Cyfrowa Etnografia

http://zbiory.cyfrowaetnografia.pl/public/4563.pdf

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Part of Summary of articles/ Polska Sztuka Ludowa - Konteksty 1966 t.20 z.2

extracted text

sze kręgi (było to j u ż k i l k a k r o t n i e
wzmiankowane w „ K r o n i c e " ) .
8 marca w Koniakowie otwarte
zostało Muzeum Koronkarstwa Bes­
kidzkiego. Organizatorami s ą : Ce­
pelia, oddział w Katowicach oraz
Wydz. K u l t . PRN. W chacie koronczarka z m a r ł e j przed trzema laty,
M a r i i Gwarkowej, zgromadzono w i e ­
le koronek, wykonanych przez n i ą
oraz przez jej uczennice. Pokazano
z a r ó w n o tradycyjne „czółka" i k o ­
szule kobiece, j a k w s p ó ł c z e s n e adaptacie haftu c i e s z y ń s k i e g o serwetki
kołnierzyki,, obrusy i t p .
W roku ' b i e ż ą c y m przewiduje się
otwarcie w i e l u n o w y c h izb regio­
nalnych na terenie w o j . k r a k o w ­
skiego: w Zakopanem - dla Pod­
hala, w Łopusznej — dla okolic
Czorsztyna, w Czorsztynie — dla
Spiszą, w Zubrzycy G ó r n e j — dla
Orawy, w Rabce — dla G o r c ó w , w
Starym Sączu — dla Z i e m i S ą d e e kiei i na obrzeżu ieziora w Tresnej - dla Żywiecczyzny.
-

•12 marca otwarto w Białowieży
Muzeum K u l t u r y B i a ł o w i e s k i e j , za­
łożone staraniem B i a ł o r u s k i e g o T o warzyswa Kulturalnego. C z ł o n k o w i e
Towarzystwa zgromadzili d r o g ą pe­
netracji terenowych ponad 300 eks­
p o n a t ó w . R e p r e z e n t u j ą one wszyst­
kie n a j w a ż n i e j s z e działy
ludowej,
k u l t u r y białoruskiej na terenie Pol­
ski. P r z e w a ż a ceramika, tkactwo
dekoracyjne i hafciarstwo,
frag­
menty stroju, meble i s p r z ę t gospo­
darski.

Prasa z a r ó w n o k u l t u r a l n a , j a k co­
dzienna, d y s k u t o w a ł a ostatnio sze­
roko zagadnienia ochrony budow­
nictwa drewnianego. W y s u n i ę t o w i e ­
le propozycji, dotyczących tworzenia
m u z e ó w skansenowskich w r ó ż n y c h
częściach k r a j u . N a j w i ę c e j uwagi
poświęcono kontrowersyjnemu i nie
r o z w i ą z a n e m u ostatecznie projekto­
w i zgrupowania w Rzeszowskiem
w j e d n y m miejscu kilkudziesięciu
cerkiewek
k t ó r e D r z e n i e s i o n o hv
z różnych mieiscowości w o i
rze­
szowskiego i wschodniej części k r a -

P

O

L

I

S

QUARTERLY PUBLISHED

Wiele pisano o muzeach
skansenowskich na
terenie w o j .
krakowskiego, gdzie w g
projektu
W o j e w ó d z k i e g o U r z ę d u Konserwacji
Z a b y t k ó w p o w s t a ć ma
centralne
muzeum w o j e w ó d z k i e oraz wiele
m u z e ó w regionalnych umiejscowio­
nych g ł ó w n i e na Podtatrzu: w Za­
kopanem, Ł o p u s z n e j , Niedzicy. Proiekt ten D o d o b n i e i a k inne i n i c i a t y w v - zmierzaiace do
stworzenia
m u z e ó w skansenowskich no w To¬
r u n i u C7V Przerrwślu
nip ws7pr_ł
ieszcze w stadium realizaeii
Nie
ustalono ieszcze n a w e t ^ k o n k r e t n y c h
lokalizari
zamarzanych
rniTzeńw
Ciosy nrasy
7e^^
iLnieTzn n i !
ZJb^n
riz^Tmia
z a r ^
rwania
™ T h <=^nS,nńw i = £
r T z ^ r T n l ^ ^ ^
Q
Kowskiego.

n

W o j e w ó d z k i Dom K u l t u r y w Bia­
ł y m s t o k u w s p ó l n i e ze Spółdzielczym
Zrzeszeniem C h a ł u p n i k ó w i Wy­
t w ó r c ó w L u d o w y c h ogłosił konkurs
na m a l o w a n k i i w y c i n a n k i ludowe
z pow. Bielsk Podlaski i Hajnówka.
Celem k o n k u r s u jest znalezienie po­
staci, w k t ó r e j w y c i n a n k i i malo­
w a n k i m o g ł y b y służyć do dekoracji
wsDÓłczesnvch
wnętrz
(świetlice
szkoły
biura) l u b iako oamiatki
z Białostocczyzny.

Q

zly stan z a b y t k ó w architektury l u dowej zachowanych jeszcze w terpTn p

K o n k u r s na zabawki ludowe, zorganizowany przez Muzeum i m . Wł.
Orkana w Rabce, został rozstrzyg­
n i ę t y w l u t y m . W konkursie wzięło
u d z i a ł 40 u c z e s t n i k ó w z p o w i a t ó w
N o w y Targ, Sucha, L i m a n o w a i M y ­
ślenice. N a d e s ł a n o o g ó ł e m 291 ekspo­
n a t ó w , w ś r ó d k t ó r y c h szczególnie
intereśuiace bvłv wózki
kołyski
ptaszki oraz r ó ż n e zabawki rucho­
me
Trzv
równorzędne
nierwsze
nagrody orzyznano J a n o w i Rabcia
kowi i Stanisławowi S t o ż k o w i T p o
rebv
Wielkiei
I w
T t a L ™
i Adamowi
K c t l r i J ^ k ^ y T ^ t
Ponadto n m 7 ™ n 7 n Z ,
™SrńH
rJrnTirh
dyfl^ó
trzećT
| T T
SP^IP

