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Title
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Summary of articles / Polska Sztuka Ludowa - Konteksty 1990 t.44 z.3
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Description
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Polska Sztuka Ludowa - Konteksty 1990 t.44 z.3, s.71-72
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Date
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1990
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Format
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application/pdf
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Identifier
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oai:cyfrowaetnografia.pl:2125
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Language
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pol.
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Publisher
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Państwowy Instytut Sztuki
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Relation
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oai:cyfrowaetnografia.pl:publication:2290
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Text
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SUMMARY
Grzegorz
Olesiak,
OF
I M A G E OF A "LITTLE H O M E L A N D " .
THE M O R P H O L O G Y OF A N IDEAL W O R L D
ARTICLES
Volksgeisl,
the m a n o r - h o u s e w a s of pure Polish descent, e n c o m
passing w i t h i n its w a l l s a " p r i v a t e h o m e l a n d " a n d e m b o d y i n g t h e
A c c o r d i n g t o the considerations of S t a n i s ł a w O s s o w s k i a n d
spirit of Polish nationality. In v i e w of t h e s e c o n d o n e , t h e
Stanisław Vincenz, h o m e l a n d is a n o t i o n associated w i t h t h e
m a n o r - h o u s e w a s of c o s m o p o l i t a n o r i g i n t o be i d e n t i f i e d in t h e
g r o u p ' s subjective p e r c e p t i o n of reality. E m b o d i e d in images, the
1 9 t h century even w i t h the architecture of Poland's alien a n -
n o t i o n is t h u s close t o t h o s e of m y t h a n d s y m b o l . F o l l o w i n g
nexers. In the
O s s o w s k i , t h e a u t h o r makes a d i s t i n c t i o n b e t w e e n the i d e o l o g i c a l
s u p p o r t e d by e v o l u t i o n i s m (idea of progress) a n d f a s h i o n for
and private (little) h o m e l a n d . T h e first one w a s initially c o n e c t e d
folklore. T h u s , t h e m a n o r - h o u s e w a s t o be a c o n t i n u a t i o n of t h e
19th
c e n t u r y the first c o n c e p t i o n
was
also
w i t h the image of a certain n a t i o n as a g r o u p t o be derivately
peasant's hut, w h i c h s t e m m e d directly f r o m the Piasts architec
c o n n e c t e d w i t h a certain areas, territory. The images of a little
ture (typically Polish w o o d e n architecture: hut - m a n o r - h o u s e
h o m e l a n d are analysed o n the basis of diaries and folk poems. It
- c h u r c h ) . A n d it w a s the literature of the R o m a n t i c i s m t h a t had
takes t h e shape of a " c o u n t r y of one's c h i l d h o o d " t o w h i c h no
primary s i g n i f i c a n c e in creating a m y t h of t h e m a n o r - h o u s e s '
return is possible (Cz. M i ł o s z ) . A specific space, it is a l w a y s
homeliness. This c o n f i r m s J . J e d l i c k i ' s thesis that m o d e r n Euro
saturated w i t h events, sacralized ( s u c h elements as a c h u r c h or
pean nations are the creation of poets a n d ideologists. T h e
bells are f o u n d in d e s c r i p t i o n , w h e r e the paradisecharacter of this
mechanisms of this m y t h i z a t i o n are analyzed in t h e article.
space is e m p h a s i z e d ) , a n d associated w i t h Providence. M o r e o
ver, the image of M a n ' s natural state, his relation w i t h l a n d is
d e v e l o p e d . A natural m a n is associated w i t h G o d , a n d nature
itself takes t h e shape of a b o o k of d o v i n e w i s d o m . The o p p o s i t i o n
b e t w e e n t h e c o u n t r y s i d e a n d t h e t o w n (nature - c u l t u r e ) appears
w i t h the first element evaluated positively.
