http://zbiory.cyfrowaetnografia.pl/public/3848.pdf
Media
Part of Spis treści i strony tytułowe / Polska Sztuka Ludowa - Konteksty 1957 t.11 z.4
- extracted text
-
TREŚĆ:
str.
Ludwik
Dubiel
Maria
Woleńska
Rzeźby
Olga
Mulkiewicz
Ozdoby
Nicolae
Dunare
Cieszyńska
ceramika
ludowa
.
.
.
Dymitra
Bilińskiego
.
.
.
rysowane
piaskiem
.
.
.
kafle ludowe
.
.
.
Siedmiogrodzkie
Anna
Kowalska-Lewicka
H a f t biały na P o d h a l u
Maria
Przeździecka
Na
.
195
.
216
208
224
229
ochweśników .
250
Na okładce: Kobieta
„pisząca" wzór p i a s k i e m . Gorzuchowo,
pow.
Fot. J. Swiderski.
Na stronie tytułowej:
Pieta (fragment),
rzeźba w
wykonał D. Biliński. Fot. Michał
Maśliński.
Gniezno.
drzewie,
tropach
skulskich
P
O
L
I
S
H
QUARTERLY
PUBLISHED
N. 4
BY
F
O
L
THE
STATE
K
A
INSTITUTE
OF
R
T
ART
YEAR BOOK X I
1957
SUMMARY OF ARTICLES
Ludwik
Dubiel
The
Cieszyn
extinct
CIESZYN
Silesia
branches
workshop
down
—
was
before
of
pottery
folk
last
POTTERY
to
bellongs
today
industry.
close
in
The
Jan
to
1936, o t h e r s
The
closed
1914.
Pottery.
Cieszyn
Museums
have a
number
of
earthenware
exhibits
produced
most
probably
in
Wisła.
are
the
Roszka's
Wisła
B y t o m and
They
large
dishes,
bottle-like
and
p o t - l i k e vessels as w e l l as a s p e r g i l l a ( D r a w i n g s 33, 34).
I n t h e 1 9 - t h c e n t u r y , Jabłonkowe, Skoczów, Wisła,
Strumień, T o s z o w i c e , B i r y a n d C i e s z y n
were pottery
centres.
The
The
earthenware
sand
content.
were
all pottery
was
made
Workshops
of fat clay w i t h
were
workshops
land. Pottery-ware
made
poorly
equipped,
i n other
parts
t o e a r l e r , c o u l d be d i s t i n g u i s h e d b y s h a p e
Po
referred
and orna
mentation.
Jabłonkowo
This
ptitery
centre
was
known
already
in
patterns
were
made
The
red
clay
covered
and
with
4). T h e
sed
glazed jugs
the appearance
engravings
also
glazed
29 —
31).
A
of
(Drawing
jugs
with
distinct group
unomamented
vessels, o r
—
Table
on
18,
first
w o r l d war,
Ja
dark
brown
they resembled
earlier
8).
The
of
the
beer
ornaments
similar
(Drawing
6 and
Table
dishes
(50
began
t o be
19th c e n t u r y .
These
were
jugs
with
feed
babies,
were
in common
preceding
the
zed
first
Jabłonkowe pots
clay, w i t h
they
I I , 1—7,
16,
to
be
placed
world
were
no ornaments
a
end
directly
on
jugs
originating
19-th
20-th
centuries
and
vessels
have
the
The
glazing
of
vodka
the owner
is
either
Some
times
—
white.
large
(42
cm
(Drawing
were
Raszka's
high —
painted
light
of
or
unomamented
dishes
with
From
inside
among
worthy
of
floral
the other
m e n t i o n is
of
belly.
and
vesels
are
them
on the
dark,
Raszka's
Drawing
pat
25)
Some
some
are
26). V e r y
very
numerous
light-brown
p i p k i n s . ( T a b l e I I I 19—21), as w e r e h i s
glazed
cone-shaped
ornamentation.
