https://zbiory.etnologia.uw.edu.pl/files/original/894255f4a8ce1585a7afb1bd7ad00a8a.pdf 9cdf9f3a328b087c7dc0f59005e48125 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:4910 Date A point or period of time associated with an event in the lifecycle of the resource 1968 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:4555 Title A name given to the resource Summaries / Polska Sztuka Ludowa - Konteksty 1968 t.22 z.4 Description An account of the resource Polska Sztuka Ludowa 1968 t.22 z.4 ; s.245-248 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 H I PUBLISHED F B Y T H E ART INSTITUTE OF T H E POLISH No. 4 YEAR BOOK S U M M A R Y S t a n i s l a w B ł a s z c z y k — LITHOGRAPHS FROM POZNAN PAINTINGS OF WITH Three pictures painted on canvas w i t h lithographs s t u c k o n t h e m a r e t o b e f o u n d i n t h e e t h n o g r a p h i c sec­ t i o n of the N a t i o n a l M u s e u m i n P o z n a ń . T h e y are t w o p i c t u r e s o f S t B a r b a r a ( f i g . 1, 2) a n d o n e o f S t J o s e p h w i t h t h e C h i l d J e s u s ( f i g . 3). T h e y w e r e d i s c o v e r e d i n t h e near v i c i n i t y of P o z n a ń . T h e author analyses i n detail the w a y the pictures are painted, p a y i n g a t t e n t i o n t o t h e i r o r n a m e n t a t i o n a n d colours. I n P o l i s h 19th c e n t u r y f o l k paintings the p r a c t i c e w a s k n o w n o f s t i c k i n g w o o d cuts u n d e r p i c t u r e s p a i n t e d o n glass. T h e f o l k a r t i s t s used t h e m t o a v o i d h a v i n g t o p a i n t h u m a n b o d i e s a n d faces. T h i s w a s i n connection w i t h the decline of s k i l l i n t h e p e r i o d w h e n f o l k p i c t u r e s w e r e d y i n g o u t . W e do n o t k n o w o f attempts to combine g r a p h i c a r t w i t h p a i n t i n g on c a n ­ vas. T h e p i c t u r e s f r o m P o z n a ń a r e u n i q u e i n t h i s respect. T h e l i t h o g r a p h w a s a p p r o p r i a t e l y c u t o u t a n d f i t t e d i n t o t h e c o m p o s i t i o n of t h e ^ p i c t u r e ' a n d t h e n p a i n t e d over. T h e artists l e f t some of t h e parts o f the f i g u r e s u n p a i n t e d : faces, a r m s lees T h e .Dictures h a v e rich decoration i n gaudy colours A n a l y s i n g w o r k s i n the field of religious graphic a r t , t h e a u t h o r has n o t f o u n d a n y c o u n t e r p a r t s o f t h e P o z n a ń lithographs i n Poland. They were imported, but it is nDt k n o w n f r o m w h e r e . T h e a u t h o r t h i n k s t h a t t h e p i c t u r e s o f St. B a r b a r a are a t r a n s f o r m a t i o n of the pictures of the H e a r t of M a r y , so w i d e s p r e a d i n 1 9 t h c e n t u r y g r a p h i c a r t . T h i s is i n d i c a t e d b y n u m e r o u s f o r m a l f e a t u r e s A s regards t h e i r artistic value, the P o z n a ń pictures are not of i n t e r e s t . T h e c o m p o s i t i o n , d e c o r a t i o n a n d c o l o u r s m a k e i t p o s s i b l e to i n c l u d e t h e m i n t h e c a t e g o r y of f o l k p a i n t i n g s . T h e colours used i n t h e decoration are k i n d r e d to the decoration of W i e l k o p o l s k a f u r n i t u r e . T h e h o m o g e n o u s c h a r a c t e r Df t h e t h r e e p i c t u r e s as regards technique and artistic value indicate that they c a m e f r o m one centre or are even t h e w o r k o f one author. T h e present author puts f o r w a r d the hypothesis that the authors of the paintings were pedlars selling d e v o t i o n a l objects or glass- w o r k e r s engaged i n r e s t o r a ­ tion of pictures. T h e y are not mass produced. W a c ł a w TUMES S u ł k o w s k i K O ŁUKÓW REGIONAL COS- T h i s a r t i c l e is the f i r s t a t t e m p t to describe t h e r e ­ gional costumes f r o m the Ł u k ó w district ( L u b l i n V o i v o d s h i p ) . O n the basis of l o c a l studies a n d m a t e r i a l s f r o m m u s e u m s , t h e a u t h o r describes this version of the regional costume of the Mazowsze region. The s t a r t i n g p o i n t f