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SUMMARY
Jacek O l ę d z k i
POLAND
•
OF
— REGIONS OF FOLK ART I N
The author criticises the attempts made so far to
régionalise folk art in Poland. In view of the inadequa
cies of monographic studies these attempts are bound to
be oversimplified. In other European states large folk
groups were prominently evident, which was reflected in
administrative structures. In Poland, on the other hand,
these groups function at the lowest level by a sense of
belonging to a certain collective community.
Interest in folk art at the beginning of the 20th cen
tury followed such ideologies as pan-Slavism, pan-Celtism or pan-Germanism. After the First World War thii
was accompanied by tendencies to strengthen the polit
ical and economic role of the regions in order to em
phasise their native values. In view of the specific polit
ical situation of Poland in the 19th century, regional
tendencies were strong here and helped the people to
bear the rule of the partitioning powers. A t that time
too the cohesion of some groups — for instance, the peo
ple of the Kurpie, Mazurian and highland regions —
was strengthened and a separate trend in art emerged
which went hand in hand with a growth of their social
cohesion. A r t played an important part in this situation.
These groups emerged as separate units of the large
collective communities formed in the Middle Ages. These
communities did not have an isolated position in the
19th century. They were for the groups then emerging
as separate units a source of traditions, beyond which
they went. They were certain local traditions — of the
courts, the plebians or urban traditions. And above all
the traditions of centres of Christian culture which was
an expression of the official art and ideology.
The author critically discusses the important attempt
made at régionalisation of folk art by Józef Grabowski.
He discusses, giving sculpture as an example, the crite
rion of the intensity of the occurrance of certain kinds
of creative work in a given locality. An accurate histori
cal study is essential to point to the reasons for the un
even development of folk art all over the country. A t
tempts to find the sources of this in the inborn predis
positions of a group are doomed to failure. Also evalua
tions of the sort which say we are dealing with an ideal
example of folk art — and with „imperfect" executions
according to this pattern — are false ones.
As long as we do not have a full range of mono
graphic works, it is too early to make generalisations
on the subject of the reasons for the differences and the
regional features of folk art. I t is essential to take this
group of features together with: 1) recent history, 2) cul
tural ballast, 3) attitudes to tradition, 4) the dynamism of
the development of various peasant groups.
Present activities have brought out completely new
values in the culture of provincial centres, independent
of local traditions. This is leading to a sudden breaking
up of local structures in favour of national values. In
this situation régionalisation of folk aft and geography
of form is no longer so important. Attention should be
concentrated on the problems of the changes in the func
tions of folk art and the way it is evaluated by the
folk artist and the buyer of his products.
R y s z a r d K u k i e r — PRODUCTION AND ORNA
MENTATION OF BUTTER MOULDS I N THE BYTÔW
REGION
The tradition of making butter moulds has lasted
till this day in the Kashubian Bytôw region. In the past
62
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it was associated with local customs; it was also con
ditioned by the environment, as the abundance of forests
were conducive to various kinds of woodwork, carpentry
and coopery.
The butter moulds were in various shapes: square,
oblong, oval and round. Rollers made of wood for orna
menting large pieces of butter were also made. The best
wood was oak, then came beech, plum and pear wood.
Moulds made of softer woods — ash or poplar — lasted
as long as twenty years. The size of the mould was
from quarter of a pound to two-pounds, depending on
the wealth of the farmer. The ornamentation of butter
moulds was varied. There were: 1) sprays of lilac or
of sorb-tree sprigs with flowers or berries, somtimes
with a bird motif, 2) animals, mostly lambs (in Catholic
communities), eagles (in Protestant communities) or cows,
3) geometrical motifs, particularly vertical grooving of
the sides, 4) inscriptions, mostly in German.
The production and use of butter moulds was very
widespread among the native people of medium wealth
and among artisans. I t was characteristic that the mak
ing of moulds, the kind of ornamentation and the use
of the moulds was undertaken by the German colonists.
The author discusses literature on the subject and
the views of the Kashubians connected with the produc
tion and ways of preserving butter moulds.
Jan G ó r a k
BUG
— DUTCH HOUSES ON THE RIVER
Dutch settlement in Poland can be traced back to
the first half of the 16th century. I t occurred all over
the country, up to the River Dniepr. In Lublin Voivodship settlement of the Dutch type embraces 18 physio
graphic objects (fig 1). In the village of Mościce Dolne,
founded on the right bank of the River Bug in 1564,
out of the hundred or so farms, eight are built in the
Dutch style. A l l of these buildings have a characteristic
layout (fig. 7—9); most of them are situated with the
gable facing the street. A significant element of the
building is the upper part of the chimney. The chimney,
in the form of a four-sided pyramid with the top cut off
is made of pine logs 38 mm thick (fig. 18). The top is
finished with a cornice. The sides of the chimney are
not plastered either inside or outside. The chimney stands
in the corridor on a brick base in which there is an
oven for baking bread. The flues from the kitchen and
heating stove go into the chimney in the attic. This type
of chimney is quite unique, as in Mościce Dolne and the
whole voivodship column type bricked chimneys pre
dominate.