vessels
of
this
workshop,
the oven-foaking-ware
of
va
r i o u s shapes: r o u n d , i n t h e f o r m o f a h e a r t , o r i n t h e
s h a p e o f v a r i o u s a n i m a l s , as w e l l as t h e s m o k e - b e e s
devices a n d aspergilla. T h e l a t t e r , made
i n the T h i r
ties, w e r e i n s p i r e d b y K a r o l Prauss, a local
All
of
t h e m are
brown
glazed
and
convex ornaments
(with the
aid of
punch-press).
aspergilla
are
The
collector.
decorated
with
an engraver
overloaded
ornaments and f r o m the aesthetic p o i n t of
or
with
view
are
Strumień
Pottery.
pottery made
i n t h e Strumień w o r k s h o p
was
inferior
The
The
to
their
predecessors!.
colou
brown
gla
c h a r a c t e r i s t i c o f Strurndeń e a r t h e n w a r e ,
red
war.
on them. (Table
covering
only
pottery
Slovak
by the potter Leopold
Kasza
are
(Drawing
30)
1—13,
as a r e f l o w e r - p o t s
a n d other pots With t w o
a n d t w i n s . (Talbie
I I I , 1.).
entire
The
handles
earthenware
from
Strumień
workshops
destined
sale
i n towns;
its
for
its
was
ornamented
earliest
vessels d i d n o t l i v e u p t o S i l e s i a n p o t t e r y t r a d i t i o n s ;
18
cen
p a r t l y i t i m i t a t e d S l o v a k p o t t e r y . I n 1937, t h e w o r k s
and
Mo
hops
(the
p a t t e r n s k n o w n to t h e a u t h o r are f r o m t h e
by
i n t h e nearest
jugs produced
mainly
influenced
1915—1935. F r o m t h e o l d e r
holding
t h e i r o r i g i n a l shape.
name
the
plain
cream
surface.
directly
of
turn
recent
p r o d u c t s are k n o w n . Smaill non-tglazed
the
pottery.
for
the
more
the
ornamented
was
for
from
and
painted
in
9) w e r e u s u a l l y
ravian
ornamented
Rasz-
groups:
of
use
u s u a l l y of
Jaibłonkowo
into two
many
grooves
the
divided
vicinity. Not
(Drawing
general,
be
earthen
aspergilla.
sold
near
engraved
tury)
can
also
the)
stem
14, 25). T w i n s
In
jugs
all kinds of
and
"skillets"
with
parallel
ka's
use,
diameter)
tripod
10, T a b l e 1—10)
The
every-day
Reszka).
D r a w h i n g 3.
Smaill glazed
period
those
m a n u f a c t u r e d ait t h e
(Drawing
handle to
also
cm.
the
fire.
water
to
and
large
and
potters
Jabłonkowe
a n d s m a l l e r <(31 c m d i a m e t e r ) —
Oven-ware
plain,
imitated stoneware
jugs.
25
II,
the
with
22, 24,
4,5, T a b l e s
make
to
pottery
II
1).
jugs. I n shape
else
mode
(Table
1 —
used
(Drawing
cups
and
ornaments
preceding
potters
made
with
I I I , 27, 28)
(most
the period
vessels.
ornamented
5, T a b l e
Jabłonkowe
a n d 12—14, D r a w i n g
In
(Tab
witnes
glazed jugs w i t h p a i n t e d ornaments
by
in white paint
błonkowo
;
of
pre
sented
for
remarkable
is
often
1—6
19th c e n t u r y
convex
of
the
plastic ornaments
le I — 1 — 3 , D r a w i n g —
floral
Reszka made
ware
terns,
earlier
century.
Jan Skamander
of J a n Sfcamander
jugs f r o m the years
Pottery.
16
Pottery.
