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Part of Summaries / Polska Sztuka Ludowa - Konteksty 1970 t.24 z.2
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P
O
L
I
S
H
F
O
Q U A R T E R L Y P U B L I S H E D B Y T H E A R T I N S T I T U T E OF
No 2
L
K
THE POLISH
A
ACADEMY
OF
R
T
SCIENCES
YEAR BOOK X X I V
1970
SUMMARY OF ARTICLES
Ewa
Fryś-Pietraszkowa
— F R O M STUDIES
ON M A J O L I C A A N D S E M I - M A J O L I C A F O L K P O T T E
RY I N P O L A N D
I n folk art majolica and semi-majolica
are a late
occurance, adopted by the potters' guilds when
this
k i n d of ceramic ware had already been ousted by f a i
ence and porcelain i n the 18th century. Production of
folk pottery was concentrated i n the same urban cen
tres as previously (Sokołów Małopolski, W y s z k ó w . L e
żajsk) and the court potteries (Miechocin) and i t was
only i n the second half of the 19th century that a small
number of r u r a l centres came i n t o being (Lążek O r d y
nacki, Bratucice). When the provinces, that is the v i l l a
ges and small towns, started buying these products, farreaching changes took place i n the pottery centres i n
the direction of adapting output to the trend towards
mass production and to the tastes of the folk customer.
Above a l l , the decoration swas simplified.
The most popular were plant motifs, only the potte
ry of the K u r p i e region had geometical decoration
to
the same degree as plant motifs. As regards zoomorphic
motifs, the most frequently found are birds. A n t h r o p o
morphic decoration is rare, only, found i n any quantity
in the Bochnia centres — „ w e d d i n g bowls" were made
there and also plates w i t h single female figures
on
them. Inscriptions are found sporadically. The painted
decoration is done i n the „ h o r n " technique or w i t h a
brush, more rarely w i t h the use of a sponge. Only i n
some centres was the sgraffito technique used (fig. 8).
The decoration was done i n green and various shades
of b r o w n . Other colours were rarely used and i f they
did appear they were usually: blue, brownish-mauve
and yellow. The most frequently decorated were pla
tes and bowls because apart from their functional uses
they were also used as decorative elements. Sometimes
t w i n vases and sprinklers were painted and more recen
tly decoration is found on flower vases and flower pots.
The production of majolica folk pottery i n Poland was
concentrated i n the Mazovian and Podlaska regions (the
centres of K u r p i e pottery i n the Puszcza Biała,
the
workshops at B r o k on the River Bug) and i n the M a
łopolska region (the Bochnia area. Leżajsk, L ą ż e k Or
dynacki). But i t was also produced a l l over the country:
in Police near Szczecin (export to Sweden and Den
mark), i n Boruszyn near C z a r n k ó w , at Kolo i n Silesia,
the Kashubian and Mazurian districts. The production
of w h i t e slip pottery is only continued now i n a few
centres. The most important producer is the Ł ą ż e k Or
dynacki centre i n J a n ó w Lubelski district. The autho
ress points to the links between the Polish centres pro
ducing majolica pottery and foreign centres (in Italy,
Hungary and Austria); she discusses the problem of the
interdependence between centres producing folk majo
lica and workshops producing decorative tiles.
S t e f a n i a K r z y s z t o f o w i c z — CHRIST STUMB
LES A N D F A L L S UNDER T H E CROSS — T H E I C O NOGRAPHIC SOURCES A N D T H E I R I N T E R P R E T A
TION I N FOLK A R T
In Polish folk sculptures and graphic art we find
the iconographic type presenting the subject of Christ
stumbling and falling under the cross. I n folk paintings
this theme is almost u n k n o w n . The origin of the type
we are discussing can be traced back to Mediaeval
cycles representing the Passion, w h i c h were distributed
by the Franciscan Fathers, the Bernadine Monks and
the reformers i n the 17th and 18th centuries. The sub
ject was also w i d e l y found i n devotional graphic art
too, as illustrations to religious texts.
The type we are discussing i n the present article is
found i n two versions: the first has many figures, i n
the other Christ is alone. We meet the first version i n
the graphic art of folk artists (fig. 2, 3) and sporadically
in sculptures (fig. 4). M u c h more frequent i n folk art
is the version showing Christ alone, stumbling and f a l
ling under his cross. The sources i n „official" art are
not numerous. They include three sculptures i n three
road-side shrines i n K a l w a r i a Zebrzydowska set up at
the beginning of the 17th century. The sculpture i n the
shrine of the T h i r d F a l l gained the name of a „ m i r a cle" figure only a few years after i t was set up i n 1724.
A n d i t is this sculpture that is the object of a special
cult and the iconographic source of folk presentations
of Christ stumbling and falling under the cross. This
iconographic type is found frequently along the roads
leading to K a l w a r i a Zebrzyowska i n M a ł o p o l s k a (vide
map* and i n Slovakia. I t is almost u n k n o w n i n N o r t h e r n
Poland.