o r t h e studies w e r e i l l u s t r a t i o n s and d e s c r i p t i o n s f r o m 19th c e n t u r y l i t e r a t u r e . T h e a u t h o r has t r i e d t o t r a c e t h e changes t h a t the Ł u k ó w r e g i o n a l c o s t u m e s u n d e r w e n t at t h e b e g i n n i n g of t h e 2 0 t h c e n ­ t u r y . I n the i n t e r w a r period only the women's costume s u r v i v e d , a n d n o w o n l y a f e w o f i t s e l e m e n t s c a n be f o u n d . T h e m e n ' s c o s t u m e s d i s a p p e a r e d at t h e b e g i n n i n g of t h e 2 0 t h c e n t u r y . U p to t h e e n d o f the 19th c e n t u r y , t h e basic r a w m a t e r i a l s f o r m a k i n g clothes w e r e w o o l , l i n e n and hemp. F a c t o r y produced m a t e r i a l s w e r e f i r s t used for costumes w o r n on feast days. G r a d u a l l y , u n d e r the i n f l u e n c e of t o w n fashions, the cut of t h e costumes w a s also c h a n g e d . T h e a u t h o r , a p a r t f r o m i l l u s t r a t i o n s , also gives d r a w i n g s o f the cut o f some parts o f t h e c l o t h e s ( f i g . 9, 27). T h e basic m a t e r i a l u s e d f o r t h e c o s t u m e s w a s i n a s t r i p e d p a t t e r n s p e c i f i c f o r t h e Ł u k ó w d i s t r i c t ( f i g . 16). A ACADEMY T R OF SCIENCES 1963 XXII ARTICLES T h e s t r i p e d p a t t e r n u n d e r w e n t c h a n g e s b o t h as r e g a r d s f o r m and colours. T h e oldest s t r i p e d p a t t e r n s w e r e d a r k (the colours b e i n g : 'black, w h i t e , d a r k green, blue) a n d the stripes w e r e n a r r o w . I n the i n t e r - w a r years, the " C r a c o w " t y p e of s t r i p e d p a t t e r n a n d t h e Ł o w i c z t y p e w i t h w i d e r stripes a n d b r i g h t e r colours (orange, r e d violet) were the fashion. A t present the w o m e n still w e a r aprons — striped o r p l a i n l i n e n . N o o t h e r e l e m e n t s of t h e c o s t u m e h a v e survived. T h e changes that t o o k place i n t h e Ł u k ó w costumes w e r e due to influences of t o w n fashions a n d t h e f o l k costumes o f n e i g h b o u r i n g regions. T h e q u i c k disappea­ rance of the regional costume was due to the settlement of t h e p e t t y g e n t r y i n l a r g e n u m b e r s i n t h e Ł u k ó w district. D e s p i t e t h e d i s a p p e a r a n c e of t h e r e g i o n a l c o s t u m e , w e a v i n g is s t i l l d o n e i n t h e v i l l a g e s o f t h i s d i s t r i c t . C l o t h w o v e n b y t h e v i l l a g e r s is s t i l l u s e d i n t h e h o u s hold. H a l i n a RACKS W ó j c i k — RZESZÓW TIERED SPOON P u b l i c a t i o n s so f a r h a v e d e a l t w i t h ' s p o o n r a c k s f r o m t h e Podhale region. T h e authoress attempts t o describe the c a r v i n g w o r k o n t i e r e d spoon racks. T h e y are f o u n d in large numbers i n the R z e s z ó w region, m o s t l y i n the h o m e s o f w e a l t h y f a r m e r s . T h e m a p ( f i g . 29) g i v e s a n idea w h e r e t h i s t y p e of spoon r a c k is f o u n d o n b o t h sides o f t h e C a r p a t h i a n s . T h e spoon racks are r i c h l y o r n a m e n t e d w i t h d i f f e r e n t techniques b e i n g a p p l i e d . T h e authoress deals e x t e n s i ­ v e l y w i t h t h e f r e t - w o r k t e c h n i q u e ( f i g . 3, 8, 10, 19). Geometrical patterns predominate i n the fret-work. T h e e n g r a v i n g t e c h n i q u e is f o u n d w i t h f r e t - w o r k . T h e r e are h a r d l y any examples of f u l l c a r v i n g . T h e r e are a f e w e x a m p l e s of b u r n t o u t p a t t e r n s , m o s t l y c o m b i n e d with fret-work. T h e decorative g e o m e t r i c a l m o t i f s are of a s t r i p e d a r r a n g e m e n t . T h e m o s t r i c h l y decorated are t h e f r o n t p a n e l a n d b a c k p a n e l ( b y w h i c h i t is h u n g ) ( f i g . 