k u p t o 1934, Biliński at about old of historic p r i m i t i v e b u i l d i n g structures w o u l d point to a of on f r o m other decorative drawings^ on sources. B u t t h e v e r y the floor and the "paper-cute" difficult in the composition were borrowed above and BILIŃSKI are now as a n o r n a m e n t a l Easter-egg CREATIVE DYMITR letters types: human o f the designs o n t h e floors of t h e h u t s , b u t i t w o u l d It Marto a n d f l o r a l designs; difficult drawings THE can be classified i n t o t w o basic figures were custom of wearing by the Podhale wo­ the 19th century. were short as time a rule at the not embroidered, end of the 19th c e n t u r y , w h e n i t became c u s t o m a r y to e m b e l l i s h with t e r r i t o r i a l l y w i t h central Poland, the left b a n k of the embroideries Vistula, time that it became customary to ornament bed and table bed comprising Kielce, and Kujawy regions, the h u t s of these regions. w e r e d o n e o n t h e eve to give the wooden tation floor was disappeared By home now in Rawa, clay Łowicz floors ornaments in in sand of a h o l i d a y — t h e a i m b e i n g appearance. the clay front of during World such as w i t h The a holiday ousted done Opoczno, as w e l l floor, the War ornamentation is the even rarity. the ornamen­ hut. The I , or a When custom/ earlier. linen covers, table m e r e ' s S u n d a y s h i r t s . I t w a s also a t t h a t with embroideries cloths, etc.). The (pillow-slips, embroidered w e r e not h o w e v e r destined for every day were decorative festive stom objects ceremonies has survived in the were till being "best" embroideries They where This cu­ day. A t present ever m o r e pieces a r e b e i n g with use. room celebrated. the present pieces ornamented ( n a p k i n s , c u r t a i n s , etc.). �S t i ł c h e s. A characteristic feature placed In addition to many more, the are v e r y c o m m o n i n P o d h a l e flat, satin, open compositions successive work vary by periods stitches ves ,cuffs, r o u n d the neck). embroideries: The chain, not only and the overcast designs i n the following of The in running net-laoe the first stitch was bonnet-like half used quarter of rably linked the with of the usually angular embroideries this art. of The 19th c e n t u r y the was of white was genre half i n the insepa­ of floral at t h e e n d of the 19th used to embellish chiefly kerchiefs, the on second and biedermeier chiefly bonnet-shaped the middle the flat stitch appeared atlas-button-hole stitch, tiste in and in was first tion needle on The work on these com­ differ scent of variety made a frequent stitches i n machine-made from most Remini­ t h e b l a n k e t stitch, the h e m s t i t c h , i n a At lace, popular the now of grew titcoat Till (from all end of the altogether technique in in theme placed on the embroidery, and today hem to quite recently an most corners the the ornaments all-embroidered waist) is common. the ornamen­ t h e composition of o n stripes. Larger themes were of above flowers, always placed symetrlcaliy, have been recently duced o n sleeves a n d on the corners pet- very itself and its i n d i v i d u a l elements based re­ are n a p k i n s , etc. W i t h t h e i n t r o d u c ­ machine-made i n volume tation elaborated not intro­ of bed covers. M a t e r i a l , Tools and T e c h n i q u e . with embroi­ hand-made. o f f o r m s , is a d o m i n a n t e l e m e n t embroidery. tion In the 19th century, exclusively made somewhat needle^work kerchiefs, i a b l e decora­ kerchiefs. decorative deries quite less ba­ introduced 19th c e n t u r y . I n g e n i o u s were or are but aprons. used b i n a t i o n s of these stitches a n d holes i n t e r s e c t e d artistic its are Compositions w h i c h certain elements, a more 19-th century. exclusively ornamentation. I t disappeared century the kerchiefs, of the 19-th century. The third of repetition of present characteristic development a The stitch. The c h a i n s t i t c h is by far the earliest. I t made appearance is t h a t a l