https://zbiory.etnologia.uw.edu.pl/files/original/7525f41fa3fe7b80985bbd07ebb6aae6.pdf 0641bc65411961e581a68b1040883ba2 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:3539 Date A point or period of time associated with an event in the lifecycle of the resource 1980 Identifier An unambiguous reference to the resource within a given context oai:cyfrowaetnografia.pl:3316 Title A name given to the resource Summary of articles / Polska Sztuka Ludowa - Konteksty 1980 t.34 z.2 Description An account of the resource Polska Sztuka Ludowa - Konteksty 1980 t.34 z.2, s.127-128 Language A language of the resource pol. 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 S U M M A R I E S S U M M A R Y OF A l e k s a n d r a J a c h e r-T y s z k o w a — ICONO­ G R A P H Y OF T H E R E P R E S E N T A T I O N OF T H E VIR­ G I N OF C A N D L E M A S I N G R A P H I C A R T A N D FOLK PAINTING T h e Feast of t h e V i r g i n o f C a n d l e m a s (February, 2th) g e n e t i c a l l y c o n n e c t e d w i t h p u r y f i n g e n g r a v i n g s m Greek a n d R o m a n t r a d i t i o n on w h i c h t h e C h r i s t i a n feast o f t h e M e e t i n g w i t h S i m e o n ( G r e e k „ H y p a p a n t e " ) , c a l l e d p u r i f i c a t i o n or t h e P r e s e n t a t i o n was imposed. T h e i c o n o g r a p h y of t h e s u b j e c t w a s c h a n g i n g , f r o m t h e r e p r e s e n t a t i o n o f t h e V i r g i n w i t h C h i l d i n U;.e g r o u p of p e o p l e a c c o m p a n y i n g S i m e o n i n t h e T e m p l e , t h r o u g h exposing the f i g u r e of S i m e o n to separation of t h e V i r g i n as t h e Q u e e n o f H e a v e n . I n t h e 19th c e n t u r y p o p u l a r r e p r e s e n t a t i o n s t h e f i g u r e of S i m e o n d i s a p p e a r e d c o m p l e t e l y ; r e m i n d o n l y t h e a t t r i b u t e s of t h e P r e s e n t a t i o n — p i g e o n s i n a b a s k e t a n d a censer ( r e d u c e d m o t i f of t h e T e m p l e ) . The folk variations resulted f r o m the t r a n f o r m a t i o n s of g u i l d p a i n t i n g s . A n u m b e r o f p a i n t i n g s f r o m t h e 2 n d h a l f of t h e 19th c e n t u r y h a v e b e e n f o u n d i t ! t h e v i l l a g e s i n t h e C r a c o w area. T h e y a r e n o t s i g n e d . I t is o n l y t h e c e n t r a l l y p l a c e d , h i e r a t i c i m a g e of t h e V i r g i n w i t h C h i l d in swaddling-bands and a b u r n i n g candle t h a t remained f r o m the iconographie p r o g r a m m e of t h e M e e t i n g w i t h S i m e o n . T h e c a n d l e c a l l e d C a n d ­ l e m a s is a d o r n e d b y a b o u q u e t o f f l o w e r s . T h e h e a d o f t h e V i r g i n is e n c i r c l e d b y t h e c r o w n of s t a r s o r flowers. T h e r e m a i n i n g a t t r i b u t e o f c a n d l e is c o n n e c t e d w i t h its r o l e i n rites and magic. I n Poland, the candlemas w a s u s e d i n r i t u a l p u r i f i c a t i o n of w o m e n a f t e r d e l i ­ v e r y a n d i t w a s l i t a t t h e b e d of t h e d y i n g i n o r d e r to secure God's W i l l . M o r e o v e r , i t was b e l i e v e d t h a : the candlemas protects against wolves and lighting?. I t was u s e d also t o , , c h a