(The W o r k s h o p
as
of
i n the workshops
Skoczów
small
were
reactivated
motion of Folk
Arts.
by
the
Society
for
the
Pro
I m p o r t s
F r o m
The
Slovakia.
desings
geometric
Imports
This
is
from
Slovakia
above
w h i c h w h i t e enamelled
tings o n
with
were
all true of
in
Silesia.
animals
ware,
among
It
jugs w i t h m u l t i c o l o u r e d p a i n
them (Drawings
brownish
numerous
enamelled
glazing,
35,39) a n d r e d c l a y
adorned
with
white
tric circles
on the bottom and
white
glazed
ornamented
with
floral
particularly worthy of
desings
dishes
concen
{Drawing
dishes
37)
are
mention.
or
is
Woleńska
SCULPTOR
appear
The
of
THE
CREATIVE
BILIŃSKI
authores was
that
the floor
arts,
Nothing
abouts of
is
'known
this sculptor from
The m a j o r i t y of
war
and
In
no
his w o r k was
photographs
is
were borrowed
sculptured only
leisure hours, w h e n
fields.
But
works
from
"paper-cute"
also
difficult
to
sand
view
in
in
sources. B u t t h e v e r y
the
links
the
exceptions.
compositions
floor
was
and the
drawings^ on
treated
drawings
on
murals,
folk
coloured
designs.
decide
of
on
the
a
lack
genesis
of
of
historic
simple technique, the m a t e r i a l
between
and
the
p r i m i t i v e b u i l d i n g structures w o u l d point to a
very
The
further
where
thern
Koledzlny
village.
we
during the
in
view
of
as
well
as c u l t u r a l
were
Dr.
Nicolae
Dunare
—
Rumanian
tiling
folk
in
to
time
old
the
t r a d i t i o n i n peasant
decorations
Denmark
should
not
ornamentation
interior
decoration.
i n sand made
are
reminiscent
look
for
the
any
distance
by
women
of
the Polish.
influence
separating
in sou
of
Yet,
cultures
the
countries,
differences.
from work
in
the
later, w h e n
he
gained
renown
and
his
sought
one
after
by
buyers,
he
in wood
block, covered
of
clad
with
often
resigned
that
is w h y
portionalyy
Olga
all
only
the
history
Inspired by
his
m e n t a l t i l i n g , g i v i n g a n o u t l i n e o n present researches
in
into this section of
artist's figures
features
insufficiently explored.
expression,
Biliński
p l a n personages are
Anna
IN
ORNAMENTS
presents
custom
analyses
Rumanian
orna
folk art.
of
"DRAWN"
decorative
IN
sand
designs
them,
a n i n t e r e s t i n g subject of e x p l o r a t i o n of
of village
Lewicka
—
WHITE
EMBROIDERY
REGION.
unpro-
of t h e h u t s , o r i n f r o n t o f
interior decoration
Dunare
application of
PODHALE
Among
floors
the
Kowalska
THE
t h e numerous types
the
dwellings.
of
decorative
folk
art
in the Podhale region, w h i t e embroidery
has
proved
the
in
a
most
variety
As
peasant
and
Dr.
and
vital
of
no
and
has
been
preserved
rich
forms.
p r i m a l sources
Podhale
t h e Clay
discipline
polychromy
SAND
The
an i m p o r t a n t p a r t
that 'country's historic ethnography, a
yet
small.
—
art plays
TILES.
as
f r o m r e a l i s t i c -truthfulness to n a t u r e ,
Mulkiewicz
SIEDMIOGRÓD
garments.
artistic
his second
THE
were
his career.
in folk
above
in
a n d his figures
surroundings, this peasant
Stressing
abandoned
himself to sculpture.
scenes f r o m r e l i g i o u s l i f e h a d p e a s a n t s
were often
during
free
the Initial period
rustic
time
was
He mostly engraved
made
from
he
f a r m i n g and devoted
on
all
world
preserved.
rare
the
f r o m other decorative
and
works
been
of
composition
the
destroyed
have
very
ascertain
surface
the second
the
the
among
to
figures,
t h e f i r s t ^ p e r i o d o f h i s c r e a t i v e w o r k u p t o 1934,
Biliński
at
about
OF
the
above
and
w e l l acquainted w i t h
Biliński u p t o t h e o u t b r e a k o f
war.