12). L a c k of p r i m a r y s o u r c e m a t e r i a l s a n d d a t e d e x a m p l e s have made it impossible t o trace t h e h i s t o r y of the t i e r e d s p o o n r a c k s . T h e a u t h o r uses f o r h e r s t u d y a f e w c o m p a r a t i v e examples f r o m Silesia and M o r a v i a (Cze­ c h o s l o v a k i a ) ( f i g , 25). T h e l i m i t e d scope o f o c c u r r e n c e of t h e s p o o n r a c k s i n t h e R z e s z ó w v o i v o d s h i p i n d i c a t e s t h a t t h e y w e r e a l o c a l p r o d u c t of n o t v e r y l o n g t r a d i ­ tions. Among the anonymous spoon r a c k m a k e r s , the a u t h o r e s s w a s a b l e t o e s t a b l i s h s e v e r a l o u t s t a n d i n g ones who were k n o w n for their work. They were mostly carpenters or f u r n i t u r e m a k e r s s k i l l e d i n w o o d - w o r k . I n conclusion t h e authoress describes the individual spoon r a c k m a k e r s a n d t h e i r w o r k m a n s h i p . E a c h t y p e of w o r k m a n s h i p used a d i f f e r e n t t y p e o f o r n a m e n t a t i o n to decorate t h e spoon racks. B a r b a r a P o l o c z k o w a — KONIAKÓW LACE T h e w o r k comprises three parts: i n the first, the authoress describes t h e b e g i n n i n g s a n d development of l a c e - m a k i n g i n t h e f i r s t h a l f o f t h e 2 0 t h c e n t u r y , i n t h e second p a r t she d e a l s w i t h l i t u r g i c a l l a c e a n d in the t h i r d — lace m a k i n g today. T h e b e g i n n i n g s of lace m a k i n g can be traced b a c k to t h e f i r s t years of the 2 0 t h c e n t u r y . H a n d i c r a f t l e s s o n s at t h e schools i n K o ­ n i a k ó w and J a w o r z y n k a started the fashion for crocheted w o r k . T h e p a t t e r n s of t h e f i r s t l a c e s m a d e w e r e b a s e d 245 �ón patterns i n periodicals and publications on the s u b j e c t , p a r t i c u l a r l y V i e n n e s e ones. T h e p a t t e r n s w e r e popularized i n the villages bv the h a n d i c r a f t teachers; t h e a u t h o r d e s c r i b e s t h e a c t i v i t y of e a c h of t h e m a n d t h e p a t t e r n s t h e y used. T h e f i r s t lace articles w e r e Cieszyn bonnet f r o n t s and later the assortment of f o r m s was g r a d u a l l y w i dened. I n the i n t e r - w a r period the K o n i a k ó w lace m a k e r s began to m a k e lace to sell. T h e y m a d e doilies a n d i n l e t s f o r b e d - l i n e n , etc. T h e p a t t e r n s , b a s e d o n t h e t r a d i t i o n a l f o r m s of the Cieszyn bonnets w e r e added to b y t h e m o r e s k i l l e d l a c e m a k e r s , w h o i n t r o d u c e d n e w m o t i f s . T h e t r a d i t i o n a l f o l k patterns of the K o n i a k ó w d i s t r i c t a r e p l a n t m o t i f s : b u n c h e s o f g r a p e s , f i r cones, f l o w e r s ( f i g . 6, 8, 14). T h e period of the Second W o r l d W a r d i d n o t h a m p e r the d e v e l o p m e n t of lace m a k i n g . I t w a s at t h a t t i m e t h a t the f i r s t lace m a k e r s of i n d i v i d u a l i t y began t o emerge. A f t e r the Second W o r l d W a r the development of t o u r i s m h a d t h e g o o d e f f e c t of i n t e n s i f y i n g lace m a k i n g . A l a c e m a k i n g c o o p e r a t i v e w a s set u p t h e r e i n 1949. T h e l a c e - m a k e r k n o w n f o r t h e m o s t o r i g i n a l w o r k a t t h a t t i m e w a s M a r i a G w a r k o w a . E a c h of t h e m o r e talented lace m a k e r s developed their s k i l l and i m p r o v e d t h e i r patterns. T h e n u m b e r of purchasers g r e w a n d a l o t of l a c e b e g e n t o be e x p o r t e d a b r o a d L a c e m a k i n g became not o n l y a n a d d i t i o n a l source of i n c o m e , b u t a l s o s t r e n g t h e n e d n e i g h b o u r l y ties. I n t h e s e c o n d p a r t of h e r , w o r k , t h e a u t h o r e s s deals w i t h l i t u r g i c a l l a c e . T h i s k i n d of lace b e g a n t o b e m a d e a f t e r t h e .Second W o r l d W a r . T h e i n c r e a s i n g o r d e r s f o r this t y p e o f lace caused m a n y of the lace m a k e r s t o leave the cooperative. K o n i a k ó w became a l a c e - m a k i n g centre, i n J a w o