r m a w a y " a n i l l n e s s , t o c u r e c a t t l e a n d p e o p l e of t h r o a t a c h e . I t s usage w a s e x t e n ­ ded to w e a t h e r and h a r v e s t d i v i n a t i o n ; after a l l , the feast o f t h e V i r g i n o f C a n d l e m a s w a s i t s e l f o f a d i v i n a t i n g character. W h i l e t r a c i n g t h e e v o l u t i o n of t h e s u b j e c t i n g u i l d p a i n t i n g a n d i t s f o l k v a r i a t i o n s t h e a u t h o r m a k e s use of i l l u s t r a t i v e m a t e r i a l analysing p a r t i c u l a r represen­ tations. K r z y s z t o f K u b i a k CHRIST'S G R A V E — GUARD HELD AT T h e c u s t o m of c o n s t r u c t i n g C h r i s t ' s G r a v e durinç E a s t e r is v e r y p o p u l a r i n P o l a n d . I n n u m e r o u s v i l l a ­ ges, f r o m G o o d F r i d a y t i l l t h e R e s u r r e c t i o n s e r v i c e , g u ­ ards, called sometimes the „Turks", are h e l d at Christ's g r a v e . T h e g u a r d s , u s u a l l y o r g a n i s e d as m i l i t a r y u n i t s commanded m o s t f r e q u e n t l y a n o n c o m i s s i e n t of t h e reserve, wear d i f f e r e n t u n i f o r m s a n d c a r r y d i f f e r e n t arms. T h e descriptions of t h e g u a r d s ' costumes a n d t h e i r d r i l l w e r e p u b l i s h e d i n t h e „ W i s ł a " a t t h e e n d of t h e 19th c e n t u r y . T h e o r i g i n of t h i s c u s t o m r e m a i n s u n k n o w n , a l ­ t h o u g h i t s r o o t s c a n be s o u g h t i n t h e E a s t e r m i r a c l e plays, i n the r i t u a l s of t h e D i v i n e G r a v e O r d e r , or i n t h e legends connected w i t h t h e T a r t a r i n v a s i o n ( i n m a n y a v i l l a g e t h e g u a r d s ' c o s t u m e s r e m i n d of o r i e n ­ t a l dress). I t m a y be a case o f a s y m b o l i c t r a n s f e r of t h e t i m e a n d space of t h e R e s u r r e c t i o n i n t o t h e t i m e a n d space i n w h i c h t h e m i r a c l e p l a y w i t h t h e p a r t i ­ c i p a t i o n of t h e g u a r d s is t a k i n g p l a c e . A c t u a l l y t h e u n i t s m o s t f r e q u e n t l y dress u p i n t h e f i r e b r i g a d e u n i f o r m s or t h e y w e a r costumes r e m i n ­ d i n g o f t h e u n i f o r m s f r o m t h e t i m e s o f t h e Kościuszko Insurrection, the Warsaw Duchy, the November Upri­ s i n g o r t h e R e v o l u t i o n of 1848. T h e d r i l l d e p e n d s on t h e l o c a l t r a d i t i o n a n d so does t h e n u m b e r o f t h e g u a r d s w h i c h v a r i e s f r o m 12 to 60 people. Colourful descriptions, both the contemporary and h i s t o r i c a l ones, c o m e m a i n l y f r o m t h e R z e s z ó w d i s t r i c t . I t is also k n o w n t h a t t h e y o c c u r r e d i n t h e d i s t r i c t s o f Łódź a n d Cracow, i n M a z o v i a a n d Samogitia. © P E 3 K D M E ARTICLES B a r b a r a B a z i e 1i c h — FOLK EMBROIDERY ON PARTS OF REGIONAL COSTUMES (SOME RE­ MARKS AFTER THE COMPETITION IN TORUN); A l e k s a n d e r B ł a c h o w s k i — R E M A R K S ON THE REVIEW OF THE COMPETITION OF F O L K EMBRO­ IDERY I 1977 t h e E t n o g r a p h i c M u s e u m i n T o r u ń o r g a n i ­ sed t h e a l l - P o l i s h o p e n c o m p e t i t i