Ryszard
P r z y b y l s k i , FORGE O F A M Y T H
The difference b e t w e e n here a n d there, b e t w e e n h o m e ( s t a b i l i
ty, means of existence) and a p a r t m e n t (temporariness) helps t h e
author describe t h e e m i g r a n t s ' flats. He focuses his a t t e n t i o n o n
Fryderyk C h o p i n ' s and J u l i u s z S t o w a c k i ' s apartments, p r e s e n t i n g
the attempts t o " t a m e " t h e m a n d t r a n s f o r m i n t o a h o m e . C h o p i n
Jerzy
Bartmiński,
H O M E L A N D IN P E A S A N T S '
SONGS
w a s deeply c o n s c i o u s of t h e association b e t w e e n a h o m e a n d
In f o l k Polish t h e n o t i o n of h o m e l a n d had a different course of
t h e p u b l i c one, w h i c h t h r o u g h its f u r n i s h i n g , d e c o r a t i o n , a n d
AND POEMS
one's character. The place he lived w a s d i v i d e d i n t o t w o spheres:
d e v e l o p m e n t t h a n in t h e general l a n g u a g e . Never has the link
guests c o u l d be called a T e m p l e of t h e Aristocracy of t h e Spirit,
b e t w e e n t h e n o t i o n s of h o m e l a n d and father's l a n d , p a t r i o m o n y ,
a n d private one, he himself referred t o as a " l a i r " .
been b r o k e n . T h a t is w h y h o m e l a n d is of greater s i g n i f i c a n c e in
the f o l k l a n g u a g e , f u n c t i o n i n g as a " l i t t l e h o m e l a n d " ( S . O s s o w
ski, C z . M i ł o s z ) . Paradoxically, in f o l k songs c o l l e c t e d by Oskar
Kolberg in t h e 1 9 t h century, the usage of t h e w o r d " h o m e l a n d " in
its general m e a n i n g
is far more popular.
For h o m e l a n d
as
a p a t r i m o n y appears o n l y t w i c e . This can be explained t h r o u g h
the analysis of the texts since almost all the s o n g s w e r e s u n g by
Kosciuszko's troops, Pilsudzki's legions, a n d the
insurgents.
Similary, in later s o n g s a n d p o e m s t h e n o t i o n of h o m e l a n d is used
in its general
meaning.
Homeland
often
appears as
being
threatened by external enemies a n d requires b l o o d sacrifice,
whereas in peace t i m e it d e m a n d s one's w o r k . In b o t h cases w e
can f i n d the s y m b o l of t h e scythe, a t r a d i t i o n a l peasant's w e a p o n
and o n e of the essential f a r m i n g t o o l s at the same t i m e . In more
Aleksander
J a c k o w s k i , M A R G I N A L NOTES
The purpose of the c o l u m n is t o present causeries, miniessays
based o n the author's memories a n d reflections. A sort
of
a n o t e - b o o k , it tells a b o u t the events w h i c h , t h r o u g h interesting
themselves, are t o o i n d i v i d u a l a n d personal t o f i n d any g e n e r a l i
zation in an article. Like the w h o l e issue, t h e present remarks
c o n c e r n h o m e . T h e author answers t h e q u e s t i o n w h e t h e r h o m e
has a heart. He also m e n t i o n s various examples of h o w h o m e c a n
be regarded, e.g.home - v i s i t i n g card ( d e s c r i p t i o n of t h e s o - c a l l e d
" M a l b o r k s " , a r c h i t e c t o n i c f a s h i o n f r o m S u w a ł k i ) , h o m e as t h e
expression
of
its creator's
personality,
home
of
life,
home
- ideology.
recent p o e m s w e c a n also c o m e across a d e v e l o p e d m y t h of l a n d ,
the holy l a n d , the land - mother, and c o n s e q u e n t l y , of h o m e l a n d ,
patrimony, sanctified t h r o u g h its e m b o d i m e n t i n t o the sacral
conception of the w o r l d order, w h o s e t o p o g r a p h y is g o v e r n e d by
the semiotic rules of the m y t h i c a l space.