W W L M

N . I H ^ P

regionalne z ^ b W

Pamiątki

Redakcja „ W i e ś c i " ogłosiła
dla
młodzieży
szkolnej
konkurs
pn.
„Szukamy
skarbów
Tysiąclecia".
W ramach konkursu m ł o d z i e ż pod
o p i e k ą nauczycieli wyszukuje, o p i ­
suje i zabezpiecza obiekty znajdu­
j ą c e się w najbliższej okolicy. We

H

F

O

BY THE ART INSTITUTE

SUMMARY
A n n a K u n c z y ń s k a - I r ac k a - PAINTINGS
CZĘSTOCHOWA

FROM

Pictures painted on linen, paper, t i n sheet and. not so
frequently, on wood, are the most typical of Polish folk
painting. They were s t i l l being painted up t i l l the be­
ginning of the 20th century and quite a large number of
them can s t i l l be found i n r u r a l cottages and churches.
This k i n d of painting was for a long t i m e only of mar­
ginal interest to researchers studying folk art and for
this reason w e do not possess much knowledge about i t
so far.
To make a very general classification, there are three
kinds of these paintings, namely, (1) paintings produced
in „series", as i t were, i n large centres associated w i t h
132

wsiach są to przede wszystkim
przedmioty z zakresu sztuki i kul­
t u r y materialnej ludowej. Mają one
b y ć w m i a r ę m o ż n o ś c i gromadzone
w szkolnych „ k ą c i k a c h muzealnych".

OF

Wydz. K u l t . PRN, Pow. Dom Kult.
i Miejska B i b l . Publ. w Lubaczowie
ogłosiły konkurs p n . „ S z t u k a ludowa
w powiecie lubaczowskim". Na kon­
kurs przyjmowane
są eksponaty
r e p r e z e n t u j ą c e wszystkie dziedziny
ludowej
twórczości,
współczesne
i zabytkowe oraz prace plastyczne
amatorów.

W l u t y m o t w a r t a b y ł a w salach
Domu K u l t u r y w Łodzi wystawa
pn. „ S i e r a d z k i e o b r z ę d y i zabawki
ludowe", przeniesiona z Muzeum
w Sieradzu. (Por. „ K r o n i k a " w nr
4/1965).

Wystawa
pn.
„Rzeźba
ludowa
z Zawidza", o t w a r t a 11 marca w
Domu C h ł o p a w Warszawie, czynna
b y ł a do k o ń c a m i e s i ą c a . Organizato­
rem
wystawy
była
Spółdzielnia
„ G r o m a d a " . Pokazano przeszło 100
rzeźb w drewnie w y k o n a n y c h w cią­
gu ostatniego r o k u przez rzeźbiarzy
z Zawidza: Wincentego i Jana Kra­
jewskich oraz H e n r y k a Wierzchow­
skiego Po raz Dierwszy wziął udział
w w y s t a w i e m ł o d y r z e ź b i a r z Sta­
n i s ł a w Wierzbicki Pokazane rzeźby
r e o r e z e n t o w a ł y n ó z i o m dosvć wy­
soki i w y r ó w n a n y .

L

OF T H E P O L I S H

K

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T

A C A D E M Y OF SCIENCES

ARTICLES

w e l l k n o w n places of pilgrimage. O w i n g to the long ex­
istence of these centres, the m u t u a l influences exerted
on each other by the painters w o r k i n g there, as well as
the fact that the vocation of painter and k i n d of work­
manship is often passed on f r o m father to son, each of
these centres has its own characteristic „style" of pain­
ting. (2) Paintings mostly done by artists i n small towns,
bearing the character of a craft to some extent. (3) Pain­
tings done by self-taught artists i n villages or small
towns, w h i c h can be distinguished by their n r i m i t i v i s m and naivete of form.
This article is about paintings of the first kind, which
are most numerous i n Poland and therefore provide the
most material for research. The authoress took Często­
chowa as the basic subject of her investigations. This is

. famous place of pilgrimage, w h i c h has existed since the
5th century and is also w i d e l y k n o w n i n neighbouring
:ountries. Both historical information and analysis of the
laintings that have been preserved seem to indicate that
he largest number of pictures embracing the largest
i res (almost the whole of Poland
see map) as regards
iistribution are precisely those painted i n or connec;ed w i t h Częstochowa. A p a r t f r o m the C z ę s t o c h o w a p a i n ings i t has been nnssible to distinguish several more
groups of local scope, w h i c h have not yet been thoroI P M V investigated (turn i n smith-eastern Poland and
one
n Silesia)
Archive materials testify to the fact that the folk
painting centre i n C z ę s t o c h o w a has existed since the
17th century at least. I n that period, the paintings were
done both by painters i n monasteries - w h o do not
seem to have contributed i n any i m p o r t a n t w a y to the
development of the centre - and by lay painters, some
of w h i c h were folk painters. A b o u t 1718, a painters'
guild was set up i n Częstochowa, w h i c h existed about
two hundred years. The m a i n m o t i v e for setting up this
guild, i n i t i a t e d by the Paulist Fathers of the Jasna G ó r a
Monastery — custodians of the miracle picture — was
to ensure that this craft should be maintained at a high
level. The struggle between the g u i l d — controlled by
censors from the monastery — and the painters, w h o
tried to produce the largest possible number of p a i n ­
tings at the cost of good w o r k m a n s h i p and sold t h e m
without the required evaluation by the guild, went on
unceasingly d u r i n g the w h o l e of the 18th century. This
is nroved hv the guild rules w h i r h were changed and
broadened several times I n the 19th century the role
of the guild was m n r h smaller and i n this neried friar
ticularlv m i n the? sevenHesim-ohahlv the most nrtmi
t ve folk naintings w r . nrnd.nced We J w ™ , m n J - t h a n
250 names of na^
end nf t l , P Iflłh e e n f n r T a n T ^ n the IQth nZnfZŹ
manv
of them w e r e , f r n f ^ l i « V h n had n ^ t i f e d this ^ , ^ t
for se^L-Il^ ffPner^tionT i t „ I w d d ™ t 1 1 l l
se[l t h l T r ^ i ^ ^
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cottage to cot-

