-
Title
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Summaries / Polska Sztuka Ludowa - Konteksty 1968 t.22 z.4
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Description
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Polska Sztuka Ludowa 1968 t.22 z.4 ; s.245-248
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Date
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1968
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Format
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application/pdf
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Identifier
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oai:cyfrowaetnografia.pl:4555
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Language
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ang, 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:4910
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Text
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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
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P
O
A
H
O
E
H
C
K
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C
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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
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