r z v n k a and Istebna, only single w o m e n w e r e engaged i n lace m a k i n g . T h e g r o w t h of orders for l i t u r g i c a l lace l e d to t h e emergence of a c e r t a i n c a t e g o r y of m i d d l e - m e n r e c r u i t e d f r o m a m o n g t h e i n h a b i t a n t s of K o n i a k ó w T h e s e m i d d l e - m e n s o l d t h e lace all over the country. D e s c r i b i n g t h e p a t t e r n s of t h e l i t u r g i c a l lace, the authoress d r a w s a t t e n t i o n to t w o categories of lace used to d e c o r a t e c h u r c h l i n e n . L a c e s t r i p s w e r e m a d e b v t h e j o i n i n g of s m a l l e l e m e n t s c i r c u l a r i n s h a p e { f i g . 22) a n d t h e o t h e r t y p e c o n s i s t e d of s t r i p s o f n e t o n w h i c h t h e p a t t e r n is c r o c h e t e d . T h e f i r s t c a t e g o r y is t h e o l d e s t a n d is b a s e d o n t h e p a t t e r n s t r a d i t i o n a l l y used f o r bonnets. T h e lace m a k e r s crocheted l i t u r g i c a l symbols o n t h e n e t s t r i p s : t h e H o s t , t h e Cross, t h e i n i t i a l s o f C h r i s t a n d t h e V i r g i n . T h e p a t t e r n s of l i t u r g i c a l e m b l e m s are of u r b a n o r i g i n , a n d w e r e imposed on t h e lace m a k e r s b v those w h o o r d e r e d t h e lace. I n m a k i n g lace t h e h i g h l a n d w o m e n also u s e d t h e m o t i f s e m b r o i d e r e d on t h e i r r e g i o n a l cestumes; t h e y took p a t t e r n s from those p u b l i s h e d i n w o m e n ' s magazines too. T h e most skilled lace m a k e r s designed t h e i r o w n patterns. A n o t h e r k i n d of l i t u r g i c a l l a c e w a s t h a t m a d e f o r the pastors of the E v a n g e l i c a l C h u r c h . T h e patterns of this lace w e r e most s t r o n g l y based o n t r a d i t i o n and w e r e not i n f l u e n c e d b y u r b a n designs. I n t h i s p a r t o f h e r w o r k , t h e a u t h o r e s s a l s o discusses t h e m a t e r i a l s u s e d , t h e t o o l s a n d also t h e e a r n i n g s o f t h e l a c e m a k e r s a n d t h e sale o f t h e l a c e . T h e b a s i c m a t e r i a l u s e d is c o t t o n t h r e a d , s o m e t i m e s , t h o u g h n o t so o f t e n , c h e n i l l e . T h e t o o l s f o r t h e w o r k , c r o c h e t hooks, are m a d e l o c a l l y b y t h e h i g h l a n d e r s , sometimes t h e l a c e m a k e r s use i m p o r t e d c r o c h e t h o o k s f r o m C z e choslovakia. T h e authoress deals quite extensively w i t h the p r o b l e m of earnings and the a m o u n t of w o r k p u t i n . I n c o n n e c t i o n w i t h t h e sale o f lace b y m i d d l e - m e n , t h e e a r n i n g s of t h e lace m a k e r s are not v e r y good. I n t h e s u m m e r season t h e l a c e m a k e r s t h e m s e l v e s s e l l t h e n w o r k d i r e c t l y t o t o u r i s t s . L i t u r g i c a l lace is s o l d e x c l u sively b y the m i d d l e - m e n , w h o t r a v e l a i l over Poland f o r t h i s purpose. I n recent years the d e m a n d f o r l i t u r g i c a l l a c e has b e e n d e c r e a s i n g i n c o n n e c t i o n w i t h t h e propagation by the C h u r c h of plainer linen w i t h only a little embroidery. T h e t h i r d p a r t o f t h e w o r k discusses l a c e m a k i n g today, the w i d e assortment of articles to meet the r e q u i r e m e n t s o f the customers. T h e lace m a k e r s of t o t h e p r o d u c t i o n o f t a b l e c l o t h s a n d d o i l i e s so p o p u l a r i n t h e i n t e r - w a r p e r i o d . T h i s k i n d of p r o d u c t i o n a l l o w s t h e lace m a k e r s t o sell t h e i r p r o d u c t s d i r e c t l y w i t h o u t w h o l e b o u s e s a n d e v e n dresses. T h e y h a v e g o n e b a c k K o n i a k ó w w i l l u n d e r t a k e any j o b to w i n m a r k e t s f o r t h e i r w o r k . T h e y h a v e s t a r t e d m a k i n g sets o f c o l l a r s and cuffs ( f i g . 