other centresTalsf purchased pictures to
The paintings from Częstochowa, w i t h a l l the charac­
teristics of folk art, although differentiated as to form which is quite understandable i f one bears i n m i n d the
300 years existence of the centre — and meeting the
requirements and taste of the purchasers w h o were f r o m
various social classes, have much i n common as regards
formal features, to w h i c h the authoress devotes special
attention. The folk artists of C z ę s t o c h o w a usually used
stencils for copying the basic compositional elements of
the pictures. These stencils were passed down from gene­
ration to generation, and also lent and exchanged bet­
ween the painters. This meant that the composition of
the same iconograohic subieets was verv similar i n va
rious periods and w i t h various techniques and w o r k ­
manship. The formal differences can be seen above a l l
i n the elaboration of details for i t was almost onlv here
that the nainter could exoress his individual taste Rnt
the oainters d i d not disolav
m Z Z a S n .
1
this respect and never signed t h e i r w o r k
The C z ę s t o c h o w a paintings were n o t ' dated by the
artists; the dates of some of them can be established by
the date of purchase i f i t is k n o w n ; sometimes the date
can be established by iconographic features. The exam­
ples k n o w n to us are most probably not older than the
t u r n of the 18th and 19th centuries, the great majority
being 19th century. The pictures on paper that have been
preserved were painted as late as the second half of
that century. The subjects of the paintings were ex­
clusively religious. They are copies of the most popular
miracle oictures and scurotures of central Poland above
a l l of course the Częstochowa Madonna and also the
most nonular saints Thp- nainters cnnieH thoir nirtnrps
directly from devotional engravings T o m e of them of
These engravings were also produced i n c l ę s t o c h o w a !
The authoress distinguishes six basic f o r m a l kinds of
folk pictures from Częstochowa, attempting to arrange
them i n chronological order to some extent, and pointing

to the associations between some of t h e m and folk pain­
tings from other centres.
Tancred Banateanu, Jadwiga Formagiu WOMEN'S BLOUSES. F R O M STUDIES O N R U M A N I A N
F O L K COSTUMES
Rumanian folk blouses have kept their traditional
appearance for a relatively long time, although greatly
differentiated i n various regions.
A thorough analysis of the cut of women's blouses
has made i t possible to distinguish t w o basic types: I poncho and I I - gathered (fig. 1). There are different
versions of these t w o basic types.
I - the poncho type of blouse - the front and the back
are cut out of one piece of material w i t h an opening for
the head and the sleeves are sewn i n at right angles. A l l
versions of the poncho blouse are w o r n i n countries
neighbouring on Rumania. I n Rumania, these blouses
are the oldest and are w o r n for w o r k . Three versions
of this blouse have been distinguished: a) - w i t h sleeves
made from straight pieces of material and sewn to the
bodice w i t h o u t gathering (fig. 2) — provinces of Suceava,
Bacau Bucharest Oltenia; b) — blouses w i t h sleeves
gathered i n t o the bodice (fig. 4) - i n the localities of
Arad Fagaras Persani Maramures Oas This version
is w o r n i n the U k r a i n e beyond the Carpathians; c) bodice gathered into yoke of poncho cut Gathered slee­
ves (fig
5)
Oltenia.
Type I I - Blouse made of t w o pieces, front and back,
w i t h sleeves gathered at neck. This type of blouse is
w o r n a l l over the country (fig. 6, - map). Version a) gathered blouse w i t h o u t shoulder band (fig. 6a, 7 (b) blouse w i t h pseudo shoulder band the sleeve being
lengthened w i t h a square piece of m a t e r i a l („altita") and
sewn to the bodice. I n today's version of this blouse, the
square piece is of a different material than that of w h i c h
the whole blouse is made, c) blouse w i t h a different cut
of the sleeve w h i c h is made f r o m a triangular piece of
material twisted spirally (fig. 6c, 9) — localities of. V r a n eea Rran Fagaras Muscel The most common is the eathered blouse w i t h o u t shoulder band. The introduction
of the altita" is the result of Slav influences. On the
other hand the poncho type, the oldest i n the w o r l d ,
was also the first tvne of Rumanian hlouse and the oth¬
er kinds WOTrdeveloped from this type
The process of development w e n t on, one version
t u r n i n g into another under the influence of „ t h e fashion'.'
I n cutting out the blouses, the material was general­
l y cut along the thread. Another feature was rational
utilization of material.
The neck finishing usually covers the base of the
neck. A characteristic feature is gathering at the neck,
both front and back and also the sleeves, by drawing
a thread through the material (fig. 11a).
I n some localities the blouses have a sort of stand-up
collar made by the gathering w h i c h is covered w i t h
embroidery (fig. l i b ) . I n some versions the gathered ma­
terial is sewn into a band.
Square insets are sewn into the under-arms. The slee­
ves of the blouses are always long, sometimes gathered
at the w r i s t .
The traditional costumes are disappearing as a re­
sult of the urbanization of the r u r a l areas. Today the
blouses are often made from factory made cotton ma­
terial, i n a w a y resembling the blouses w o r n i n the
towns.
The blouses were decorated w i t h hand embroidery and
sometimes woven patterns. The composition of the orna­
mentation is strictly adapted to the cut of the blouse.
The seams are emphasized w i t h decorative stitching. The
fronts a n d sleeves of the blouses are richly ornamented,
and so are the collars and cuffs. The embroidery is clo­
sely associated w i t h the k i n d of cut. I n blouses of the
poncho" type there is an embroidered band on the shoul­
der along the'seam where the sleeve is sewn to the bo­
dice (fig. 15a) sometimes lengthened into an embroidered
smiaire (fig 15hl Tn blouses of the gathered tvne the ma¬
n bandof Z a l Z o n
runs horizontally below the
shoulders. There is a great wealth of embroidery on the
sleeves •
The predominating motifs i n the r i c h patterns orna­
menting the blouses are plant and animal ones and also
human figures w h i c h are very geometrized.
133