l e m b r o i d e r i e s i n m o s t conspicuous: p a r t s o f t h e a t t i r e ( s l e e ­ rich machine 19-th c e n t u r y , forgotten, was embroidering the linen fabrics. entered tury. the arena Cotton at the very thread embroidering. embroideries was Along the A with one a t h e 19th cen­ chiefly used machine-made of a fo'iimer the embroideress frame was not for needle, embroide- pierced used in e m b r o i d e r y , i t m a d e its first appearance made almost fabrics s h a r p l y p o i n t e d a w l , of a pencil's which linen. end of the t h e .usual t o o l i n t h e h a n d s ress w a s a w o o d e n size, w i t h were on home-spun linen. Cotton holes in hand-made i n machine- embroidery. A m o n g the materials, single and double l i n e n were used. T h e O r n a m e n t s The ornaments in the Podhale divided into t w o groups — mentation. The in former includes earlier chain stitches. Here tive motif. other various ments the their own i n the .trousers atlas of of form of latter group beginning with ending broideries. ousted with More as a not originate headdress. each 19th c e n t u r y and bonnet-like floral creative They among In them has to C o m p o s i t i o n of its ked composition of with its place the embroidery on the object it have been synchronise E m b r o i ­ is c l o s e l y is The customers spinsters, o r most famous nearly from, wo­ from all over machine-made this trade which peasant was an embroidery women had became to learn elementary part in their is seasonal education. present, side-line embroidery occupation, only practiced a exclusively and during the long w i n t e r nights. H i s t o r y of Podhale W h i t e E m b o r i d e r y i n Region. oppo­ deries. The women, with art. P o d h a l e had popular, young The h i s t o r y of region dates lin­ adarniingj White back to embroidery the end of i n the the Podhale 18th c e n t u r y . D u r i n g t h e 150 y e a r s o f i t s d e v e l o p m e n t , t h e e m b r o i ­ dery went was dominated second The poor children. 1925, w h e n very The skill chiefly no ornamen­ along they were having Podhale. the patterns. Nevertheless, in the on began em­ patterns, particularly embroidery used men the German in pencil 19-th century. did theme sketched to b e ornamentation the much embroideries, garments in with Drawings first N e e d l e - W o m e n of womens number the Podhale II, region site remodelled (an were d r a w n i n p e n c i l on paper At stylized Floral i n Podhale, pal- machine-made Podhale the orna­ g. " t h e all other aprons less the in usually adorning (Table modern or in all reappearing others. includes introduction into with decora­ 6), „ p a r z e n i c e " a heart biedermeier appeared kerchief 1 — highlanders), kerchiefs, tation stitch themes n o m e n c l a t u r e , e. 19), s t a r ' s a n d m a n y The the on, number be embroideries a s p i r a l is t h e c h i e f (Table I I , Drawings ornament 17 — can combinations m a r k e d the period. The had metes", the Later stitches. A region abstract and f l o r a l o r n a ­ designs the linen. Patterns through two was influence of retains its artists who the by popular introduced by the so-coiled folk and chain The first stitch. The developed under "upper strata". I f character, remodelled ornamental and style. distinct periods. the it owes town this to embroidery technical patterns — it the still peasant — both into folk �Patterns deries analogous to are m e t w i t h area, i n the C r a c o w the earliest types the i n the chain voivodship of In of these paintings. The of Poland now among already Moravia, Hungary, Bulgaria). the middle stitch invaded of t h e 19th century, the all the Western The the new old local embroidery atlas-hole- Slav countries, in Podhale a b i g square bonnet-like kerchief. types The of from very difficult 20th s u c h as t h e decorative easy high Machine-made Very was based on abstract themes being a i n both the women character. folk atlas-hole-stitch turn stitches and the 19th technique, needle­ oblivion i t became on by cheaper now, went it