Eleonora
B e r g m a n , THE Z A D D I C K ' S C O U R T IN KOCK
A n extraordinary person, M e n a c h e m M e n d e l
Morgensztern
( 1 7 8 9 - 1 8 5 9 ) w a s referred to as a zaddick of t h e g e n e r a t i o n by the
Hasidim. His c o u r t in Kock ( L u b l i n district) is described o n t h e
g r o u n d s of the detailed analysis of its c o n s t r u c t i o n . N o d o c u
Grażyna
Wianecka,
MARIA
KOZLOWA'S
LIFE
AND
ments c o n c e r n i n g its c o n s t r u c t i o n (alteration) have been preser
v e d . Moreover, t h e date of its c o n s t r u c t i o n is d i f f i c u l t t o deter
ACTIVITY
Maria K o z ł o w a nee W i ę c e k w a s b o r n in 1 9 1 0 in a peasant
family of a l o n g t r a d i t i o n of social and political activity (her father
was even a senator in t h e p r e - w a r P o l a n d ) . B r o u g h t u p in s u c h
mine, for the c o u r t
had
no stylistic
dominant,
the
feature
characteristic of J e w i s h architecture. T h e b u i l d i n g ranks a m o n g
most interesting examples of t h e k i n d in P o l a n d .
a patriotic t r a d i t i o n , she became a social a n d cutural activist.
A selection of her poems ( w i t h Jerzy Bartminski's i n t r o d u c t i o n )
R y s z a r d C i a r k a , A H O L Y P I C T U R E IN A GREY B L O C K O F
about her native village of M a c h ó w neai Tarnobrzeg, w h i c h w a s
FLATS ( A SKETCH TO A F I L M S C R I P T )
destroyed in 1 9 6 9 o w i n g t o the c o n s t r u c t i o n of a s u l p h u r plant, as
In Poland the c u s t o m of t h e peregrination of a holy picture of
Well as her life history w r i t t e n by Grażyna W i a n e c k a are p u b l i s h e d
Our Lady of C z ę s t o c h o w a can be observed. T h e present text
'n the present issue.
( t h o u g h t of as a sketch t o a f i l m script) s h o w s the c u s t o m o n the
example of a big c o m p l e x of blocks of flats ( W a r s a w - B r ó d n o ) . In
MANOR-HOU
the d e s c r i p t i o n w e read a b o u t t h e c o n t a c t of the holy picture w i t h
SE...", T H A T IS A B O U T M Y T H I Z A T I O N IN S C I E N C E S O N C E
t h e sphere of p r o f a n u m - a n e g l e c t e d , dirty staircase that b e l o n g s
AGAIN
to nobody.
Marta
L e ś n i a k o w s k a , "I A M A POLISH
It was already
in the 1 7 t h a n d 1 8 t h centuries that
two
contradictory o p i n i o n s a b o u t the o r i g i n of the m a n o r - h o u s e w e r e
^ p r e s s e d . The c o n f l i c t b e t w e e n the t w o w a s gradually g r o w i n g
tc
A n t o n i P e l c z y k , IN S E A R C H O F T H E S Y S T E M S O F P R O
P O R T I O N S IN FOLK A R C H I T E C T U R E
> reach its a p o g e e in the 1 9 t h - a n d 2 0 t h - c e n t u r y literature o n the
In the so far research in folk architecture the q u e s t i o n of the
subject. In v i e w of t h e first one, based o n Herder's c o n c e p t i o n of
p r o p o r t i o n of t h e b u i l d i n g ' s b o d y has been almost c o m p l e t e l y
71
i g n o r e d , c o n c e n t r a t i n g o n their t y p o l o g y a n d regionalization. T o
above rituals the creationist value of t h e s y m b o l i s m associated
discern t h e relationship b e t w e e n particlar elements of t h e c o n s t
w i t h h o m e , the reference t o the story a b o u t t h e creation of the
r u c t i o n may, in t h e author's o p i n i o n , be of s o m e h e l p t o learn t h e
w o r l d , are also discussed. T h e a u t h o r s p o i n t o u t t o t h e rule " p a r e
rules d e t e r m i n g a r c h i t e c t o n i c f o r m s . T h e analysis of a r o u n d 3 0 0
pro t o t o " , that governs t h e s y m b o l i s m of h o m e in particular
b u i l d i n g s ( l a y - o u t , p r o p o r t i o n b e t w e e n the b u i l d i n g ' s h e i g h t a n d
c u s t o m s , beliefs, a n d rituals. T h e s y m b o l i c image of h o m e is
its l e n g t h a n d w i d t h ) enabled h i m t o perceive c o n s t a n t p r o p o r
c o n d e n s e d in s u c h elements as a t r e s h h o l d , corner, holy corner,
t i o n s . T h e above studies can also have s o m e partical m e a n i n g
table, w i n d o w , door, stove, etc. In t h e s e c o n d part of t h e article
(e.g. r e s t o r a t i o n ) .