Z o f i a C i e ś l a - R e i n f u s s o w a - COTTAGE W I T H
UPPER ROOM I N M Y Ś L E N I C E D I S T R I C T
During inventory w o r k i n 1965, a cottage w i t h an up­
per r o o m (known as „ w y ż k a " i n Polish) was discovered
in the village of B o g d a n ó w k a , M y ś l e n i c e District. This
cottage, b u i l t i n the year 1800, has a layout w i t h a l l the
rooms opening out from one corridor and comprises
three parts: 1) the residential part consisting of the
l i v i n g room and the „ b a k e r y " , 2) a connecting corridor
b u i l t onto the „ b a k e r y " and stables, 3) y a r d w i t h entrace
gates to which the barn bay is joined. The last element,
of the building is a coach-house. The cottage is b u i l t of
thick logs w i t h fishtail" joints I n the residential p a r t
rtf the e n ł t a e e the logs arp r u t differentlv Thp unlit
roof is of rafter construction As refflrds the interior the
b a k P r v " is narticularlv i n t e m t i M
i t T w m m . t
a rhtmnev npscri hi n a th e ootte ep i'n detail thp a,,thn
re^s draws' soTrial »ttervHon t ^ t h p characteriltic , Z r
room h i the Uvine rnnm of the t v n J . k n o w n as w v f
k a " T i ^ t e r e r W n thTrnrrvrter hv M i m h 3 a ladder
to the room and w a l k i n g over the w i l i n g of the .bakeFurther investigation revealed that cottages w i t h an
upper room were traditional i n this locality, the only
difference being that, contrary to the cottage discussed
here, the upper rooms were i n farms comprising seve­
ral buildings. The cottages w i t h the „ w y ż k a " i n M y ś l e n i c e
District, like those i n Orawa, are not associated w i t h
one particular type of interior, nor have they any dis­
tinct k i n d of construction.
The discovery of the cottage w i t h the upper room i n
this locality indicates that such cottages were not l i m i ­
ted to Orawka and Podhale (see map). There are two
basic types of cottages w i t h the „ w y ż k a " : 1) cottages
With an upper room w h i c h is entered from a balcony,
which are typical of Orawa buildings. 2) cottages w i t h
an upper room under the roof ((the type commonly met
i n the Podhale region). The entrance to the upper room
through the attic as i n the cottage i n M y ś l e n i c e Dis­
trict is also found i n the centre of Orawa and i n Podhale. Documents from the 17th and 18th century lead
us to the assumption that the original cottages w i t h the
„ w y ż k a " d i d not have a balcony leading to the room
this being a later development of this k i n d of cottage!
Joanna
Maciejewska-Pavkovic A R T I N V I L L A G E S OF T H E B I A Ł Y S T O K

RITUAL
REGION

The authoress gives a review of r i t u a l a r t i n the B i a ­
łystok region i n connection w i t h the exhibition organi­
zed i n the autumn of 1965 and also on the basis of mo­
re comprehnsive material collected by the authoress her­
self i n this region.
The process of the disappearance of rites is taking
place more slowly i n this region than elsewhere, although
the old beliefs i n magic on w h i c h they are based have
disappeared altogether.
The greatest wealh of r i t u a l art is connected w i t h
Christmas, when the rooms of cottages are decorated
w i t h the so-called spiders (hung f r o m the ceiling) papercut curtains o r paper curtains (in later years) w i t h pa­
inted patterns. The ears of corn w h i c h formerly stood
i n the room have been replaced by the Christmas tree.
I t is a general custom for carol singers to carry a star,
which is i n various forms presented here by the autho­
ress (fig. 12). Another „.prop" of the carol singers is

the crib n a t i v i t y puppet show, w h i c h is fixed to a pole.
I n some parts of the region, the r i t e k n o w n as „The
Herods" is practiced. This is a spectacle i n w h i c h the
actors appear i n masks and costumes. I n many villages,
the „ H e r o d s " are accompanied by the „ g o a t " (fig. 4, 5).
There was also a custom of dressing up as ..gypsies",
w h i c h was connected w i t h New Year's. Eve i n the south
of the voivodship and w i t h Shrovetide i n other parts of
the region. I n some places the masqueraders include the
figures of „ t h e bear" and the „old men of straw" - two
men bound together w i t h straw - w h o dance under the
windows of the cottages. A m o n g the Shrovetide games,
there was the custom of carrying round the „Old man
and old woman (two life-size puppets placed on a cart­
wheel). This custom is not met w i t h anywhere else.
New Year's customs include special ritual cakes,
w h i c h are a dominating accent i n the New Year rites
There is also the custom of baking special cakes to
greet the Spring, for instance, the ones k n o w n as
„ S k o w r o n k i " (Swallows) (fig. 8) and so-called stork's
feet (fig. 10, 11).
Then there are rites for ensuring a good harvest,
w h i c h include the baking of cakes k n o w n as „Korowaj"
on St. George's Day, when they are carried round the
fields (fig. 16).
The Easter rites include the blessing of palms on
Palm Sunday (fig. 6, 7) and the decoration of eggs (Pi­
sanki). A m o n g Catholics and members of the Orthodox
Church, there is the custom of blessing wreaths of green­
ery, w h i c h are used for incensing frightened children
or cows that do not give m i l k , etc. The cycle of magic
rites for a good harvest is crowned by the so-called
„ P r z e p i ó r k a " , w h i c h is a bunch of ears of corn tied at
the top and decorated w i t h flowers.
Before the First W o r l d War, the harvest home wre­
ath was only made where there were manors, b u t every­
where, the harvesters brought the farmer a bunch of
ears of corn decorated w i t h flowers, that was known
as the „ p l o n " (harvest). The same name is given
to the bouquet blessed on Assumption Day, which is
made ears of corn and leaves of various crops and gar­
den plants (fig. 3).
As regards wedding rites, the e x h i b i t i o n only shows
the wedding cake k n o w n as „ K o r o w a j " (fig. 16-18) which
is m a i n l y practised i n the eastern regions, but goes
beyond the western boundery o f Byelorussian settlement.
I n various localities there are different ceremonies con­
nected w i t h the „ K o r o w a j " . The t r a d i t i o n a l „Korowaj"
is gradually disappearing (it is being replaced by the
modern wedding cake) and is only found today i n the
eastern border zone.
To sum up, the authoress of the article says that:
1) local research indicates the use of the same ritual ob­
jects by the Polish and Byelorussian population, the
only difference being that the Polish population observe
the custom of baking r i t u a l cakes i n the Spring.
2) Similarities indicate m u t u a l borrowings and the com­
mon agrarian origin of the customs.
3) I n many cases the objects used are identical but the
r i t u a l interpretation is different.
4) Often, objects used for s i m i l a r functions differ in both
groups, either i n f o r m or i n ornamentation.
5) The gradual disappearance of ritual a r t is connected
w i t h the diminishing area i n w h i c h the rites are obser­
ved.
The least difference occurs where groups of population
of different origin have m i x e d w i t h each other.

