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TREŚĆ:
str.
Kazimierz Pietkiewicz
E w a Fryś
Władysław Bogatyński
Franciszek Kotula
Wanda Gentil-Tippenhauer
Rss
Zbigniew Jasiewicz
Adam Glapa
Alicja Gerlach
Jan Pachoński
Ka
Ka
Zofia Barbara Głowa
Wanda Brzeska
Wanda Gentil-Tippenhauer
Z okazji wystawy ludowej sztuki litew
skiej w Polsce
Rzeźby Jana Gładysza z Chlebowa .
.
Elementy małopolskich strojów ludowych
mieszczan i chłopów w świetle materia
ł ó w źródłowych
Wpływ
mebli
małomieszczańskich
na
urządzenie izby wiejskiej
. . . .
Stanisław Szymoszek Gąsienica
.
Banicka Dedina 2akarovce
Artyzm w wyrobach z metalu .
.
.
Sztuka ludowa w muzeum w Lesznie
Wlkp
Wystawa sztuki ludowej w Koszalinie .
Z historycznego archiwum
. . . .
Wystawa sztuki ludowej Mazowsza
Płockiego
Wystawa litewskiej sztuki ludowej
10 lat Archiwum Sekcji Badania
Plastyki Ludowej P I S . . . . . . .
Bożena Stelmachowska (1889—1956) .
.
Wanda Kossecka (1893—1955) . . . .
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Na okładce:' Fragment ściany stodoły ryzowanej w 1919 r. przez Jana Gła
dysza z Chlebowa, pow. Skierniewice. Fot. J . Swiderski. Na stronie t y t u ł o
wej: Ukrzyżowany, drzeworyt ludowy, kolorowany. Wymiary: 73 X 60 cm.
K V D M E D 754. Fot. St. Deptuszewski.
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B Y T H E STATE INSTITUTE OF ART
YEAR BOOK X I
1957
SUMMARY O F A R T I C L E S
Kazimierz
Pietkiewicz — ON T H E O C C A S I O N O F
THE EXHIBITION OF LITHUANIAN FOLK ART
Archeological and linguistics data confirm that it
was in the region where Dzwina flows into the
Niemen, in the middle of the second millenium
before our era that the ethnical elements of the
ancestors of the Lithuanians and the Latvians began
to take shape. Though migration movements were
a characteristic feature during the following cen
turies, the Baltic tribes remained on their homelands.
This is why Lithuanian folk culture has retained
many ancient elements.
The oldest traces in folk art, found in excava
tions, date back to the period before our era. The
period in which the forms of ornament and the
technique of Lithuanian art were shaped was in the
flth to the 12th centuries of our era, when great
progress was made in perfecting the methods of
working on the local raw materials, such as fibre,
clay, wood and metals.
I n analysing the Lithuanian folk art on the basis
of examples of the 19th century, which have been
preserved until our times, it must be stated that
apart from ancient purely Lithuanian elements, they
also show a marked similarity to the art of the
Polish and Byelorussian peoples and also to the art
of the Scandinavian peoples.
The combination of old and new elements is par
ticularly noticeable in the crosses and shrines which
in their umbrella-and-lantern-like forms resemble
the pillars of pagan cult.
Also worthy of mention are the crosses forged
by Lithuaniana blacksmiths, in which we also meet
with ancient elements, e. g. ornamentation in the
form of a moon or heads of animals. Sculptures of
the Christian cult, that is religious statuettes, have
much in common with Polish religious statuettes.
The Polish „Chrystus Frasobliwy" (The Melancoly
Christ) is identical in form and character to the
Lithuanian „Smutkielis". The folk wood-carving art
is also very similar.
The greatest artistic values in Lithuanian folk
art have been preserved in wood sculptures and
in weaving.
From among the many sculptured objects in L i
thuanian folk art, particularly worthy of mention
are the spinning wheels and distaffs, with their
wealth of varied forms and the originality of their
ornamentation. Many Lithuanian distaffs can be com
pared to the Polish ones from the Mazury, Kaszuby
and Podlasie regions. I n Poland, however, such varie
ty and such great numbers have not been met with.
Decorative weaving shuttles, wooden pins, fabric
frames and especially washing rods are all of equal
artistic value.
The most popular fabric in Lithuania is linen
or linen and wool fabrics of geometrical design ob
tained from the concatenation weaving technique and
the special method of using the weaving shaft. The
fabric is also known in Poland, Byelorussia, Latvia
and Scandinavia. The typical Polish striped material
used for regional costumes is also known in Lithua
nia; this technique can also be met with in the
eastern frontier region of Poland, but mainly in
Byelorussia, The Ukraine and among other southern
Slav races.