I n folk sculptures a l l attributes are rejected and the
figure falling under the cross is given prominance. The
position of the body of Christ differs i n different sculp
tures. Some of them are supplemented w i t h an i n s c r i p
tion commenting the subject. Christ stumbling and f a l l
ing under the cross is a symbol of weakness and isola
tion. The fact that the folk artists depict the
single
figuere and not the m a n y - f i g u r e d version of the icono
graphic type under review indicates that they
make
their sculptures for themselves for local or i n d i v i d u a l
cult.
Irena
Łopuszańska
—
ANDRZEJ
CZYK, A FOLK ARTIST FROM WOŹNIKI
KOWAL
Andrzej Kowalczyk (1874—1955) f r o m the village of
Woźniki i n Wadowice district, carved his sculptures i n
linden wood or sandstone. The artist made religious
sculptures for wayside shrines and churches. He paint
ed his sculptures i n colours. His paintings, less nume
rous than his sculptures, were done i n oils on wooden
planks. Among the bas-reliefs he made, the feretories
for the church i n Woźniki show advanced craft and
departure from folk p r i m i t i v e w o r k . His works c o m p r i
se a wide range of iconographic types.
Józef
Przy boro w ski
•- JAN KŁOSIŃSKI, A N
UNKNOWN WOOD-CARVER
On the basis of archival materials, the author gives
information about a wood-carver who l i v e d i n M i k l u szowice, i n Bochnia district, in the first half of the 19th
century.
Urszula
B i e ł o u s — FILOMENA
A SCULPTRESS F R O M W I T O N I A
ROBAKOWSKA,
Filomena Robakowska is one of very few folk sculp
tresses in Poland. She comes from the district of Ł ę c z y
ca, an important centre of folk sculpture. She started
to carve four years ago when she was S3 years old. A t
first, she made religious sculptures, then she turned
to Łęczyca folk types and statues of a k i n g and a quef n . A l l her sculptures are painted i n colours. Her hus
band occasionally gives inspiration to her w o r k .
Her
sculptures are bought by C P L i A and are often sold
abroad.
Jerzy
C z a j k o w s k i — ARCHITECTURE I N THE
V I L L A G E OF K O Ł O M I A ,
WŁOCŁAWEK
DISTRICT,
I N 1787
A r c h i v a l materials quoted i n the second part of the
article constitute a detailed inventory of the village of
Koiomia i n K u j a w y region. The inventory consists of
a description of mannor
house buildings, 15 peasant
houses and the. grounds. The first part of the article
contains a synthesis of the archival materials based on
research done so far i n the field of the history of r u
ral architecture.
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meracie.
W A R U N K I PRENUMERATY
„POLSKIEJ 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 terminie do dnia 10
miesiąca p o p r z e d z a j ą c e g o okres prenumeraty.
P r e n u m e r a t ę na kraj dla c z y t e l n i k ó w indywidualnych p r z y j m u j ą u r z ę d y
pocztowe oraz listonosze.
Czytelnicy indywidualni mogą d o k o n y w a ć w p ł a t r ó w n i e ż n-.i konto
P K O nr 1-6-100020 — Centrala K o l p o r t a ż u Prasy i
Wydawnictw
„ R u c h " — Warszawa, u l . Towarowa 28.
Wszystkie instytucje p a ń s t w o w e i społeczne mogą z a m a w i a ć prenume
r a t ę wyłącznie za p o ś r e d n i c t w e m O d d z i a ł ó w i Delegatur „ R u c h " .
Cena prenumeraty: półrocznie zł 36, rocznie zł 72.
Cena prenumeraty za g r a n i c ę jest o 40°/o droższa od ceny podanej w y
żej. P r z e d p ł a t y na tę p r e n u m e r a t ę przyjmuje na okresy półroczne i rocz
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 Wydawnictw
Zagranicznych „ R u c h "
w Warszawie, ul, Wronia 23, za p o ś r e d n i c t w e m P K O Warszawa, konto
nr 1-6-100024, tel. 20-46-88.
SPRZEDAŻ
Egzemplarze n u m e r ó w /.dezaktualizowanych można n a b y w a ć w Punk
cie W y s y ł k o w y m Prasy Archiwalnej „ R u c h " , Warszawa, ul. N o w o miejska nr 15/17 na miejscu, lub na z a m ó w i e n i e za zaliczeniem poczto
w y m . Konto P K O Nr 114-6-700041 V I I O/M Warszawa.
A k t u a l n e numery czasopism I n s t y t u t u Sztuki P A N posiada O ś r o d e k
Rozpowszechniania W y d a w n i c t w Naukowych P A N w P a ł a c u K u l t u r y
i Nauki w Warszawie.
Indeks 37132
Zaklaciy Graficzne „ T a m k a " Z a k ł a d Nr 2. W-wa, P o d c h o r ą ż y c h 39. zam. 831. Pap.
ilustr. kl. III, 125 g. Ul + karton b i a ł y kl. II!, 220 g. BI. N a k ł a d 1710 egz.
K-59.