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250
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a
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COPOHKM

HAH.MO-

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T m a T e j i b H O M3yHMB n o K p o M ZKeHCKoií p y S a n i K M , MOJKHO
pa3JiMHHTb a s a ocHOBHbix
rana: I
HOHHO, I I
B
c 6 o p K y (MJIJI. 2). OHM B C T p e n a i o T C H B o n p e f l e j i e H H b i x
p a í i o H a x , n p M n e M B K a s í f l O M M3 HMX B b i C T y n a i O T H e K O T O p b i e pa3JIMHMH.
I — c o p o H K a n o H H o : nepefl M c n M H K a B b i K p o e H b i M3
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pofla
pyBamKM-noHHO
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TeppMTopMM
OHM n p M H a f l J i e H t a T K c a M O M y C T a p o M y o5pa3qy, MX HOCHT

H a paSoTe. OHM flejiaTca H a TPM p o ^ a :
a)

6)

c r j i a f l K O BIUHTBIMK p y K a B a M M M3 n p a M b i x K y c K O B
n o J i o T H a (MJIJI. 2) — B p a f í o H a x C y H a B a , B a K a y ,
ByxapecT,
OjiTeHHa.
CopoHKM
c coSpaHHbiMM
y
npoííMbí
pyKaBaMM

(MJIJI. 4) — B p a í i o H a x

Apafl, <I>arapam, I l e p H a H M ,

MapaMypem, Oam. TaKoro n o K p o a COPOHKM B C T p e B)

naioTca T a K H t e B K a p n a T C K O M y K p a M H e .
CopoHiía,
co5paHHaa
nofl K O K e T K y c p y K a s a M M
B c S o p K y (MJIJI. 5) — B p a í i O H e O j i T e H M a .

II — COPOHKM M3 flByx n o J i o T B M u í : nepes M c n M H K a
c coSpaHHbiMM
y Bbipe3a p y K a B a M M . B c T p e H a i o T c a n o
B c e ü T e p p M T o p M M c T p a H b i (MJIJI. 6, K a p T a ) .
I I o K p o M a) — C o S p a H H a a , 6e3 n o j i n K O B (MJIJI. 6a, 7 ) .
I I o K p o i í 6) — c n c e B f l o n o j i M K a M M , n p M n e M p y K a s a yflJTMHeHbi n p a M o y r o j i b H b i M K y c K O M n o j i o T H a „ajibTMTa" M npn-

135

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IIoKpoft B ) — P y K a n a jiejiaiOT W3 T p e y r o j i b H o r o K y c K a
nojioTHa, csepHyToro c n n p a J i b K > (HJIJI. 6C, 9) — paftoHax,
« t a r a p a i i i , B p a H n a , B p a H Mymejib.
CaMBiMM p a c n p o c T p a H e H H B i M H
HBJIHIOTCH c o o p a H H b i e
copoHKM 6 e 3 nojiMKOB. HTO K a c a e T C H T a K H a 3 . „ajibTMT",
TO 3 f l e c b C K a 3 b i B a e r c H c j i a B H H C K o e BjiHHHMe, B TO speMa,
K a K noHHO — CTapeMUiMÖ BO BCCM M w p e n o K p o ü p y ö a m e K
— Sbiji TaKJKe n e p B b i M TMIIOM p y M b i H C K O K p y S a n i K M ,
KOTopbiM n o c T e n e n H O B w / i O H 3 M e H a j i c a , H e p e / i K O nofl BJIMHHweM „ M O f l w " . n p H K p o f i K e COPOHKM n o j i a r a j i o c b p a 3 p e 3 b i B a T b n o j i O T H o B f l o j i b HMTH. K p o M e T o r o H a f l J i e j K a j I O
CTpeMMTbCH K p a u H O H a j i b H O M y H c n o j i b 3 0 B a H H i o M a x e p M a j i a .
B b i p e s floxoflMT o ö b i H H o JJO JIHHHH ITTTPPT, rjpMHOM x a p a K T c p H o , HTO n e p e / i , c n M H K y w p y K a B a c o ö n p a i o T H a H H T K y ,
OÖDa3VH B O K D V r UieM CSODKM (MJI3I
I I a ) B HeKOTOÜblX
M e c x H O C T H X nDMHHTO a e j i a r b H e H T O B o o i i e
eo6raHHoro
CToanero
Bopora,
OTJiejiaHHoro
B b i i U H B K O M (HJM. I I b ) .
E c T b T a K J K e M e c T H O c r M , r;ie c ö o p K H B u i M B a i o T B n o a c .
noflMbniiKOM B u i M B a i o T c a KBaflpaTHbie KJiwHba. C o p o H K H ,
K a K n p a B M J I O , U l b l O T C ,J(JIHHHbIMM, MHOrfla C OÖpaHHbIMM
B H H 3 y , pyKaBaMM. IToa B J i w a H H e M r o p o w a HauMOHajibHbrii

Hapafl B ^epeBHe n o c T e n e H H O

wcne3aeT.