34), g l o v e s , i n l e t s f o r b l o u s e s and the m i d d l e - m e n . T h e m i d d l e - m e n have p e r m a n e n t stalls s e l l i n g l a c e i n C i e s z y n ( f i g . 37), W i s l a a n d S o c z ó w . T h e p a t t e r n s u s e d b v t h e l a c e m a k e r s of K o n i a k ó w , d e s p i t e t h e e n r i c h m e n t of t h e r a n g e w i t h ' n e w f o r m s , keep t o the t r a d i t i o n a l m o t i f s t a k e n f r o m t h e Cieszyn b o n n e t s . T h e p r e d o m i n a n t m o t i f s a r e t h e p l a n t ones so c h a r a c t e r i s t i c of o r n a m e n t a t i o n i n f o l k a r t . T h e lace m a k i n g done i n the s t i l l a l i v i n g b r a n c h DÎ f o l k a r t . Beskid Mountains i : �n O J I b C K O E H ñ P O A H O E H C K V C C T B Ô KBAPTAJIbHEI» acyPHAJI, H3.H.ABAEMHÎÎ MHCTUTyTOM HCKVCCTBA nOJILCKOÎÏ AKMEMMH H A V K No 4 TOA M3flAHMH X X I I 1 9 6 8 PE3IOME n03HAHbCKME KAP- B nacTOHuiee Bpeiwa j K e i n m i H b i e m e H O C H T nepe^HHK M — nojiocaTbio H J I H oflHO^BeTHbIe JibHaHbie. ¿ p y r H e 3JieMeHTbi HapoflHoro K o c n o w a He coxpaHHJiwcb. B 3THorpacpjiHecK0M oTflejienMw iio3Haiii>cKoro H a u . n o HajibHoro M y 3 e a n a x o ^ H T c a 3 o6pa3a Ha xoJiCTe c BKJieCHHbTMH JIHTOrpaCpHaMH. flfie H 3 H H X H306pajf£aiCT CB. B H p B a p y (HJIJI. l , 2), a o a n a — C B . Mocwcpa c MJiafteHueM (una. 3). K a ¡ TOU 3 T H 6 M J I H o&napyîKeHW B fjjiwîKaiiuiwx OKpeCTHOCTSX H03HaHH. IlepeMeHbi B ayKOBCKOM HapSfle HacTynaJiM nofl B ^ î t a HHeM M e m a u c K o í i MOflbi, a Tanate n o n BjiHHHweM H a p o a noiï ofleîKflti coceflHHx perwoHOB. C T a i m c j a a Ejiam.nK — TMHbl C JrMTOrFA*MHMM ABTOP noflpo5Ho aHajin3npycT xyflojKecTBemiyio M;I- n e p y roicbMa, opuaineHT H KpacKM o6pa30B. B nüJitCKOíí îiapoflKotî acHBonticu X I X B . npaKTMKOBajjoeb rroaKJieMBaHMe flepesaiiiiLix rpaBiop noa KapTKHbi n a cTCKJie. f l a p o f l H b i e îKHBonHCUbi nojib30Bajnicb rpacpMKOM, M36eran nwcaTb lejioBeHecKoe Tejio H JIHU.LV 3TO 05-bHCHiieTCn ynaflKOM Hapofliiofi MKûtionwcH Toro nepnofla. B H Í M B D I I H C H Ha noJioTHe rpaipnnow ne nojib30BajIHCb. B 3T0M QTHOUieHTOÍ n03HaHbCKMe o6pa3a flBJlHK>TCH HCKJiíOHeHMeM. HeKOTopbte lacTM Tejía xy^oatiriiK ocTaBHji HepacKpameimi.iMH: m . ua pyKH, H O M . J I . C K O paTHBHafl HacTt ô o r a i a H KpacoHna. AHajiK3Hpyfl p e j i [ i r i i o 3 H y i o rpaebwKy B I l o J i b m e , a r o p CTaTbll He HaXOflMT npOH3BCJjeHMH, COOTBeTCTByiOIUHX nc-3HaHbCKHM jiHTorpacpHHM. 3 T O 5biJia HMnopTHaa Î K H B O n n c b Ren3BecTHoro npoHcxojKfleHHa. A B T O P n o n a r a e T , H T O H3o5paiKeHMH C E . B a p B a p w H B JIHIOTCH nepeBonjioLuenHeM mnpoKo pacnpocTpaHeHHoro B rpacpHKe X I X B . C e p f l u a EoroMarepii, o H C M C B H A C TejibCTByeT p a s HHCTO ç p o p M a j i b H b i x aJieMeirroa, B B xyaoxecTBeHtioM O T H O U I O H I Î H oo3HaHbCKne o&pa3a He .npeflCTaB^HiOT OCOÔOTO WHiepeca, no KOMno3HUTiii, a e KOpaiMBHOil CpOpMe M KpaCKaM MX MOÎKHO OTHeCTM K H a pO/IHJOÏÏ HtHBOnMOM. CBOMM KOJIOpwTOM OHM POACTBOHHbt «eKopaTKBHofi OTAejiKe BejiMKonojibCKOft MeSejiH. T e x H K H e c K a a H x y f l û î K e c T B e s i n a a oAEiopoJiîiacTb B C C X Tpex xapTMH roBOpHT 3a T O , MTO OHM BMriojiitHJiHCb B onHlQfk MacTGpCKOii M BnO.lHe B03MOÎK110 OflHMM H T 6 M 2KC MaCTCpoM. A B T O P npe^nojiaraeT, H T O H X wcnojiHHTejiHMi: SbiJiM Toprosubi npeflMCTaMH pejiwrMOîHoro xyjibTa JIHÔO cTeKOJibHbix fleji Maciepa, pecTaBpHpoBaBiui-te KapraHbi. B o BCHKH'M c j i y n a e o n u c b m a e i n b i e aBTopoM o6pa3a n e npHHa^jiestaT K npon3BeAe-nHSM MaccoBoro npoM3BOflCT3a. Eaujiac C y n K c c c K H — JiyKOBCKMR HAPÎIA B cTaTbe B i i c p s t i c a c i a e T C a nonwTKa o n n c a T b H a UHOHaJIbHLlii KOCTÎOM ORpCCTHOCTCÜ JlyKOUa (JIWÔJIHHCK06 BOeBOACTBO). H a OCHOBe MCCrablX HCCJIOAOBaHHfl H My3CHHblX MaTepHa.lOB Ma30BC^oro aBTOp HapH.ua. McxoflHOíi OIIHCblBaCT 9TOT TO'ÎKOU HBJIAIOTCÎI BMfl HJIJIIO- CTpaTMBHbie uaTepHajibi H aanweM B jiMTeparype X I X B . B neîKBoeHHbifi nepuofl MOMÍHO Obuio eme BCxpci'HTb HíeiicKHií napHA, B iiacTOiimee Bpewfî c o x p a i î u . m c b jiwuib tieMHorne ero s a r a e n T b i . MystCKofi K O C T I O M i i c i e 3 yate B iianajo X I X B. OciIOBHblM CbipbeM flJIH BbipaBoTKH O ^ Ê Î K a b l Obl.TO flo Koiiua X I X B . mepcTb, j i e n , K O H O I U I H . «I>a5pHMHhie TKaHn ynoTpeôJiHjincfa cnepBa fljifl npa3flHHHHbix HaptiAOB. IIocTeneHHo, nofl BJiMaHHeM MemancKoft i i o ^ b i CTAJI MCHÎITCH r a x a c e x p o i i o ^ e î K A t i . P H ^ O M C wJiJUOcTpaunaMH aETop noMemaeT TaKîKo B M K P O W I C H HCKOTOpwx nacrew OfleîKflbi (HJIJI. 