the a u t h o r s w i l l analyse other s y m b o l i c d i m e n s i o n s of home
recorded in f o l k t r a d i t i o n like " h o m e as a n t r o p o c o s m o s " , " h o m e
Danuta Benedyktowicz, Zbigniew
Benedyktowicz,
a n t r o p o m o r f i z a t i o n " , " h o m e - tree of l i f e " , " h o m e - f a m i l y " ,
" h o m e - place of t h e souls of t h e d e a d " , " h o m e - g r a v e " , " h o m e
H O M E S Y M B O L I S M IN FOLK T R A D I T I O N (I)
T h e a u t h o r s analyse the n o t i o n of h o m e as a peculiar a n t h
- demonic space".
r o p o l o g i c a l category (C.Levi-Strauss, J . Ł o t m a n , Yi Fu T u a n ' s
h u m a n i s t i c g e o g r a p h y ) , a key t o u n d e r s t a n d c u l t u r e . F o l l o w i n g
A . K. B a j b u r i n ,
s u c h scholars as M.Eliade, G.van der L e e u w , a n d G. Bachelard,
TURE OF THE SLAV B U I L D I N G RITUAL.
ON THE DESCRIPTION OF THE STRUC
t h e y reconstruct a s y m b o l i c structure of t h e peasant's h o m e
T h e ritual of b u i l d i n g can serve as a m o d e l example of man's
preserved in f o l k t r a d i t i o n . H a v i n g presented t h e so far for
a d a p t a t i o n of space, presenting a n u m b e r of analogies t o the
m u l a t i o n s of t h e s y m b o l i c d i m e n s i o n s of h o m e ( M . E I i a d e ' s h o m e
c o s m i c tree (creation of the w o r l d ) . T h e a u t h o r is of the o p i n i o n
in t h e " s y m b o l i s m of t h e c e n t r e " , G.Bachelard's oniric experience
that the ritual is inseparable f r o m t e c h n o l o g y , their resembing that
of h o m e , H.Heidegger's existential experience of h o m e )
the
of c o n t e n t plane a n d expression plane. It is precisely t h e ritual that
a u t h o r s reconstroct t h e m e a n i n g s a n d essential s y m b o l i c m o t i f s
gives sense t o an object. Successive stages of b u i l d i n g f r o m the
associated w i t h t h e space of the pesant's h o m e o n t h e g r o u n d s of
c h o i c e of t h e place t o t h e c o n s t r u c t i o n of t h e roof a n d semiotiza-
e t h n o g r a p h i c sources f r o m the e n d of t h e 1 9 t h a n d t h e b e g i n n i n g
t i o n of the house at the same t i m e are analysed here. T h e ritual of
of t h e 2 0 t h centuries. A folk a p o c r y p h t e l l i n g a b o u t t h e creation of
house b u i l d i n g consists of three parts: c o n s t r u c t i o n of the first
t h e w o r l d is analysed t o see h o w the m o t i f s of " h o m e - heavenly
c u r b - p l a t e a n d sacrifice (also t h r e e - p a r t i t e ) , c o n s t r u c t i o n of
p a l a c e " , " h o m e - paradise", " h o m e - p u r g a t o r y " , " h o m e - h e l l " ,
a roof b e a m , a n d , finally, c o n s t r u c t i o n of t h e roof, this t h r e e - f o l d
" h o m e - u n i v e r s e " are c o n t i n u e d a n d d e v e l o p e d in the s y m b o l s ,
character h a v i n g analogies t o all the processes of creation. The
rituals, a n d beliefs associated w i t h selecting t h e d w e l l i n g place,
process of house b u i l d i n g is associated w i t h t h e d i v i s i o n of space
its c o n s t r u c t i o n a n d settling d o w n in it. This part of t h e reconst
i n t o external ( n o n - d i f f e r e n t i a t e d ) and internal ( f o u r - w a l l e d w i t h
r u c t i o n concers the f o l l o w i n g s y m b o l i c motifs: " h o m e - univer
its centre a n d upper permeable limit - t h e sky as the roof of the
se", "home - w o r l d " , "home - field", "home - farm", "home
w o r l d ) . T h e separated space is n o t o n l y s e g m e n t e d b u t also
- w o r d " , " h o m e - b r e a d " , " h o m e - place of t h e S a i n t s " , " h o m e
associated w i t h t h e system of m e a n i n g s that f u n c t i o n i n g in
erected o n t h e traces of J e s u s " . Beside t h e parallelism of t h e
a g i v e n g r o u p c o n v e y t h e sense of its existence.