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nacTO

I I o a H H a M a i i e e B C K a - n a B K O B M H — OBPHflOB O E nPMKJIAflHOE M C K y C C T B O B B E J I O C T O K C K O H
AEPEBHE
B CBH3M C COCTOHBUieÜCH OCeHbK) 1965 T. BblCTaBKOÜ,
a T a K H í e H a o c H O B e 5 o j i e e n o f l p o 6 H b i x MaTepwajioB, c o 6 p a m i b i x B p a ü o H e , aBTop cTaTbM « e j i a e T o63op npo6jieM,
KacaiomHXca
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HCKyccTBa B
BejiocTOHHMHe.
B STOM p a ü o n e n p o n ; e c c OTMMpaHMH oópaflOB noflBMr a e T C H MefljieHHee, n e M B
flpyrMX
M e c T a x , XOTH c e ü í a c
OHH y a c e j i H i H M j i w c b c B o e r o M a r w H e c K o r o
xapaKTepa.

Caiioe 5oraToe o S p a f l O B o e TBopnecTBo C B a 3 a H O c n p a 3flHHK0M P o s K f l e c T B a , K o r f l a j K M J i w m a y K p a u í a j i H C b 6 y MaJKHbiMM n a y K a M M M B b i p e 3 a H H b i M M M3 6 y M a r H 3 a H a B e c KaMM

KOTOpbie no3flHee c T a j i n 3aMeHHTb

pa3pMC0BaHHbiMM.

M e c T o npe>KHero nuieHMHHoro c n o n a , 3 a H « j i a
eJiKa.
H o B c i o f l y p a c n p o c T p a H e H c ó b i n a ü K O J i a f l O B a T b co 3 B e 3 f l o ü ;
aBTop
noKa3bmaeT
pa3JiMHHbie
(bopsabí
STOTO
oóbtnaa
(MJIJI. 1,2). B T O p b l M peKBH3MTOM K O J i a f l O B a H M H aBJiaeTCH
B e p T e n H a n a j i K e . B HeKOTopbix paíioHax
cymecTByeT
o6t>a7T T a K H a 3 l l D o n a " • • 3 D e j i H L i i e
v H a c T H n K M KOTOporo BbiCTynaioT B MacKax H cooTBercTByiomMx Hapaflax.
Bo M H o r M X jiBpeBHHX
Mpoiia." i c o n p o B 0 2 K i i a . e T K03a

(HJIJI. 4, 5). C y i n e c T B O B a j í

TaKJKe o6biHaü HapascaTbca

HanoMMHaiomMe

. f l b i r a H a M M " , K O T O P M Ü B IOJKHOH n a c T H BoeBOfflCTBa 6 b M
C B a 3 a H c HOBBIM ToflOM, a B
flpymx
MecTax — cM a c -

CopoHKM
yKpamaMT
pyHHOH
BbnuwBKOM,
pexe
—
TKaHbiM y a o p o M . K o M n o 3 M L ( M a y 3 o p o B C T p o r o c o H e r a e r c a
c n o K p o e M copoHKM.
UlBbi
OTflejibmaioTca
JieKopaTWBHblMM CTejKKaMM. Ilepefl M pyKaBa, B O p O T M MaHJKeTbl

JieHML(eM. B H e K O T O p b l X MeCTHOCTHX BO B p e M H
MacjieHHL(bi B b i C T y n a i O T c p e f l M p a s c e H b i x „ M e f l B e f l n " M „COJIOM e H H b l e «eflbl" — 2 MyHCHMH, o6BMTbIX COJIOMOÜ, — TaHn y i O T no/i; OKHaMM AOMOB. B M a c j i e H M u y n p w H a T O T a K a c e
o6B03MTb „Aep¡a c 6a5oü" — (2 K y K J i w B a T y p a j i b H O ü Be-

LUbioT c o p o H K M M3 d p a 6 p H H H o r o n o j i o r a a ,
n o K p o e M r o p o f l c i c u e KOPPTOHKM.

OTflejiaHbi

SoraToü BbimHBKOń, T m a T e j i b H O noAOÖpaHHOw

n O K p O K ) COPOHKM.
B pyöauiKax T w n a TIOHHO BbiuiHBKa oöpasyeT Karäiy
Ha n j i e n a x B f l o j i b npowMbi (HJIJI. 15a), c o c T a B J i a a
wHor/ia
K

BbiuiMTbiM npHMoyrojibHMK (HJIJI. 156). B eoopaHHbix p y S a i i i K a x o c H O B H a « j i H H w a o p H a M e H T a HfleT
ropusoHTajibHO,
o n y c K a a c b mixe
njien. Eojiee n b i n i H ö w BMUIMBKOH O T AejibiBaioTca p y K a B a .

B 6oraTbix y s o p a x c o p o n e K npeo6jia/iaioT

paerwTejibH b i e H JKMBOTHbie MOTMBbI, a T a K J K e H e j I O B e H e C K H e CpMr y p w c noflMepKHyTO
reoMeTpwHecKHMH
jiHHHaMH.

jiMHMHbi, cMflamMe H a KOJiece Tejiera). 3TOT oSbinaü c o HCKJiioHMTejibHO B yKasaHHOM paüone M Hwrfle

xpaHMJica
6ojibuie.