9, 27). B JlyKOBCKoM paiioHC 0A«KAy iuujin npOHMyinecTBCHMO H3 HOJIOCaTOH aOMOTKaiIHOH MHTepHM (HJTJt. 16), n p i i 4eM dpopMa H pacu,BeTKa noJioc c teuenHCM sspeweiiH noflBeprajjHCb n3MetieHwaM. B cxapniiy TKam-r Gbinn T C W Ubix* L(BeTOB B y 3 K y » nojioCKy ^ e p H y i o , ôenyio, TeiinosejieHyio, rojiyuyio. B MejKBOeiiiîoe speMH CTajiw MOfliibi apKwe KpaKOBCKPie M jiOBHUKue TKaHH C Sojiee niHpoKHMM nojiocKaMH. n p e o O j i a a a j i H o p r a j K e ü t m , KpacHbiM, *H0JieTOBbrfi l i s e r a . JlyKOBCKMil HapHfl cTaJí SbiCTpo BbixoflHTb M3 y n o Tpe6jienKfi noA BJîMHHneM MOJTKOÍÍ ujjiHXTbi, HacejiHBiueft OTOT paííon. HecMoTpa n a T O , H T O Hapoanw& K O C T W M Bbiuieji wi ynoTpe5jieHMS, B ^ e p e s H n x JiyKOBCKoro pawona no c e i i flenb 3anHMawTca TKanecrBOM. AoMOTKaHHbie MaTepwa^bi Bce eme ynorpeSjiHioTCH B flOMauiiieia oSwxofle. TajiHHa TAK HA3. B y ü m i K — ÎKEIHOBCKWE „JIHiKHMKM" nOJIOHKM. flo eux nop B jiMTepaType yflejiajiocb BiiKMaHue TOJibnoflrajiHHCKHM „jiuK«HKan", T.e. flopeBiiiiHbiM nojioMKaM RJIH jioiKeK. A B T O P HacTonmew cTaTbn nbiTaeiCH oxapaKTepn3MpoBaTb pe3b6y cryneHMaTUx . . J I B I J K H M K O B " . Haine Bcero O H H BCTpctaiOTca Ha 3KemoBinwHe, rjiaBHbiM o6pa30M E 6oJiee 3aHcnroMHbix ^oMax. K a p i a (HJIJI. 29) noMoraeT nam pa3o5paTbCH B K ^ K I I X itecTKO nocTHx no 06e CTopOHbi KapnaT ynoTpe6jiHioTCH „jibiHC- H H K H " OToro runa. „JIbDKHHKn" CioraTo y K p a ï u a ^ H C b npw ITOMOIHH p a 3 rexHiiKH. A B T O P yflejiHBT Miioro BHHMatiKH aïKypiioii TexHKKe (HJIJI. 3, 8, 10, 19), B K O T O P O Î Î npeoQjiaaajoT reoMeTpw-iecKHe MOTHBbi. T e x H H K a pe3bGbi nepenjieTaeTCH e ajxypiibiM ysopoM. JIH™OH 3 j i e M M i T b i n o j i H o ü pesbObi He a c T p e i a i o T c a . B H C K J I I C 'iHTejibiibix C J i y i a a x npHMeHaerca r e x H H K a RbiiKHraHua n o flepCBy, rJiaBiibtvi o5pa30M B co ieTat!HM c aîKypHbiM y3opoM. l ííeKopaTHBHbie reoMeTpjinecKHe M O T H B W pacnojioJKeHbi noJiocaMM; ocoôeHHO 5oraTo y K p a ï u e H b i J I H U C B Û H M 3 a a H H H c r o p o H a (BemajiKa) (HJIJI. 12). OxcyTCTBHe M C T O H H H K0B M flaTMpOBaHHblX 3K3CMÍIJIHpOB jTMliiaeT BO3M0JKH0CTH OTo6pa3HTb HCTopMio „jibi3KHHK0B". A B T O P pacnoJiaraoT n e SoraibiM cpaBHMîejtbHbiM M a r e p H a j i o n c TeppHTopww C n jieaiiM M M o p a B ( H O X O C J I O B R K H H ) (HJIJI. 25). EoroToe « u jiwHwe „jibiwHHK0B" Ha TepptiToptiH ^ieiuoBCKoro aoeROACTBa Bbi3biBaer npeanoJîOaceHMe, H T O B TIûJibLUB OHM DblJIM HBJIGHHeiV! MCCPHOl'O XapaKTepa 0e3 npO^OJlKHTejtbHoií T p a j H q n M . Cpenw B o j i b i u o r r . ™ c j i a 6 e 3 b i M a i i H b i x McnoJïtiKTejieu asTop cy.Meji BbiaejiHTb HecKOJibKHx B H f l i i e i i m n x , n p o c j i a • H B i i i H x c s KaK TaaaiiTJiHBbie MacTepa. 3 T O 6 L . I Î I H raaBHbiw o5pa30M njioTiuiKH J I H 0 O CTOJiapbi, 3HaKOMbic c o D p o C O T K O H flcpeua. B 3aKjno'ieHMH a s T o p c r a T b i i aaeT x a p a K - TCpHCTKKy OTflCJlbHblX XyflOJKHHKOB H HX MaCTepCKWX. K a j K , i a a H3 H H X oT^MHa^acb CBoeo5pa3HbiM HblM OpHaM &HTOM. BapBupa >KEBA IIojtëHKOBa — ^cKopaTHE- KOHHKOBCKME KPy- C T H T L H C O C T O H T us Tpex 'lacTeíi: B nepeofl ' l a c n i aBTop onwcwBaer B03HHKH0BeHHe H pa3BHT«e KpyïKCBHoro MacrepcTBa B nepsow nojioBWHe X X B e s a ; eTopaa Macrb iiocBameua KpyatcBQM Kyjibroaoro H a 3 H a n e n u « , TpeTbHCOCTOHHWK) COBpeMCHIlOrO KpyïKeBHOrO IIPOI13B0ACTB3 lIJsecTM KpyaieBa CT&JÎH B Hanane X X B . B K O H S K O B C H H B O J K H H K C iiana^M y m n b s uiKOJiax BH3aTL npiO'iKoK. Ysopbi iiopsbix KpyjKCB KonMposajiHCb nu o0pa3t(aM orpacjiesbix îKypHaJiOB H nyOjiHKanwñ, rjiuBiibiM oôpa- 3OM BencKHx. PacnpocTpaHeHMeM y3opoB B flepesHSx 3aiiHMajiHCb yHHTejibHHqbi pyKOflejiba; o wx fleaTeabHOCTOl nOflpo5H0 I1HUJOT aBTOp HaCTOHIUeft CTaTbH. 