Do Redakcji „Polskiej Sztuki Ludowej"
:
}
j
i
W z w i ą z k u z moją publikacją o Nikiforze w numerze 1 / 1 9 9 0 r. PSL, pragnę w y j a ś n i ć c o
następuje: O d d a ł e m materiał d o d r u k u jeszcze za życia Andrzeja Banacha, licząc na J e g o o d z e w
i u s t o s u n k o w a n i e się. Teraz bardzo niezręcznie brzmieć muszą posądzenia o niewiedzę, czy też
przemilczenie p e w n y c h s p r a w , a przede w s z y s t k i m zarzut pisania n i e p r a w d y o „ B a t i m e n t s
M o d e r n e s " znalezionych w skrzyni Nikifora. J e s t e m przekonany, iż Andrzej Banach o d k ą d zaczął
pisać o Nikiforze w i e d z i a ł o n i m w i ę c e j niż k t o k o l w i e k inny. Nie p u b l i k o w a ł d a n y c h m e t r y k a l
n y c h , bo z g o d n i e z w o l ą p i e r w s z y c h w t a j e m n i c z o n y c h z przełomu w i e k ó w i okresu między
w o j e n n e g o osoba ojca Nikofora miała być na zawsze zatajona. Dlatego pisał o „ k u c h c i k u
z B o c h n i " , „ z i e m i a n i n i e Т . " , a z n o w u ż w s w e j książce Sztuka Pisania m ó w i w p r o s t , że o j c e m
Nikifora był „ z n a n y polski malarz żyjący na przełomie w i e k ó w " . Żeby było o c z y w i s t e , że zna
p r a w d ę , ale nie miał m o r a l n e g o p r a w a w y m i e n i a ć nazwiska. W n e k r o l o g u Nikifora zamieszc z o n y m w „ T y g o d n i k u P o w s z e c h n y m " (nr 4 7 / 1 9 6 8 ) Banach pisze, że matka często m ó w i ł a d o
Nikifora: „ T w i j otec artist" ( n i b y p o ł e m k o w s k u - t w ó j ojciec t o artysta...)
W s p r a w i e „ B a t i m e n t s " , która inną d r o g ą m o g ł a d o p r o w a d z i ć d o poznania p r a w d y (czy
u w i a r y g o d n i e n i a niesłusznych p o m ó w i e ń - jak k t o w o l i ) Banach napisał, że dał je N i k i f o r o w i p o
w o j n i e , c o może być z g o d n e z p r a w d ą o tyle, że skrzynia p o w o j n i e zaginęła i została
s p l ą d r o w a n a , a B a n a c h te rzeczy odnalazł i dał N i k o f o r o w i p o n o w n i e .
M a c i e j Szczyrbula, W r o c ł a w
iii
Prenumerata
Prenumeratę pisma przyjmują w miastach Urzędy P o c z t o w e oraz oddziały P r a s y - K s i ą ż k i - R u c h u ,
na w s i listonosze. Termin z a m ó w i e ń na II k w a r t a ł 1991 r. u p ł y w a 31 stycznia. Cena zeszytu
- 5 0 0 0 zł.
Zlecenie z a m ó w i e ń na prenumeratę zagraniczną o 1 0 0 % droższe. W p ł a t ę można d o k o n a ć
b l a n k i e t e m przekazu, w p i s u j ą c na o d w r o c i e każdego o d c i n k a adres o d b i o r c y za granicą oraz
t y t u ł pisma. Na stronie f r o n t o w e j należy w p i s a ć : Centrala Kolportażu, 0 0 - 9 5 8 W - w a , PBK X I I I
O / W - w a , Nr 3 7 0 0 4 4 - 1 1 9 5 - 1 3 9 - 1 1 .