o n o f f o l k embro­ i d e r y , t h e a i m of w h i c h w a s , a m o n g o t h e r s , t o l e a r n a b o u t t h e l e v e l o f p r e s e r v a t i o n of t h e t r a d i t i o n of t h e a u t h e n t i c f o l k e m b r o i d e r y . I n t h a t respect, t h e c o m p e ­ t i t i o n concerned o n l y t h e e m b r o i d e r y o n t h e parts of costumes, whereas a l l t h e a d a p a t a t i o n s m a d e on the basis o f t h e r e g i o n a l e m b r o i d e r y f a s h i o n o n t h e d e ­ m a n d of t h e t o w n p o p u l a t i o n w e r e n o t t a k e n i n t o consideration. T h e d i s c u s s i o n of t h e c o m p e t i t i o n r e s u l t s b y B . B a ­ zie] i c h is p r e c e d e d b y a b r i e f c h a r a c t e r i s t i c s o f t h e embroidery, both occurring and declined, typical for v a r i o u s r e g i o n s o f P o l a n d ( K a s z u b y , K u r p i e , Puszcza Biała, W i l a n ó w n e a r W a r s a w , t h e d i s t r i c t s of: Ł o w i c z , Rawa, Opoczno, Piotrków, Żywiec, Cracow, Biłgoraj, Lasowiec, L i m a n o w a , Łąck, Szczawnica, a n d i n Silesia, P o d h a l e , Spisz, O r a w a ) . T h e e x h i b i t s o n l y p a r t i a l l y r e ­ presented the old and contemporary e m b r o i d e r y of p a r ­ t i c u l a r regions. M o s t of the w o r k s came f r o m K u j a w y , whereas the fewest were f r o m t h e Sieradz and C r a ­ cow districts. T h e e m b r o i d e r y f r o m the Łowicz area w a s p a r t i c u l a r l y s u m p t i o u s i n r e g a r d to t h e f o r m , t e c h ­ n i q u e a n d colours. Though the competition proved that the embro­ i d e r y s k i l l has not c o m p l e t e l y disappeared i n P o l a n d i t d i d n o t g i v e a c o m p l e t e o r i e n t a t i o n i n t h e l e v e l of p r e s e r v a t i o n of t h e t r a d i t i o n a l e m b r o i d e r y o n p a r t s of t h e f o l k costumes. I t w a s A. Błachowski, t h e d i r e c t o r of t h e E t h n o g r a p h i c M u s e u m i n Toruń a n d i n i t i a t o r of t h e c o m p e t i t i o n , w h o o p p o s e d t h i s p o i n t of view. A c c o r d i n g to h i m the competition enabled the estima­ t i o n of t h e p r e s e n t l e v e l of t h e f o l k e m b r o i d e r y . I t also o f f e r e d a n o p p o r t u n i t y t o p r e s e n t t h e s k i l l a n d a b i ­ l i t y of c r e a t r e s , n o t y e t i n c l u d e d i n t h e o f f i c i a l l i s t s , i t r e v e a l e d t h e e x i s t e n c e of t h e g e n e r a l l y u n k n o w n , b u t still v e r y a c t i v e centres of t h e t r a d i t i o n a l e m b r o i d e r y , s u c h as Sławsko W i e l k i e i n K u j a w y . F u r t h e r m o r e , i t r a i s e d i n t e r e s t of m a n y c r a f t s m e n i n t h e a l m o s t d e c l i ­ ned e m b r o i d e r y , a c h i e v i n g t h u s a n i m p o r t a n t d i d a c t i c aim. A . B ł a c h o w s k i p o s t u l a t e s p o p u l a r i z a t i o n of e m b r o ­ i d e r y i n r e g i o n a l costumes by o r g a n i s i n g c o m p e t i t i o n s a n d also b y t e a c h i n g t h e p r i n c i p l e s o f c o m p o s i t i o n , as w e l l as t h e d e s i g n of t h e o r n a m e n t s a n d a e s t h e t i c c r i ­ t e r i a i n s t e a d of d u