Narrow patterned woolen belts are very widespread
in Lithuania. Lithuania is also known for its patter
ned white fabrics, e. g. towels, tablecloths, etc.
The womens folk costumes are composed of a blou
se, bodice or jacket, a skirt and an aprori. The head
dress is usually a kerchief arranged in different
ways, and more rarely a bonnet is worn. On the
whole, the Lithuanian folk costumes are modest and
differ less in the various regions than the Polish
folk costumes. They have, however, many common
features.
The specific Lithuanian knitting technique is more
known in Latvia and Scandinavia and less known
in Poland.
This short article has been -limited to only a few
fields of art. Owing to lack of material, such realms
of art as building, implement making, Easter egg
decoration, painting, wicker wood, metal work and
ritual objects, have not been dealt with.
Franciszek Kotula — M I D D L E - C L A S S T A S T E
I N F L U E N C E ON T H E F U R N I S H I N G S O F R U R A L
COTTAGES
The author of the article cites a number of archive
texts collected by him. A detailed interpretation
of these texts leads him to broad conclusions on the
origin of folk furniture in Rzeszów Voivodship.
The interior furnishings of the rural cottage were
extremely primitive in the middle of the 19th cen
tury. The only more impressive pieces of furniture
were the painted chests referred to in numerous
peasant inventories and legacies.
In studying the question of folk furnishings as
tokens of folk culture, we should be mindful of class
differences and, in consequence, cultural differences
in the Polish village. Apart from the poverty stricken
hut dwellers and cottage tenants, the rural records
refer to rich peasants, and even a sort of "peasant
bankers".
As shown by the author in his works on the origin
of the Rzeszów regional costumes, (see note 8) the
peasants from that region tried to imitate the higher
classes both with regard to costumes and interior
furnishings. The more "magnificent" pieces of furni
ture in the room of rich farmers (purchased at the
markets in small towns or made by rural carpenters
trained in the town) were modelled rather on the
bourgeois furniture than that of the nobility. This
was not difficult, owing to the slight social diffe
rences and even marriages between rich peasants
and middle class towns folk.
The interiors of the dwellings of middle class
townsfolk remained almost unchanged over the per
iod from the end of the 16th century to the end of
the 18th century. On the basis of archive material,
the author reconstructs the following pieces of fur
niture from the dwelling of a townsman from Rze
szów: a wall cupboard (fig 1), painted chests, kitchen
cupboards for storing food kept in the porch (fig 4
to 7) which cam today be seen in villages and small
towns.
The author sees the influence of church on rural
furnishings in the shape of hanging cupboards in the
rooms and porches (fig. 15 and 16). The folk "triple
cupboard" is associated with 18th century church
furniture (fig. 17 and 18).
In the interiors of the 19th century bourgeois
dwellings there were pieces of furniture directly
originating from the renaissance traditions, for in
stance two-storey cupboards (fig. 10) or stools with
or without backs (fig. 11).
A n interesting utensil of the peasant cottage, still
used at the beginning of the 19th century, were
lighting devices mainly used in tavernes and arti
sans workshops (fig. 12). They were cone shaped bags
stretched over a wooden framework overlaid inside
with clay, with a metal grating at the bottom, on
which a lighted torch was placed. The lightening
device was placed under a special opening in the
ceiling. A n interesting device of this type was found
by tihe author in the portico pf the monastery in
J a n ó w Lubelski.
Ewa Fryś — T H E S C U L P T U R E S O F J A N G Ł A D Y S Z F R O M CHLEBÓW
In the village of. Chlebów, in the district of Skier
niewice, the authoress found some interesting relief
sculptures, carved on the wall of -a barn in the year
1920 by Jan Gladysz, who was fifteen years old at
that time. The sculptures consist of a number of
miniature scenas and single figures carved with
a knife. The sculptor of these interesting reliefs did
not later continue his artistic work. He is an excep
tional and singular figure among the Polish count
ryside artists.
Wead-ysiau) Bogatyński
— GALICIAN REGIONAL
COSTUMES IN TOWN AND COUNTRYSIDE
The author publishes original material from ma
nuscripts in the Cracow archives. He deals with
the period from the 16-th to the 18th centuries in
the central and western parts of Galicia. F o r com
parison he also gives descriptions of the costumes
worn by the nobility in the 18th century.
Wanda Gentil-Tippenhauer
— STANISŁAW GĄSIENNICA—SZYMOSZEK
HUCIANSKI
Carpenter and folk sculptor from the Podhale re
gion. Born in Zakopane in 1908 and still living there.