C p e A M HOBoroflHwx
oóbinaes cymecTByer o6bnait 06paflOBoro neneHHH; co6jnoflaerca TaKJKe o ó b i n a ü B e c e n H e r o n e n e H b H , H a n p H M e p „ j K a B o p o H K O B " (HJIJI. 8) JIM6O
„ 6 y c j i O B b i x ( a M C T O B b i x ) J i a n " (HJIJI. 10, 11).

K

MarwHecKMM oSpa^aM, C B H 3 a H H b i M c 6yflynu¡MM y p o -

HíaeM, npMHafljieiKajia B b i n e n K a T a K H a 3 . „ K o p o B a a " Ha
C B . „IOpMH" (CP. HJIJI. 16), C K O T O p b l M 06X0flHJIM nOJIH.
K n a c x a j i b H b i M o 6 p a a a M npwHafljiejKajio CBaTMTb n a j i b M b í

B Bep6Hoe BocKpeceHbe (HJIJI. 6, 7) H p a c K p a m i i B a H i i e HHH;

3oqbMa LI. e c b JI a - P e ił H dp y c — M3BA C „ B b l l H K O K " B MBICJIEHMH.KOM P A H O H E
B 1965 r., BO BpeMa wHBeHTapM3aL(MOHHbix pa6oT

(nKcaHOK). PacnpocTpaHeHHbiM
o6binaeM cpe^n KaTOJiMH e c K o r o n n p a B o c j i a B H o r o H a c e j i e n i i a a B J i a e T C H CBHTHTb
BeHKH
KOTopbiMH oKypwBaiOT n e p e n y r a H H b i x A e T e ü , He

B

flaiOmHX
MOJIOKO K O P O B
ueflyPj
CBH3aHHbix
c ypojKaeM,
3aBepmaeT
T S K HS3.
,,nepenejiKa"
n o c j i e ^ H M Í i n y n e K KOJiocbe'B
nepeBH3aHHbní B B e p x y TI y K p a u í G H H t í i í í HBGTSMH
Ro n e p B o í í MMPOBOÍÍ B o ü H b i « o í K U H O H H b i ü B e H O K n j i e j i w
TOJibKO T a M , r ^ e 6 b i j n i O T B e p c r a a ,
a noBCiofly jKHeubi
npenoAHOCMJiM
xo3HMHy
nynoK
yKpanieHHbix
BjBeTaMM
KOJiocbeB,
Ha3biBaeMbiií
„njioflbi
ypoJKan".
TaKoe
me
H a 3 B a H w e H M e e T 6 y K e T M3 K O J i o c b e B , a T a K J K e M3 p a 3 jiHHHwx
nojieBbix
w caflOBbix
pacTeHMíi,
n o cjiyqaio

«epesne

EorflaHOBKe,

MwcjieHMaKoro

paüoHa,

ßbijia

oÖHapyjKeHa W36a c K J i e T b i o H a nepaaKe, T.e. c TaK Ha3.
„BbiiHKOü". M36a, n o c T p o e H H a a B 1800 r. n o oflHOTpaKTHOMy n j i a H y , COCTOMT M3 T p e x n a c T e w :
1) H i H J i a a nacTb, oxBaTbiBaioinaH KOMHaTy M „ n e KapHio", 2) n p o x o f l H b i e COHH, npMCTpoeHHbie K nenapHe
M KOHIOUIHe, 3) ryMHO C B"be3flHbIMM BOpOTaMM, K K O T O p b I M
upMMbiKaiOT 3 a K p o M a . n o c T p o M K y
flonoJiHaeT
c a p a ü . /(OM
HOCTpOeH M3 TOJICTblX S p e B e H ,
COeflMHeHHblX
B BMfle
„ p b i ö b e r o x B O C T a " ; B ÄMJIOM q a c r w
SpeBHa
pySjieHbi
MHane. Ü36a KpbiTa TOHTOM Ha c T p o n n j i a x . B H y T p w M36bi
o c o ö b i i l HHTepec Bbi3MBaeT K y p H a a
neKapHa.
AeTajibHo
o n n c b i B a a a x y H36y, aBTop
o n e H b MHOTO
BHMMaHHH y f l e j i a e T x a p a K T e p H o i l K J i e T M n a n e p a a K e H a a
M360M T.Ha3. „BbiHiKe". Bxofl K H e ń B e f l e T M3 ceHeii,
OTKyfla noflHUMaiOTCa n o JiecTfflme H a nepflaK,
crynaa
n o n o T O J i K y neKapHM (MJI. 16).
flajibHeiiiHMe
HccJieflOBaHMa
noKa3ajiH, HTO H a STOM T e p p u T o p n H cymecTBOBajia T p a J^M^IIH flOMOB C „ B b H H K a M H " , K O T O p b i e B C e J K e OTJIMHajTMCb

OT npMBefleHHoro H a M H o ö p a s a a
BCTpeiajiMCb

B KpecTbaHCKMx

TeM, HTO OÖBIHHO OHM

flBopax

c o MBOMMH

no-

CTpoMKaMH. B MbicjieHimKOM pawoHe, TOHHO TaK JKe K a K
B O p a B e , flOMa c „BbiniKaMw" H e C B a 3 a H b i c K S H H M TO
o n p e s e j i e H H b i M TJUIOM B H y T p e H H o r o
ycTpoücTBa M po3HHTCH K O H C T p y K U H e H .
OSHapyjKeHHaa
B STOM p a i i o H e H 3 6 a
c
„BbnuKOM"
yKa3bmaeT
H a TO, HTO T a K u e n o c T p o ü K M
coopyscajnicb
He TOJibKO B O p a B K e w Hoarajibe ( c p . KapTMHy). Pa3JiwH a w T C H flBa o c H O B a H b i x T H n a H36 C „BbiuiKaMM": 1) M36a
c „BbiuiKOM" M BeflymMM K Hew KpbiJieHKOM — x a p a K T e p -