p l i c a t i n g t h e s c h e m a t i c p a t t e r n s . H e also advises to d e f i n e t h e f o r m a l l i m i t s p r e v e n t i n g t h e authentic e m b r o i d e r y f r o m its optional m o d i f i c a t i o n , v u l g a r i z a t i o n a n d d e f o r m a t i o n for t h e a t r i c a l purposes. I. Ł o p u s z a ń s k a — ROŻA CIOŁCZYK, SCULPTRESS FROM B Y C Z Y N A UNKNOWN Róża Ciołczyk f r o m B y c z y n i a ( K a t o w i c e d i s t r i c t ) is t h e o n l y w o m a n k n o w n to have occupied herself w i t h s c u l p t u r i n g . She w a s b o r n i n 1847. S h e e a r n e d h e r l i ­ v i n g b y s e w i n g , e m b r o i d i n g corsets a n d s c u l p t u r i n g : she h a d no h e r o w n h o u s e h o l d . She s c u l p t u r e d f i g u r e s o f s a i n t s i n l i m e w o o d a n d t h e y r a n g e d f r o m t i n y t o s e v e r a l m e t r e ones. She used s m a l l k n i e v e s a n d i t w a s her u n c l e , a w h e e l w r i g h t , w h o h e w e d b i g g e r b l o c k s f o r her. She based her w o r k s o n t h e i l l u s t r a t i o n s f r o m t h e p r a y e r b o o k s . She s o l d h e r s c u l p t u r e s t o B y c z y n a p e o p l e ; some of t h e f i g u r e s w e r e also p l a c e d i n n u m e r o u s c h u r c h e s a n d w a y s i d e c h a p e l s i n t h e area. O n l y f o u r f r o m a m o n g t h e supposed s e v e r a l do­ zens o f h e r s c u l p t u r e s h a v e been p r e s e r v e d . T h e y . a r e three big p o l y c h r o m e chapel figures representing in a realistic m a n n e r Christ, saint John Nepomucen and the V i r g i n of Rosary. 127 I �P E 3 I O M E A j i e K c a H f l p a flxep-TbiniKOBa — HKOHOrpA<Z>MK M 3 0 E P A J K E H K H rPOMHMHHOH B O r O M A T E P U B H A P O ^ H O H r P A 4 > M K E H XíMBOnMCM TIpa3flHHK rpOMHMHHOÍÍ BoroMaTepM, OTMeHaeMbljá 2 (peBpaíia, reHeTHHecKM C B H 3 a H c p w T y a J i O M OHwmeHMH B rpeneoKMx H PMTCKMX TpaflHqHHx, MecTO KOTOporo 3aHHji xpncTMaHCKMH npa3flHMK B c T p e n M M u c y c a X p n C T a c C J Í M B O H O M ( r p . „ H y p a p a n t e " Ha3biBaeMbiíi OiK^MMeM HJIH BcTpeHeií B CBHTbiHe. MKOHOrpadpMH TeMbí nocTeneHHO M3MeHanacb OT n p e a c T a B j i e H H a E o s c H e i t Marepu c MJia^eHqeM B r p y n n e Jinq, conpoBOJKflaiOLqMx CiJMeOHa B CBHTbiHe 3 0 BbiflBMjKeHHH Ha nepBbiíi n j i a H dpwrypbi C w M e o H a MJIH sce B b i f l e J i e H M a CBHTOÍÍ M a p M M , KaK I I , a p w q b i HeSecHoü. ¡B n o n y j i H p H b i x jraoGpaJKeHMHx fleBaTHaflqaToro cpMrypa CuMeoHa oTcyTCTByeT, o c T a j i H C b TOjibKo TBetLHbie aTpn6yTbi — ('COKpameHHblíí MOTWB rojiy6,n B Kop3MHKe n BeKa xcep- Kaflmio CBflTblHM). HapoflHbie B a p M a H T b i BO3H.MKJIH n y T e M npeTBopeHua q e x o B b i x o 6 p a 3 0 B . Pa,n o 6 p a 3 0 B BTopoií nojiOBUHbi XIX BeKa 6 b i j i o6HapyaceH B n o f l K p a K O B C K H X flepeBHax. 06pa3a He noflnKcaHbi. M 3 HKOHOrpacpKHecKOü nporpaMMbí B c T p e i M XpiíCTa c CUMBOHOM ocTajiacb j u n a noiuerueHHafl B u e H T p e n e p a T H H e c K a a r p n r y p a BoxneH MaTepM c 3anejieHaTbiM MJiaaenqeM B OAHOÍÍ p y x e M ropameft OBeíoíi B flpyroíí. 