He learnt carpentry for a short time at the Zakopane
Timber Industry School, then later from his brother,
who had finished his studies at that school. His work
as a cabinet maker is divided into two periods: be
fore the- war he remained under the influence of the
stylistic tendencies propagated by the Timber I n
dustry School (fig. 2—4). In his later period he retur
ned to the folk traditions of furniture making in
the Podhale region.
Apart from cabinet making, Szymoszek devoted
himself to decorative art in metal. I n this field he
modelled his work on folk motives, also in the de
coration of objects unknown in folk traditions, such
as broches and snuff-boxes.
R e v i e w s
a n d
B r i e f s
Alicja Gerlach — E X H I B I T I O N O F F O L K A R T I N
KOSZALIN
The exhibition was organized at the end of 1956
by the Culture Section of the Voivodship People's
Council in Koszalin.
The great ethnical variety of toe artists, reflected
in the exhibits on show, account for the very
interesting and variegated character of the exhibi
tion. During the post-war migration movement,
people from ah over Poland settled in the Koszalin
voivodship, just as in many other voivodships of the
Regained Territories. That is why the exhibition
represented ethnical and cultural elements from all
parts of Poland (except for the Podhale, Silesian and
Poznan regions). The exhibits were mostly fabrics
and regional folk costumes.
4
Adam Glapa — F O L K A R T I N T H E M U S E U M A T
LESZNO W I E L K O P O L S K I E
A review of the Museum's work. The Museum
started its work several years ago and has a fine
collection of folk art exhibits.
Zofia Barbara Glowa — 1 0 - T H A N N I V E R S A R Y O F
A R C H I V E S A T R E S E A R C H S E C T I O N ON P L A S
TIC F O L K ARTS
A report covering the collections gathered by the
Archives at the Research Section on Plastic Folk
Arts. The report comprises an inventory with de
tailed descriptions, drawings and photo-illustrations
of plastic art in the Polish countryside. Systematic
research work is conducted i n the various rural re
gions with the purpose of recording achievements
in rural plastic arts.
On the basis of the material collected by the
Archives 100 articles and several monographs have
been published. Also museums, houses of culture,
folk art co-operatives etc., avail themselves in their
work of the material gathered by the Archives.
A R T I N M E T A L W O R K — a collective work
edited by H . Kuroń, published by State Vocational
Training Publications, Warsaw, 1956. Zbigniew
Ja
siewicz subjects the work to severe criticism for its
superficiality and numerous errors.
B A N I C K A D E D I N A Z A K A R O V C E , Collected work,
edited by Jan Ujartan, Published by the Slovenic
Academy of Sciences, Bratislava, 1956, p. 605, 271
illustrations. The work is reviewed by R. Reinfuss.
W A N D A K O S S E C K A (4.26.1893 — 12.13.1955)
Reminiscenses on the life and work of this well
merited woman artist from the Podhale region. Many
fine tapestries were made in Wanda Kossocka's shop,
where girls from the countryside did the ingenious
work. The tapestries have won renown far beyond
the frontiers of this country.
BOŻENA S T E L M A C H O W S K A (12.5.1899 — 11.211956)
Prof. Stelmachowska was one of the most distin
guished research workers into Polish ethnography,
particularly in the Pomorze and Kaszuby regions. She
distinguished herself as a notable educationalist while'
she was a reader at the Mikołaj Kopernik Univer
sity in Toruń.
The bibliography of works by Prof. Stelmachowska
comprises that on folk art only.
KWARTALNIK W Y D A W A N Y
1
PRZEZ P A Ń S T W O W Y
INSTYTUT
SZTUKI
KOMITET REDAKCYJNY
Mgr
Aleksander Jackowski,
mgr Kazimierz Pietkiewicz,
prof, dr Ksawery Piwocki,
prof,
dr Roman
Reinfuss,
prof, dr Tadeusz Seweryn
ZESPÓŁ R E D A K C Y J N Y
Mgr
Aleksander Jackowski
(redaktor naczelny), mgr Anna
Kunezyńska (sekretarz redak
cji), prof, dr Roman Reinfuss
(zastępca redaktora naczelne
go), mgr Barbara Radziwiłł
(redaktor techniczny),
Józef
Wilkoń (okładka i układ gra
ficzny), Krystyna Żmijewska
(adiustacja i korekta).
REDAKCJA I ADMINISTRA
CJA: PAŃSTWOWY INSTY
TUT SZTUKI, WARSZAWA,
D Ł U G A 26
T