WORK
are
now
as a n o r n a m e n t a l
Easter-egg
DYMITR
—
letters
types:
human
o f the designs o n t h e floors of t h e h u t s , b u t i t w o u l d
It
Marto
a n d f l o r a l designs;
difficult
drawings
THE
can be classified i n t o t w o basic
figures
embroidery
relating
are
to
the
available,
the
history
of
authoress
g i v e s an a n a l y s i s o f m o d e r n e m b r o i d e r y , d a t i n g b a c k
to the
last
White
element
the
19th
embroidery
decade o f
was
above
on
garments, o n
all
an
ornamental
the chemise
and
the short linen pettitcoat w o r n under the skirt.
For
ject.
merly,
aprons
also
In
adorned
with
Etnographic l i t e r a t u r e d i d not deal w i t h
her article the authoress availed
materials collected d u r i n g research
this sub
of
the
conducted o n
herself
the
spot b y the F o l k A r t Plastic Research Section
(Polish
Institute
inter
views
The
of
Art),
drawings,
with
local
peasants.
decorative
photographs
and
c u s t o m is
connected
and
linen
head-lkerchiefs
embroideries,
The
a linen kerchief
was
preserved
of
the 19th century.
till
the
Men's
end
garments
for
a
were
short
as
time
were
custom
men
except
sand-designing
women's
century.
of
wearing
by the Podhale
wo
a rule
not
embroidered,
at
end
of
the
the
19th
c e n t u r y , w h e n i t became c u s t o m a r y to e m b e l l i s h
with
t e r r i t o r i a l l y w i t h central Poland, the left b a n k of the
embroideries
Vistula,
time that it became customary to ornament bed
and
table
bed
comprising
Kielce,
and
Kujawy
regions,
the
h u t s of
these
regions.
w e r e d o n e o n t h e eve
to
give
the
wooden
tation
floor
was
disappeared
By
home
now
in
Rawa,
clay
Łowicz
floors
ornaments
in
in
sand
of a h o l i d a y — t h e a i m b e i n g
appearance.
the
clay
front
of
during World
such
as w i t h
The
a holiday
ousted
done
Opoczno,
as w e l l
War
ornamentation
is
were
festive
custom/
stom
even
earlier.
embroideries
cloths,
decorative
ornamen
rarity.
table
with
etc.).
The
(pillow-slips,
embroidered
w e r e not h o w e v e r destined for every day
the
I , or
a
the
covers,
hut. The
floor,
the
When
linen
m e r e ' s S u n d a y s h i r t s . I t w a s also a t t h a t
objects
ceremonies
has
survived
were
till
"best"
being
celebrated.
embroideries
room
They
where
This
cu
day.
A t present ever m o r e pieces a r e b e i n g
with
use.
in the
the present
pieces
ornamented
( n a p k i n s , c u r t a i n s , etc.).
S t i ł c h e s.
A
characteristic feature
placed
In
addition
to
many
more,
the
are v e r y c o m m o n i n P o d h a l e
flat,
satin, open
work
following
stitches
ves
,cuffs, r o u n d the neck).
embroideries: The chain,
not
only
and the
overcast
stitch.
designs
characteristic
a
repetition of
present
a more
or
angular embroideries
of
the
usually
art.
of
The c h a i n s t i t c h is by far the earliest. I t made
its
tion
of
grew
i n volume
titcoat
(from
successive
vary
appearance
The
in
running
net-laoe
by
periods
i n the
development
the
first
half
of
stitch
was
used
exclusively
bonnet-like
kerchiefs,
of the 19-th century. The
third
quarter of
rably
linked
the
with
The
the
was
of
white
was
genre
half
i n the
insepa
of
floral
at t h e e n d of the 19th
used
to
embellish
chiefly
kerchiefs,
the
on
second
and
biedermeier
chiefly
bonnet-shaped
the middle
the
19th c e n t u r y
atlas-button-hole stitch,
tiste
in
and
in
19-th century.