Istnieje też m o ż l i w o ś ć prenumeraty rocznej, w z g l . z a k u p u n u m e r ó w , k t ó r y m i d y s p o n u j e redakcja
(1 - 2 / 1 9 8 9 , 2 / 1 9 9 0 ) . W t y m celu należy d o k o n a ć w p ł a t y na k o n t o :
Instytut Sztuki P A N
PBK XIII O / W - w a
Nr 3 7 0 0 4 4 - 3 4 9 2
w p i s u j ą c na o d w r o c i e o d c i n k ó w b l a n k i e t ó w : PSL, roczna, e w . żądany zeszyt i koniecznie
w y r a ź n e n a z w i s k o i adres zlecającego w y s y ł k ę . Prenumerata roczna z w y s y ł k ą d o d o m u
- 2 0 0 0 0 zł.
Pismo jest także d o s t ę p n e w w i ę k s z y c h księgarniach ( z w ł . n a u k o w y c h ) w miastach u n i w e r
s y t e c k i c h , w kioskach w p o b l i ż u instytucji n a u k o w y c h , w kasach m u z e ó w e t n o g r a f i c z n y c h
w Warszawie, K r a k o w i e , P o z n a n i u , W r o c ł a w i u , T o r u n i u , W ł o c ł a w k u , w Krakowie, w księgarni
„ L i t t e r a " przy ul. Floriańskiej 2 0 . W Warszawie można kupić p i s m o w portierni I n s t y t u t u Sztuki
P A N , ul. D ł u g a 28. Tamże inne w y d a w n i c t w a I n s t y t u t u .
ERRATA
Przepraszamy C z y t e l n i k ó w , a zwłaszcza A u t o r ó w za błędy korektorskie w p o p r z e d n i m numerze
( 2 / 1 9 9 0 ) . Niestety w y d r u k i szpalt są tak mało czytelne, że nie ł a t w o w y c h w y c i ć wszystkie błędy,
z w ł . t z w . l i t e r ó w k i . B ł ę d ó w i n n y c h nic nie u s p r a w i e d l i w i a , zwłaszcza p o m y ł k i w streszczeniu
angielskim imienia p. Łysiaka (napisane jest W a l d e m a r zamiast W o j c i e c h ) . Bardzo G o za t o
przepraszamy.
s. 4 1 , lewa szpalta, 19 w . o d d o ł u p o w i n n o być - K Ł A M S TV 0
s. 6 0 , lewa szpalta, 29 w . o d g ó r y p o w i n n o być - zasadzie
s. 6 0 , prawa szpalta, 13 w . o d g ó r y p o w i n n o być - p o r ó ż n i ł o
S. 6 0 , lewa szpalta, 3 w . o d d o ł u p o w i n n o być - pozostającymi
s. 6 2 , lewa szpalta. 19 w . o d d o ł u p o w i n n o być Turnera, a nie Frazera
J e d n o c z e ś n i e dajemy erratę b ł ę d ó w z a u w a ż o n y c h w numerze 1 / 1 9 9 0 w artykule p. Macieja
Szczyrbuły o Nikiforze:
s. 3 7 , lewa szpalta, 2 w . o d d o ł u p o w i n n o być - „ A r k a d y "
s. 3 7 , il. 1 p o w i n n o być Nikifor w latach 1 9 4 0 - 1 9 4 4
s. 3 8 , lewa szpalta, 2 w . od d o ł u p o w i n n o być - Drewniak, a nie D e r w n i a k
s. 3 9 , lewa szpalta, 1 8 w . o d góry: p o w i n n o być - w s p ó l n e
s. 4 2 , lewa szpalta, 3 4 w . o d góry: p o w i n n o być - od 1 9 2 3 roku
s. 4 2 , tamże, 8 w . o d d o ł u p o w i n n o być - tej j e g o f o t o g r a f i i
s. 4 2 , tamże, 3 w . o d d o ł u : należy skreślić - po raz pierwszy
Instytut Sztuki P A N . Redakcja „ P o l s k a Sztuka L u d o w a "
Ark. W y d . 14,8, ark. druk. 9
Druk: Zakł. Graf. „ T a m k a " .
Listopad 1990