247 �K nopBŁiM xpyaceBHtiM HSflejiHaw npMHajuieJKajiti HajioôHMKH ueuiHHcroix nermoB. riocTOneHHO accopraM C I I T KpyJKOBHblX W3flejlnfi MaHajï paCLUHpnTbCil M BHflOHSMGHHTŁCH. B MeîKBoeHHblH IîepïlOfl KOHSIKOBCKMe KpyjKeEHMHŁi C T 3 J I M njiecTM KpyHicaa n a npoflaacy. 3 T O 6b:jiH cajjtbeTKH, npouiBbi Rsin n o c T e J i Ł H o r o 6eJiba u T . ^ . OnwpaHCb Ha TpaflimnoHHwe ctoopiwbi ueuMHCKMx Henups, ö o j i e e cnoco&Hbie MacTepim.br pa3Hoo6pa3iijiM ysopbi H O BbiMH M 0 T H B 3 M H . TpaflHUHOHHHü HapoflHbiñ y3op B K.OHHKOBe •— 3TO paCTHTejIbHbIM OpHaMeHT: BHHOrpaflHbIC rpo3nbH, I1IH11IKH, HBOTbl (MJM. 6, 8, 14). B T o p a a MiipoBan sofiHa He noMemajia pa3BJMnio KpyJKeBKoro npoH3BüHCTBa. B Te ro^bi C T S J I M BbiflejiHTbCfl H n p H o ö p e r a T b H3BecTHOCTb Gojiee c n o c o ö H b i e n a c r e p u i(bi. n o c j i e BTopoii M H P O B O M B O M H W pa3BHTHK> K p y m e o Horo npoMSBOflcxBa 3Ha*inTeJibHo cnoco&CTBOBajio p a c i u n peMiie TypH3Ma. B 1949 r. oeiioBajiCH KOonepaTHB KpyHteBHMu, CaMOfi aLiflawnieficfl MacTepHneii 6i>ma Toraa MapMa r e a p K o s a . Bojiec c n o c o ö H b i e KpyJKeBHHUbi pa3BHaajtw TA coBepuieHCTBOBajiH y3apbi C B O H X vj3£e.iiîï&. K p y r noTDeÖMTejieii 3HSMHTejibHo D S C U I H D I Í J I C H : MHoro KT>V}KeB CTa™ 3arpaHHL(y. 3 T O T BHfl MacTepcTEa He TOJiBKO npHîiocMJi jtorrOjiHiriTejïbHLre ¿joxoflbij n o TaK5Ke cnocoScTBOBäji aHaMi'iTejiLHOMy yxpenjieiiHio CBÍÍ3M MejK^y eoceaaMH. BOK Ha pa3jlHHHMX laCTHX HapOflHbDt KOCTÏOMOBJ OHÎ1 n e p n a ^ H TaKHce y 3 o p b i H3 J K C H C K M X s c y p n a j i o s . Eojiee cnocoSHbie MacTepimu c o c T a s j i n ^ K coöcTBeHHbie inaGnoHbi. B o BTOpoii nacTM CBoeri paGoTbr asTop i r a m e o K p y s c e B a x KyjiBTOBoro HaaHaneHHH, KOTopwe HanaJiH njiecTii n o c j i e BTopoñ i i u p o B o ü B O Ü H W . B CBÎÎ3ÎI c pocTOM 3aK930B Ha OTH K p y m e B a ainorne KpysceBHimbi noKímyjiH KoonepaTMB. K O H H K O S C T S J I i^eHpoM BWfleJiKH K p y j K e a , B H B O J K H H K O M McTeSirafi Jimm, HeKOTopwe iKeHiyHHbi 3aiiïiMaJiMCb 9TJ1M. BBMfly yBejumeiyiH 3aKa30B sa Kpya t e s a K J I H j i n T y p r n i e c K M x u e j i e i ï cpeflw HïHTejiefi K o H a Koea B03HHK-7a KaTeropwH ToproBueB—nocpeflHHKOB. T o p r a a u b i pacnpocTpaiiHJiM KpyatGBa no Been crpaHe. O n w c b i B a a y3opbi n p y j i ï e B j i M T v p r m o c K o r o x a p a K T e p a , asTop o ö p a m a e T BHUMarote Ha asa sii^a KpyîKeB flan y s p a r u e n i i H KocreJibHoro 6cnbH: K p y m e a H w e n p o u i B b i COCTaBJIBHHb;e K3 MejIKHX 3JieHSHT0B B BHRe KpyiKOHKOB (HJia, 22), M ceinaHbix n p o i n a c ¡Ba3aHbiii K P K ^ I K O M y3oPOM. nepBbrä, ooaee c x a p u w Tiin KpyjKeB o n n p a e r c a Ha TpaRHUHonHbie y3opbt ienrtOB. y 3 o p b i Ha ceTnaTBix npouiBax M3oGpawiaioT jiMTyprH^ecKwe C H M B O J I B I : oôJiaTKH, KpecT, HHHiyiajiŁi X p H c r a u BorowaTepH. Y 3 o p w JiHTyp- B TpeTbew HacTii aBTop nwuiei o coBpeMeHHOM cocTonHTiH KpyaieBHoro npon3BOACTBa, oTcßpajKaH lUHpoKHii accopiMMeHT M3fteíiKñ, npHHopoaJieHHtix K Tpe6oBaHnaM KII^ieHTOB. KOHSKOBCKMe KpyjKeBHHUbl noAXBaibmaioT n ¡ o 6 y i o HHMi^MaMBy, HanpaBjieHHyio Ha 3aBoeBaHMe ptinKa CBOHMH H3ÄejtHHMM. O H K HaHaMH fleJiaTb BOpOTHH^lKH H iiaH»:eT Ł i K luiaTbHH, (HJIJI. 34), nep^aTKii, npouiBbi K SjiysKaM, a Tascase B ^ y s K H M ^ a a i e ™ a T b H . O H H C T B Ü H O H H T Ł BH33Tb CKaTepTH il cajldpÔTKH, KOTOpHie 6bUlM CTOJlb Mo^Hbi B MesíBoeHHbiíí n e p i í o f l . 3 T O T BHĄ npon3BOflCTBa flaeT KpyjKeBHHuaM B03M0JKH0CTb HenocpeflCTseHHO n p o flasaTb CBOH H3aejiiiH 6e3 n o M o m H ToproBHeB, T o p r o B i ł w coopyfliijiH nocToaHHwe najiaTKH c K p y jKesaMH Ha P M H K H X B lleuiHHe (MBJI. 37), BKCjie u C K O HOBe. L '4 XOTH y30pbl KOHHKOBCKHX KpyateB OÖOraTHJIHCb H0BblMK dpopMaMK, T O B C C IKe B OOmeíí CJÎOÎKHOCTH O H » COXpaHHIOT TpaflHL(HOHHbie MOTHBbl LfOUIHHCKIlX HenLJOB. IIpeoö^aflaiOT pacTHTe^bnue MOTiiBbi, CTOJib xapaKTepHe flJin HapoflHoro npHKjiaAHoro KCKyccTaa. EecKHflCKwe Kpysteaa no-npeÄHeiny aajiflioTCH Î K H B O H OTpaCJlblO HapOflHOTO HCKyCCTBa. T i rH^tecKHx 3MÖJieM BO3HWKJIM non BJIMHIIMCM ropofla; MX ISaBíiOajlH KpyjKKBHvmaM 3HKa3HllKtl. 