flat stitch appeared
ornamentation. I t disappeared
century
the
of
was
on
com
b i n a t i o n s of these stitches a n d holes i n t e r s e c t e d
with
needle
work
tion
these
kerchiefs.
on
The
decorative
deries
differ
scent of
variety
made
were
quite
somewhat
a frequent
embroi
from
Remini
hand-made.
t h e b l a n k e t stitch, the h e m s t i t c h , i n a
embroidery.
most
At
lace,
popular
the
now
end
of
the
altogether
technique
in
in
on the
embroidery,
and today
hem
to
an
most
corners
the
the
ornaments
all-embroidered
waist)
pet-
is
very
common.
t h e composition of
the
ornamen
itself and its i n d i v i d u a l elements
based
o n stripes. Larger
themes
were
of
above
flowers,
not
always placed symetrlcaliy, have been recently
intro
duced o n sleeves a n d on the corners
covers.
M a t e r i a l ,
In
decora
i n machine-made
o f f o r m s , is a d o m i n a n t e l e m e n t
needle^work
machine-made
the
Tools
19th
rich
machine
19-th c e n t u r y ,
forgotten, was
embroidering
the
linen
fabrics.
entered
tury.
and
of bed
T e c h n i q u e .
century,
exclusively made
stitches
placed
re
are
ba
introduced
19th c e n t u r y . I n g e n i o u s
artistic
all
theme
n a p k i n s , etc. W i t h t h e i n t r o d u c
quite recently
tation
elaborated
are
but
aprons.
used
first
less
kerchiefs, i a b l e
Till
are
Compositions w h i c h
certain elements,
The
this
compositions
is t h a t a l l e m b r o i d e r i e s
i n m o s t conspicuous: p a r t s o f t h e a t t i r e ( s l e e
were
almost
on home-spun linen. Cotton
fabrics
the arena
embroideries
at the very
Cotton
thread
was
the
embroidering.
Along
with
a
t h e .usual t o o l i n t h e h a n d s
ress w a s a w o o d e n
size, w i t h
the
used
machine-made
of
a fo'iimer
for
needle,
embroide-
the
embroideress
frame
was
not
pierced
used
holes
in
in
hand-made
e m b r o i d e r y , i t m a d e its first appearance
i n machine-
made
A
t h e 19th cen
chiefly
s h a r p l y p o i n t e d a w l , of a pencil's
which
linen.
end of
one
embroidery.
A m o n g the materials, single and double l i n e n were
used. T h e
O r n a m e n t s
The
ornaments
in
the
Podhale
divided into t w o groups —
mentation. The
in
former
includes earlier
chain stitches. Here
tive
motif.
other
stitches. A
various
ments
the
their own
i n the
.trousers
atlas
of
of
form
of
latter
group
beginning
with
ending
broideries.
More
ousted
all
reappearing
in
with
as
a
headdress.
stylized
and
bonnet-like
floral
They
In
patterns. Nevertheless,
has
to
1925, w h e n
C o m p o s i t i o n
of
its
ked
composition of
with
its
place
the embroidery
on
the
object
it
have
been
synchronise
E m b r o i
is c l o s e l y
is
famous
nearly
from,
wo
from
all
over
machine-made
which
peasant
was
an
embroidery
became
women
had
to
elementary
part
in their
learn
is
seasonal
education.
present,
side-line
embroidery
occupation,
only
practiced
a
exclusively
and
during
the long w i n t e r nights.
H i s t o r y
of
Podhale
W h i t e
E m b o r i d e r y
i n
Region.
oppo
deries.
The
spinsters, o r
most
with
art.
P o d h a l e
customers
trade
The
h i s t o r y of
region
dates
lin
adarniingj
White
back
to
embroidery
the end
of
i n the
the
Podhale
18th c e n t u r y .
