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Title
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Summary of articles/ ummary oPolska Sztuka Ludowa - Konteksty 1964 t.18 z.2
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Description
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Polska Sztuka Ludowa - Konteksty 1964 t.18 z.2; s.101-103
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Date
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1964
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Format
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application/pdf
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Identifier
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oai:cyfrowaetnografia.pl:4380
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Language
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ang.
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ros.
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Publisher
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Instytut Sztuki PAN
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Relation
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oai:cyfrowaetnografia.pl:publication:4718
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Text
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P
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S
H
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Franciszek Pabich — „THE MADONNA I N P O M E
RANIAN WATER THREAD PAPER"
The author publishes some particularly valuable
and
so far unknown material concerning water
thread paper in Pomerania. These materials are the
result of ten years of toilsome work, studying both
old notarial acts, mortgages, church and municipal
records and municipal archives not studied from this
point of view so far. The author's research also
included the study of old price lists, calendars and
chronicles, private etters and agreements and old
prints and documents in the Voivodship State Archi
ves. This research has today enabled the author not
only to publish an extremely rich, unknown and
interesting set of copies of the water thread papers,
themselves, but also a lot of information of particular
importance, for it has made it possible to establish
the existence of 96 paper mills in Pomerania, among
them, the oldest one in Gdańsk, dating back to 1420,
and to identify the names of 200 paper makers, which
in turn showed a large number of Poles among the
founders and owners of the Pomeranian paper mills,
and also the fact that the apprentices executing
these water threads were largely recruited from the
Polish element. And this enables the author to clas
sify their work as Polish folk art. Water thread
paper first made its appearance in Pomerania in the
middle of the 15th century, and the earliest examples
date back to 1454. Among the subjects specific to
this area, the dominating one is the Madonna and
Child. The set of illustrations accompanying the
article show the rich variety of presentations of the
subject, from very subtle ones to fundamentally
different compositional types.
The set of copies is furnished with an information
table giving their origin, the place where they are
kept, their dimensions and a list of various kinds
of water thread papers, according to the paper mills.
Jerzy Czajkowski — W E A V E R S C O T T A G E S I N T H E
L O C A L I T Y OF KROSNO
Research carried out on the folk architecture of
Pogórze (Rzeszów region) has shown that in a few
villages in the locality of Krosno there is a definite
inter-dependence
betwen the craft of
weaving
practiced there and the interior layout of the
weavers'cottages.
The examples that have been
preserved, some of them dating back 100 and in some
cases 200 years, justify the statement that a well
developed layout plan is typical in the weavers'
cottages. The author distinguishes three versions
of the layout plan: 1) cottage with corridor in centre
and rooms on both sides, 2) with lobby running
halfway along one side with rooms opening out of
it, residential plan, 3) with the same layout, work
shop plan.
The author discusses various versions of interior
layout within the framework of these plans, depict
ing them with the plates that have been included
(the Palish abbreviations should be understood as
follows: Wr — workshop, I — room, K o — chamber,
S — lobby, St — stable, B — quadrangle, I zim —
cool room).
The simplest is the cottage built according to the
layout of the lobby running halfway along one side
with the rooms opening out of it, workshop plan.
(Plate 1/3), an older type dating back to 1809 is
shown in Plate 1/2, and one of 1860 in Plate 1/5,
and another version of it is shown in Plate I I / 5 .
102
O
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The cottage built acording to the first layout where
the corridor is in the centre and the rooms on both
sides, comes in two versions: the first, very common
in the locality under review, (Plate 1/4, 6, 7, 8, 11/1, 3)
and the other, showing a cottage dating back to 1840
(Plate II/4), which is not met with so often in the
villages in question. The weavers'icottages were built
of fir wood, with a hipped thatched roof.
A characteristic feature of these cottages is that
the ceiling is much higher in the living rooms than
in the workshops. This is connected with the fact
that the cottages were without chimneys and also
with so-called „Polenie" for drying wood and as
shelf running round the walls just below the ceiling
(fig. 2). The Korczyńska weavers'cottages differ from
those in the neighbouring villages by the number of
windows, which can be explained by the need for
proper lighting in the room used as the weavers'
workshop. This also arises from the fact that the
layout locates the front of the cottage facing south.
In the cottages discussed here, the second room is
called the „workshop" despite the fact that it is
a very long time since the workshop was located
in the home. The term „workshop" is applied very
widely, even i n villages where weaving was not done.
The appearance of a weaving centre in the villages
under review and, in consequence, the building of
weavers'cottages, is in the author's opinion connect
ed with the arrival of a group of German settlers
there in the 16th century. These settlers had a good
knowledge of the craft of weaving. But they soon
became polonized and did not introduce any foreign
elements into the building of weavers'cottages. For
the original type of cottage most certainly only had
one living room and the expansion of the interior
was linked with the process of development.