OpaBCKOrO CTpOMTCJIbCTBa \ 2) M36a C „BblLUKOÜ"
noÄ o6meił K p b i u i e ü (Tun, pacnpocTpaHeHHbiii B ü o f l rajibe). Bxofl H a „ B b i u i K y " H e p e 3 n e p ^ a K , KaK B M W C -

n p a 3 A H M K a B o r o M a T e p M , oTMenaeMoro 15 aBrycTa (HJIJI. 3).
C B a f l e 6 H b i e oSpa/ibi n p e f l C T a B J i e H M

jiMiub
HcneK a e M b r a rjiaBHbiM o 6 p a 3 0 M B B O C T O i H b i x p a í i o H a x ; oflH a K O o d b r a a i i STOT p a c n p o c T p a H a e T C H H K 3 a n a f l y OT r p a -

HMn,bi 6 e j i o p y c c K H x nocejieHMH. B 3aBHCWMOCTH OT MCCTHOCTM c „ K o p o B a e M " C B a s a H M p a 3 J i n H H b i e >npa3flHeHCTBa.
TpaflMuwa
„KopoBaa" nocTeneHHo oTMwpaeT (ero 3 a MeHaeT CBafle6Hbül nMpor), coxpaHHBiuHCb
j i w m b B BOCTOHHOH n o r p a H M H H o í í n o j i o c e .

B saKJiioHeHMe aBTop C T a T b H O T M e n a e i :
1. H a ocHOBaHMM n p o B e f l e H H b i x B
flannoü

MecTHOcTM
M c c j i e f l O B a H M i l MOJKHO C K a 3 a T b , HTO H n o j i b C K o e n 6 e j i o p y c c K o e H a c e j i e H i i e n p n j j , e p ? K M B a e T C H T e x Tue o 6 p a flOBbix
dpopM c Toa pa3HHueü, HTO y n o j i H K O B Her
o 6 b i n a a w c n e K a T b c n e b ( M a j i b H o e n e n e H b e K BeceHHMM
npa3flHHKaM.

2. C x o f l C T B o MeiKfly o6paflaMM C B M f l e T e j i b C T B y e r o B 3 a n -

236

4.

TaKJKe M B ąeHTpajibHow

OpaBe M B Hoflrajibe.
Ha ocHOBaHKM MMeiomHxca
flOKyMeHTOB
c
XVII
M X V I I I B B . MOJKHO npeflnojiaraTb, HTO n e p B O H a n a j i b H O
M36a c „ B b i u i K O M " CTpoMJiacb 6 e 3 K p b i j i e H K a ,
Koropoe
noaBMJiocb B 6ojiee no3flHHM n e p n o f l .

MonpoHMKaHHM w o 6 m e í l a r p a p H o ü o c n o B e .
oflHM M Te ? K e n p e ^ M e T b i HMeioT p a 3 J i n H H o e
o6pa«0Boe SHaneniie.
H a c T O npeflMeTbi, McnojiHaroiuMe y o 6 e n x r p y n n oflMHaKOBbie cpyHKHHH, po3HHTca
ppopMOH
JIH6O
yKpaiueHuaMM.
Ho M e p e T o r o , K a K TepaioT CBoe 3 H a n e H M e o6paftbi
r j i o x H e r TaKJKe o5paflOBoe HCKyccTBO.
C r j i a j K M B a H w e pa3JiMHMü CMJibHee B b i c x y n a e T TaM, rfle
n p o n 3 o r u j i o cMenieBMe HacejieHHa pa3JiHHHoro
npoMCXOfleHHH.

3. H a c T o

HWM T I H I

jieHHL^KOM p a ü o H e , B C T p e H a e r c a

Ha BbicTaBKe

CBafle6Hbra neneHbeM „KopoBaü" (HJIJI. 16—18) —

5.
6.

CZASOPISMA

INSTYTUTU

SZTUKI P A N

wydawane przez:
P.P.

WYDAWNICTWA ARTYSTYCZNE

I

FILMOWE

B I U L E T Y N H I S T O R I I S Z T U K I , k w a r t a l n i k , ponad 100 str. dużego
formatu, około 100 ilustracji. Cena 24 zł, prenumerata p ó ł r o c z n a 48 zł,
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Cena 18 zł, prenumerata p ó ł r o c z n a 36 zł, roczna — 72 zł.
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W A R U N K I PRENUMERATY
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Cena prenumeraty: p ó ł r o c z n i e zł 36, rocznie zł 72.
Prenumeraty przyjmowane są do 10 dnia m i e s i ą c a poprzedzającego
okres prenumeraty.
P r e n u m e r a t ę na k r a j 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 i n d y w i d u a l n i m o g ą r ó w n i e ż d o k o n y w a ć w p ł a t na konto P K O
N r 1-6-100020 — Centrala K o l p o r t a ż u Prasy i W y d a w n i c t w
„Ruch"
Warszawa, u l . Wronia 23.
Wszystkie instytucje p a ń s t w o w e i społeczne m o g ą z a m a w i a ć prenume­
r a t ę w y ł ą c z n i e 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 " .

23, tel. 20-46-88, konto P K O N r 1-6-100024.
SPRZEDAŻ
Egzemplarze n u m e r ó w zdeaktualizowanych m o ż n a n a b y w a ć w P u n k ­
cie W y s y ł k o w y m Prasy Archiwalnej „Ruch", Warszawa, ul. Nowomiejska nr 15/17, konto P K O N r 114-6-700041 V I I Oddział M i e j s k i 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
Rozpowszechniania W y d a w n i c t w N a u k o w y c h P A N w P a ł a c u
i N a u k i w Warszawie.

Ośrodek
Kultury

Zakłady Graficzne „Tamka" Zakład Nr 2 W-wa, Podchorążych 39. Zam. 223. Pap.
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