D u r i n g t h e 150 y e a r s o f i t s d e v e l o p m e n t , t h e e m b r o i
dery
went
was
dominated
second
The
The
ornamen
patterns, particularly
skill
women,
em
along
they
had
this
The
creative
them
poor
children.
popular, young
the
German
chiefly
no
very
the
the
were
having
among
did
theme
in the
on
began
Podhale.
ornamentation
embroidery
used
men
Floral
each
in pencil
19-th century.
of
19th c e n t u r y
sketched
to b e
garments
i n Podhale,
first
N e e d l e - W o m e n
womens
in
much
embroideries,
region
number
with
Drawings
machine-made
not originate
the Podhale
II,
were
d r a w n i n p e n c i l on paper
At
site
remodelled
usually adorning
all other
Podhale
the
(an
aprons
less
the
pal-
6), „ p a r z e n i c e "
(Table
modern
or
in
orna
others.
includes
introduction into
with
decora
g. " t h e
a heart
biedermeier
appeared
kerchief
1 —
highlanders),
kerchiefs,
tation
stitch
themes
n o m e n c l a t u r e , e.
19), s t a r ' s a n d m a n y
The
the
on,
number
be
embroideries
a s p i r a l is t h e c h i e f
(Table I I , Drawings
ornament
17 —
can
combinations m a r k e d the period. The
had
metes",
the
Later
region
abstract and f l o r a l o r n a
designs
the linen. Patterns
through two
was
influence
of
retains
its
artists
who
the
by
The
first
chain
stitch.
The
developed
under
popular
introduced by
and
the so-coiled
"upper strata". I f
it
it owes
peasant
folk
character,
remodelled
ornamental and
style.
distinct periods.
the
town
this
to
the
still
embroidery
—
both
technical patterns —
into
folk
Patterns
deries
analogous
to
are m e t w i t h
the
i n the
chain
area, i n the C r a c o w
voivodship
the earliest types
embroideries,
of
gotten. S i m i l a r themes
In
and
embroi
of
these paintings. The
Carpathian
of
Poland
and i n Silesia
now
among
already
Moravia,
Hungary,
Bulgaria).
the middle
stitch invaded
of t h e 19th century, the
all the Western
The
the
new
old
local
embroidery
a
atlas-hole-
Slav countries,
in
new
the
Podhale
by
a b i g square
bonnet-like kerchief.
probably
types
of
embroideries
The
very
difficult
embroidery
from
needle^womian.
and
20th
for
of
character.
folk
painstaking
high
atlas-hole-stitch
qualifications
centuries, g i v i n g
way
to
easier
machine-made
open-work
saved
when
and
easy
to make.
Very
all
other
popular
kinds of
went
its development.
was
based
on
abstract
themes
being
a
turn
i n both the
women
hand-made
dominant
lasie regions
among
for
a n d i t is t h e r e i n these f o r m e r l y
there
stitches
and
designs.
the n u m e r o u s l y preserved
traces
The
of
decay
Skulsk
paintings.
of
Skulsk
the
ousted
At
two
the
be
with
centre
in
the
face
competition
At
present
is t o b e
of
'Cheaper
n o t one
factory
Skulsk
ther have
any descriptive
SKULSK
—
IN
The
data available
only
materials been
points to the themes
patrons reputed
tunes.
for protecting mortals f r o m
In
view
of
the basis
of a
formal
ting
from
classified
the
lack
of
original
analysis
of
the
Skulsk
region,
Skulsk
paintings
originating
from
that
region),
Sinołeka
(Wągrów
Church
in
(near
Boczki
the
main
(Siedlce
from
the
as
from
were
made
figures
being
well
All
the
paintings
a
neutral
The
needle
t h r o w n i n t o sharp r e l i e f b y means
of thick, straight
forward
around the
hemstitching
and
resorts.
in
these
groups
background,
contours. The
the
decoration
TRAILS
OF
THE
milion,
and
and
sky-tolue
green
touches.
primitive
formal
and
were
maintained
vesniks", that means of f o l k art painters and
pedlars
ma'in centre
figure
or
else
only p r i m a r y colours w e r e used —
yellow
paintings
19th c e n t u r y , t h e
flowers,
garlands.
white
the
and
as
has
three
against
"okh-
was
authoress
Paprotnia,
Łowicz),
on
origina
Włocławek.