3 J I H y30pOB C B O H X K p y a í e u r o p n i n í » satiMCTsuBajin UHor^a M O T H B H B M L U I I -5 Ii HOTO pofta K p y i K e s a njiejiw ^ J I H eßaHrejiHMecKMx n a c MOTHBbI XpenKO CBH3aHbI C Tpa^KtlMflMM u we nOflHMHHIOTCH rOpOflCKOMy BJIHHHMIO. B g r o ß n a c r w CBoeiï p a G o T t i a s T o p o n t i c b m a e r npwGopbt H MaTepwaji n34ejiMö, KacaflCŁ T a n a t e B o i i p o c a n p o flaSCH M flOXOflOB. OCHOBHbIMM MaTepjia^aMH, H3 KOTOpWX njieTyT Kpyaceaa, H B J I H I O T C H 6yMaacHbie H H T H M xpyneHbrñ uiejiK, opyAMon Tpy^a — K P K > H K H paöoTbr MecTHbix ropu,eB. ÜHorsa KpysteBHHi^bi nom>3yJOTCH KpioHKaMH, HMn0pTIipOBa«HbIMM H3 HeXOCJIOBaKHJl. TOPOB. A B T O P flOBOjibHo noflpoÖHO paccMaTpHsaeT npoojieiuy 3aTpaTbi Tpy^a H 3apa5oTKOB. B B M ^ y TOTO, MTO npoaaa î e o K p y j s e B 3aHMMaiOTCH ToproBUbi-nocpeAHHiCH, ypoaeHb aapaöoTKos KpyacesHMq 3acTaBjiHeT atejiaTb Jiynmero. B o Epeira jieTHero ce30Ha O H M aiponaioT C B O M H3fleju:ii Henocpe^cTBeHHo TypwdaM. KpyjKeBa p e j i n r n o 3 H o r o na3HaHeHn« npOflaiOT T O J I H K O ToproBUbi, KOToptie pas-beaHiaroT n o Been nojib'Uje. B nocjieflHHe r o f l b i cnopoc Ha 3TU K p y a i e B a yMeHbiiuracfl, nooKOJibsy KOCTeji noompaer öo^ee CKpoMHoe S e n t e c HeSoMbiuoií » W U I H B K O Ü , �CZASOPISMA INSTYTUTU SZTUKI P A N w y d a w a n e przez: P.P. WYDAWNICTWA ARTYSTYCZNE I FILMOWE B I U L E T Y N HISTORII SZTUKI, kwartalnik, 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 p ó ł r o c z n a 48 z ł . r o c z n a — 96 zł. POLSKA S Z T U K A L U D O W A , kwartalnik, 64 s t r . d u ż e g o formatu, 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 p ó ł r o c z n a 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 s t r . 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 p ó ł r o c z n a 36 z ł , r o c z n a — 7 2 zł. 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 e k ł a d y C e n a 18 zł, p r e n u m e r a t a p ó ł r o c z n a 36 z ł , r o c z n a — 72 z ł . Wszystkie meracie. czasopisma nabywać WARUNKI „POLSKIEJ można regularnie jedynie w nutowe. prenu­ PRENUMERATY 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 m i e s i ą c a p o p r z e d z a j ą c e g o okres p r e n u m e r a t y . terminie dc dnia 10 P r e n u m e r a t ę na k r a j d l a c z y t e l n i k ó w i n d y w i d u a l n y c h p r z y j m u j ą u r z ę d y pocztowe oraz listonosze. Czytelnicy i n d y w i d u a l n i m o g ą d o k o n y w a ć w p ł a t r ó w n i e ż na konto 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 W y d a w n i c t w „ R u c h " — W a r s z a w a , u l . W r o n i a 23. Wszystkie instytucje p a ń s t w o w e i społeczno m o g ą zamawiać prenume­ r a t ę w y ł ą c z n i e za p o ś r e d n i c t w e m Oddziałów i Delegatur „Ruch". C e n a p r e n u m e r a t y : p ó ł r o c z n i e z ł 36, r o c z n i e zł 72. C e n a p r e n u m e r a t y za g r a n i c ę j e s t o 4 0 % d r o ż s z a od c e n v p o d a n e j w y ż e j . P r z e d p ł a t y na t ę 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 p ó ł r o c z n e i r o c z ­ 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 W y d a w n i c t w Zagranicznych „Ruch" w W a r s z a w i e , u l . W r o n i a 23, za p o ś r e d n i c t w e m P K O W a r s z a w a , k o n t o n r 1-6-100024, t e l . 20-46-88. SPRZEDAŻ Egzemplarze n u m e r ó w zdezaktualizowanych m o ż n a n a b y w a ć w P u n k ­ cie W y s y ł k o w y m P r a s y A r c h i w a l n e j „Ruch", Warszawa, u l . Nowom i e j s k a n r 15/17 n a m i e j s c u , l u b n a z a m ó w i e n i e za z a l i c z e n i e m p o c z t o ­ w y m . K o n t o P K O N r 114-6-700041 V I I O / M W a r s z a w a . A k t u a l n e n u m e r y eyasooism I n s t y t u t u S z t u k i P A N oosiada O ś r o d e k RcLpowszechniania W y d a w n i c t w N a u k o w y c h P A N w P a ł a c u K u l t u r y i Nauki w Warszawie. Zakłady Graficzne „Tamka". Zakład Nr 2. W-wa, Podchorążych 39. Zam. 715, Pap. iiustr. ki. m . 120 g. B i \- karfon biały kl. tri. 220 g. Bi. Nnk). iwn «•?•/.. N - ' S �