3 T a Ha3biBaeMaa rpoMHHqeü CBena y K p a m e H a S y K e T O M qBeTOB. H a rojiOBe E o r o i n a T e p n BeHeq T M3 S B e 3 3 J I M 6 0 q B e T O B . CoxpaHHBLUKÍÍCH a T p w 6 y T C B C H H 0BH3aH, BepOHTHO, C pOJIbK), K O T O P y W OHa MCnOJIHWeT B o6p«flHocTH M MarMM. B n o j i b L u e r p o M H H U b i ynoxpeSj i a J i n c b A J I H p M T y a j i b H - o r o OHMmeHWH H c e n r u H H n o c j i e p o flOB, H X 3 a j K n r a n w y jioJKa y M H p a r a i q e r o A J I H C H U C K a H K a eiuy noMiMOBaHHfl; BepujiM, HTO C B e i n oSeperaiOT OT M O J I H U Ü VL B O J I K O B . C B e H K CJTyJKHJIH JlJIfl „ 3 a r o B a p n B a H i n a " 5ojie3HeH, j i e i e H M f l HMiíbi ra^ajiii o cKOTa, 6O.JIK r o p j i a . C norofle M ypoacae. 3 A H H K rpOMHUHHOíí B o r O M a T e p u K BOpOHtBbl. noMonrbio BurponeM caía HOCHJI x a p a K T e p rpoiunpa- raflaHKü M o c j i e f l y a siBOJiioqHio onMCbíBaeMOH TeMaTMKM B q e X O B O M x H s o n n c H YÍ e e H a p o f l H b i x B e p c H a x , aBTOp n o j i b 3yeTCH MJiJiíocTpaTitBHbiMM MaTepjianaMH, aHa;rai3npyeT OTflejibHbie npeflcraBneHMa. K m M íij T o cp K y 6 a K — CTPAJKA Y TPOBA XPMCTA CnACMTEJIH B riojibixie oneHb nonynapeH oSbinafí coopyxaTb B nacxajibHbiM nepwofl r p o 6 X p n c T a . B o M H O m x MecTH O C T a x Ha npoTHjKeHHin BepBnoíí n e f l e j u í s n j i O T b flo n a c xaJibHOfi 3 a y i p e H H y rpofia CTOHT C T p a K M , Ha3biBaeMbie MHOÍÍ p a 3 „ T y p K a M M " . C T p a s c y o p r a H H 3 y M T o6biHHO no o6pa3u.y B o e H H O r o OTpflfla, B 0 3 r n a B n a e M o r o l a m e ecero cepjKaiiTOM H 3 3 a n a c a . C x p a s c a o ^ e T a H B O o p y j K C H a n o pa3H0\ry. O f l e j K a y M MyuviTpy cTpascefí onwcbíBajia B K O H ue npOLujioro BeKa „ B M c J i a " . O r a y ^ a nponcxoflMT 3TOT o B b i H a ü H e M 3 B e c T n o . I l p e f l n o j i a r a j i o c b , H T O OH S e p e T CBOe H a n a a o B apeBHinx B e j n i K o n o c T H b i x M H C T e p u a x , B o 6 b i HMHX Op^eHa xpaHMTejieií r p o 6 a Pocnosa Bora, JIM6O B j i e r e H f l a x , CBH3aHHbix c HamecTBiiflMM TaTap (BO M H o r H x M e c T H O C T s x o f l e j K ^ a c r p a s c e ü OTjiüHaeTca o p w e H T a ^ b H b i M x a p a K T e p o M ) . BOSMOHCHO, HTO a r o c B H 3 a n o c n e p e M e n i e raHeia s p e i n e u M M M e c T a B o c K p e c e H M a X p n c r O B a B O B p e MeHa H TeppHTopwM, r«e nponcxoaaT MUCTepun c y n a CTMein CTpasceíi y r p o 6 a . B Hble H a n j M flHM C T p a s c M l a m e B c e r o o ^ e T b i K a K n o s c a p J I H 6 0 B M y H f l M p b l BpOMOH K o C T K J L U K O B C K O r O B O C C T a - HHH, B a p u i a B C K O r o K H a s c e c T B a , HoflSpbCKOro BOccTaHMH MJIM a t e B e c H b i HapoflOB. M y m r p a saBMCMT O T MecTHOfí TpainMi^MM, HMCJio c T p a x e ü TaKHíe (OT 12 flo 60 HeJiOBeK). KpacoHHbie onMcaHwa SToro o6biHMa, paBHO flaoHue, KaK ti coBpeMeHHbie n p o M c x o a a T r j i a B H b i M oCpasoia n 3 XíeiUOBlUMIibl. M 3 B e C T H 0 , HTO C T p a H C H C y m e C T B O B a j I K T 3 K S í e B JIOfl3MHCKOM, M a S O B e i J K O M , yKMyfl'CKOM H K p a K O B CKOM p a i í O H a x . 128 B a p 6 a p a B a 3 e JI M x — HAPO/tHblE BblUJllBKM PErMOHAJIBHOrO HAPHflA (3AMEHAHMH nOCJIE KOHKYPCA B TOPyHE); A j i e s c a H í P E i a x o B - C K H — B C B H 3 H C PEIIEH3I4EÍ1 O H A P O i l H b l X BBIUIMBOK TopyHbCKMpí 3THOrpaopH !eCKMÍí T B 1977 T. 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