Skulsfc
region
sources,
into
region)
those
misfor
paintings
the
groups:
of
U p to the m i d d l e of the
which
violent
„OKHVESNIKS"
Wielkopolski
Nei
preserved.
a
was
summer
THE
painting
dealt mostly w i t h the V i r g i n Mary, Christ and
Generally,
Przezdziecka
pictures
"okhvesnik's"
in
Maria
made
f o u n d e i t h e r i n S k u l s k or its v i c i n i t y .
to
neighbouring
began
tastes o f t h e b u y e r s .
was e i t h e r i n ornamentals, i n single
from
search,
folk art paintings,
at t h e s a m e t i m e t h e f a s h i o n f o r f l o r a l d e s i g n s c a m e
villages
poorefr
should
second h a l f o f t h e 19th c e n t u r y w h e n i t h a d t o
feature.
war
machine-made
it
linen.
designs
world
mastered
by
cheaper
through
it
second
needle
oblivion
on
ginning
the
the
19th
technique,
now,
ornaments
stages i n the course o f
After
of
the
i t became
fashionable
embroidery
of
stitch, or
f r o m complete
embroidery,
Machine-made
Their
the
devoid
the
eastern territories.
w h i c h suited better t h e changed
Pod-
areas
of
itinerary most frequently l e d t o the L u b l i n and P o d
—
new!
turn
decorative
Congress) and the a d j a c e n t
vast
territories
Vienna
is
the
the
I t was
covered
(set u p a f t e r t h e
region
region,
at
s u c h as t h e
Poland
women
I m p o r t e d to
vanished
w o r k lace.
pedlars
in particular the
former Kingdom of
ousting
Cracow
are
and
It
headdress
the
demanded
Sout
embroideries.
accompanied
hale
and
regions w i t h s t r o n g t r a d i t i o n s t h a t w e
hern Poland, Slovakia, Moravia and Bohemia,
everywhere
for
are met w i t h on the southern
side of the C a r p a t h i a n s (Slovakia,
Rumania
stitched
entire ethnic
style.
in
full
their
The
,aiccentuated
painters
colouring
of
specific
by
ver
some
resorted
to
yet
their
expresión a n d
were
individual,
means,
relatively
uniform
polska sztuka ludowa
KWARTALNIK
WYDAWANY
PRZEZ
PAŃSTWOWY
INSTYTUT
SZTUKI
ROK
XI
1957 NR 4
KOMITET
REDAKCYJNY
Mgr Aleksander
Jackow
ski, m g r Kazimierz
Piet
kiewicz, prof. dr Ksawery
Piwooki, prof. dr Roman
Reinfuss, prof. dr Tadeusz
Seweryn.
ZESPÓŁ
REDAKCYJNY
Mgr Aleksander
Jackow
ski
(redaktor
naczelny),
mgr
Anna
Kunczyńska
(sekretarz redakcji), prof.
dr Roman
Reinfuss
(za
stępca r e d a k t o r a n a c z e l n e
go), m g r B a r b a r a
Radzi
wiłł ( r e d a k t o r techniczny),
Józef W i l k o ń (okładka i
układ g r a f i c z n y ) , K r y s t y n a
Żmijewska
(adiustacja
i
korekta), Eugenia
Tarska
(tłumacz).
REDAKCJA
i
ADMINI
STRACJA:
PAŃSTWOWY
INSTYTUT
S Z T U K I ,
W A R S Z A W A , D Ł U G A 26
194