ousted linen. through covered Poland At two the designs be­ with was designs. The lasie regions a n d i t is t h e r e i n these f o r m e r l y among for the n u m e r o u s l y preserved traces The of Skulsk of the in the face competition of Skulsk 'Cheaper centre factory w h i c h suited better t h e changed At present is t o b e Skulsk any descriptive SKULSK — IN THE only data available materials been points to the themes patrons reputed tunes. In view the basis ting from for protecting mortals f r o m of of a the Skulsk of original of region, the originating from that Sinołeka (Wągrów Boczki (near region was ma'in centre of vesniks", that means of f o l k art painters and and as has three main (Siedlce from well the as from the paintings neutral these groups background, were made being forward around the contours. The the figures of thick, straight­ and a in t h r o w n i n t o sharp r e l i e f b y means OF 19th c e n t u r y , t h e authoress Paprotnia, Łowicz), on origina­ Włocławek. decoration THE Skulsfc "okhpedlars flowers, figure or else garlands. milion, white the sources, into region) those misfor­ paintings paintings region), in lack analysis Skulsk groups: Church the formal the classified and paintings and green formal were maintained style. only p r i m a r y colours w e r e used — yellow primitive U p to the m i d d l e of the which needle­ „OKHVESNIKS" Wielkopolski Nei­ preserved. against resorts. TRAILS painting dealt mostly w i t h the V i r g i n Mary, Christ and Generally, Przezdziecka pictures "okhvesnik's" in Maria made tastes o f t h e b u y e r s . f o u n d e i t h e r i n S k u l s k or its v i c i n i t y . ther have The n o t one began violent hemstitching summer search, second h a l f o f t h e 19th c e n t u r y w h e n i t h a d t o the decay poorefr should folk art paintings, to neighbouring Their paintings. was e i t h e r i n ornamentals, i n single from the Vienna eastern territories. at t h e s a m e t i m e t h e f a s h i o n f o r f l o r a l d e s i g n s c a m e villages areas of (set u p a f t e r t h e Congress) and the a d j a c e n t All a vast territories itinerary most frequently l e d t o the L u b l i n and P o d ­ feature. there machine-made of the stitch, or dominant war of easier hand-made world mastered of its development. it turn new! ornaments embroidery second the fashionable ginning the Pod- region, to when — I m p o r t e d to f r o m complete kinds of stages i n the course o f After the way embroidery, popular at is women qualifications open-work saved to make. other pedlars in particular the former Kingdom of ousting region for painstaking vanished I t was machine-made all devoid centuries, g i v i n g w o r k lace. and and It Cracow are demanded needle^womian. headdress the embroideries embroidery and new the by probably Sout­ embroideries. accompanied hale a and regions w i t h s t r o n g t r a d i t i o n s t h a t w e hern Poland, Slovakia, Moravia and Bohemia, everywhere for­ are met w i t h on the southern side of the C a r p a t h i a n s (Slovakia, and embroi­ Carpathian and i n Silesia embroideries, gotten. S i m i l a r themes Rumania stitched entire ethnic in sky-tolue touches. and full their The ,aiccentuated painters colouring of specific by resorted means, yet expresión a n d individual, ver­ some relatively to their were uniform �polska sztuka ludowa KWARTALNIK WYDAWANY PRZEZ PAŃSTWOWY INSTYTUT SZTUKI ROK XI 1957 NR 4 �KOMITET REDAKCYJNY Mgr Aleksander Jackow­ ski, m g r Kazimierz Piet­ kiewicz, prof. dr Ksawery Piwooki, prof. dr Roman Reinfuss, prof. dr Tadeusz Seweryn. ZESPÓŁ REDAKCYJNY Mgr Aleksander Jackow­ ski (redaktor naczelny), mgr Anna Kunczyńska (sekretarz redakcji), prof. dr Roman Reinfuss (za­ stępca r e d a k t o r a n a c z e l n e ­ go), m g r B a r b a r a Radzi­ wiłł ( r e d a k t o r techniczny), Józef W i l k o ń (okładka i układ g r a f i c z n y ) , K r y s t y n a Żmijewska (adiustacja i korekta), Eugenia Tarska (tłumacz). REDAKCJA i ADMINI­ STRACJA: PAŃSTWOWY INSTYTUT S Z T U K I , W A R S Z A W A , D Ł U G A 26 194 