Buildings similar to those already described are
also to be found in the region inhabited by the Ł e m
kowie and occur sporadically in the Sanok and Brzo
zów districts.
Anna Damrosz — A R T I S T I C F O L K
PORZĄDZIE ( P U S Z C Z A BIAŁA)
WEAVING IN
This article is based on research carried out in
the locality of Puszcza Biała (White Forest) in the
Kurpie Region and embraces materials collected dur
ing the last 70 years.
The basic part of the material was collected in
the village of Porządzie, which is one of the most
important weaving centres of the Biała Puszcza area.
The inadequate income
brought in by the small
farms and the existing possibilities of cultivating
flax were essential factors influencing the develop
ment of weaving. Several techniques are found in
the fabrics made in Porządzie, each of which contri
butes its own specific artistic effects: 1 linen weave,
done on two-heddle looms, used above all for linen
and dress fabrics, and also in making two-warp
carpets; 2) the cotton rep weave, where the warp
is almost invisible, used for making rugs, skirts,
frocks and Sunday aprons; 3) twill weave, made on
four-heddle looms, where the weft is almost invi
sible; this weave is used in making dress fabrics
and linen for towels and sheets; 4) a very complex
technique used in making rugs, done on four or
six-heddle looms.
In the Puszcza Biała area, there are several
characteristic types of fabrics which are outstanding
for their specific arrangement of colours and orna
mentation. They are, above all, bedspreads, striped
Kurpie rugs, the so-called „buronki", mats, and car
pets. A s regards clothing fabrics, the only ones that
are made here today are aprons worn on weekdays.
Each of the kinds of fabrics has its awn exclusive
pattern. The fabrics belonging to one type only differ
in the colour composition and not the pattern. I n all
the fabrics made i n this locality, the following com
binations of colours are dominant: green and red
and green and pinlk. A s a rule ,the patterns are sym
metric, with a strictly defined rhythm. I n the ones
known as „buronki", the background is a red and
green or green and pink check pattern and the bor
der is of multi-coloured stripes, the centre of the
fabric is filled with so-called „kwiaty z pazurkiem"
(flowers with a claw) on a pink, red or green back
ground and they are edged with a border of geo
metrical pattern. I n the mats, the background is i n
one colour and the ornamental motif in another.
In dress fabrics, known as Jkieoki" {fig. 2, 5), the
pattern is made up of broad green stripes, between
Which there are narrower stripes i n three colours
and some wider ones i n red. I n the aprons worn on
weekdays, the fabric is usually of a dark colour with
narrow stripes of a light colour. I n the oldest Kurpie
rugs, the whole surface of the fabric is covered
with stripes of the same width. There are two
basic ornamental motifs in the fabrics produced
in the locality under review: the older type (check
pattern as in the „buronki") and the plant motif
(„kwiaty z pazurkiem" on the carpets). The authoress
stresses
the importance of the material used in
attaining colour effects and discusses the magic rites
once practiced in cultivating flax and weaving the
fabrics. The tests applied by the authoress during
her research in the locality under review (showing
n O J l b C K O E
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Józef Przyborowski — W A W R Z Y N I E C M A K U C H ,
CARVER OF HOLY FIGURES FROM MIKLUSZOW I C E (KROSNO D I S T R I C T )
Makuch is rather a folk carver of the past cen
tury, for he died in 1914, at the age of 70. I n folk
carving, his work is a unique phenomenon for, as
a carpenter, he attained a perfection of carving tech
nique which enabled him to achieve a precision in
his carving that is seldom met with in autogenous
art.
H A P O f l H O E
*paHUMiueK
HHCpopMaiTHH,
coloured patterns of fabrics modified invarious ways
for evaluation) have proved that the most general
criteria in evaluating them were economic and tech
nical. This was particularly apparent in the evalua
tion of colour and ornamentation effects. I f artistic
criteria were applied at all they were more an ex
pression of the local tradition than of individual
tastes. Traditional and regional habits as regards
composition and choice of colours were found to be
very strongly rooted. But i n 9pite of the pressure of
tradition, there are signs of a gradual change in the
development of weaving in the Kurpie region, and
these changes can be seen both in the ornamental
motifs used and i n the ohoice of colours, and also
in the kind of fabrics produced. The ohanges that can
be observed i n the patterns are largely due to the
changes taking place in the techniques used. The
traditional folk weaves of the Biała Puszcza area
are gradually disappearing and giving way to factory
produced fabrics. On the other hand, a new craft
is developing, namely, the production of knitwear,
which does not lend itself to the adaptation of the
traditional patterns.
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