The difficulties in establishing Dutch settlement are
connected, among others, with German colonisation
which in methods of cultivation, occupations and in
building became simiar to the Dutch. German research
ers also sometimes identify Dutch settlement (Hollander)
with German settlement in clearings (Haulander). The
kind of settlement in Mościce Dolne was of the Haulan
der type — with the preservation of the privileges of
the old Dutch settlement. The present inhabitants of
Mościce Dolne consider themselves Dutch, although they
are not. They understand this as the name of their oc
cupation. This occupation, like the former one of the
Dutch settlers, is carrying out seasonal earth works,
sometimes in quite distant districts.
Jan Gorak's study apart from bringing an accurate
description of the houses, also has a comprehensive se
lection of bibliographic material.
Jan S e t k o w i c z — SHEPHERDS' "MOSORY"
THE BESKID MOUNTAINS
IN
„Mosory" are vessels self-produced toy the sheep
farmers for use when the flocks of sheep are put out to
graze under the care of a shepherd. They are made by
gouging out tree trunks that have rotted in the centre.
They are used as scoops, kneading troughs, milk con
tainers and for keeping grain.
The tradition of making vessels of this type has
been kept up in Cieszyn Silesia. The author of the arti
cle describes the technique of making these vessels and
the conditions favouring the kind of tree trunks used
to produce them.
A r m a n d V e t u l a n i — WOJCIECH
HIS INTEREST IN FOLKLORE
GERSON AND
The article discusses the work of one of the most
active representatives of the national trend in painting
in the second half of the 19th century, namely W. Ger-
son. During his planned tours of the country he collect
ed a vast amount of ethnographic material, above all,
in the form of drawings, but also texts and objects 01
folk art. In 1855 he issued a colour lithography publica
tion „Gostumes of the Polish People'. Many of his pain
tings show scenes of customs and manners with folklore
as their subject. Gerson's interests also extended to folk
handicrafts based on folk decorative motifs. His person
ality is associated most closely with the Podhale region.
J a n M i n o r s k i — THE SCULPTURES OF WINCEN
TY ZUBIELEWICZ
The author writes about a sculptor who while stay
ing in Międzygórze, Kłodzko district, made some ar
tistic compositions and placed them in the open air
among trees and greenery. In his sculptures he took
advantage of the natural shape and properties of the
wood he used, which was found in the forest. Only in
a few cases does he supplement this material with in
dustrially produced material.
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CZASOPISMA INSTYTUTU SZTUKI PAN
wydawane przez
ZAKŁAD NARODOWY IM. OSSOLIŃSKICH
WYDAWNICTWO PAN
BIULETYN HISTORII SZTUKI, kwartalnik, ponad 100 str. dużego
formatu, około 100 ilustracji. Cena 24 zł, prenumerata półroczna 48 zł,
roczna — 96 zł.
POLSKA SZTUKA LUDOWA, kwartalnik, 64 str. dużego formatu,
bogaty materiał ilustracyjny. Cena 18 zł, prenumerata półroczna 36 zł,
roczna — 72 zł.
PAMIĘTNIK TEATRALNY, kwartalnik, ponad 170 str. druku, około
100 ilustracji. Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł.
MUZYKA, kwartalnik, około 130 str. druku, liczne przykłady nutowe,
Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł.
Wszystkie czasopisma nabywać można regularnie jedynie w prenu
meracie.
WARUNKI PRENUMERATY
„POLSKIEJ SZTUKI LUDOWEJ"
Przedpłaty na prenumeratę przyjmowane są w terminie do dnia 10
miesiąca poprzedzającego okres prenumeraty.
Prenumeratę na kraj dla czytelników indywidualnych przyjmują urzędy
pocztowe oraz listonosze.
Czytelnicy indywidualni mogą dokonywać wpłat również na konto
PKO nr 1-6-100020 — Centrala Kolportażu Prasy i Wydawnictw
„Ruch" — Warszawa, ul. Towarowa 28.
Wszystkie instytucje państwowe i społeczne mogą zamawiać prenume
ratę wyłącznie za pośrednictwem Oddziałów i Delegatur „Ruch".
Cena prenumeraty: półrocznie zł 36, rocznie zł 72.
Cena prenumeraty za granicę jest o 40% droższa od ceny podanej wy
żej. Przedpłaty na tę prenumeratę przyjmuje na okresy półroczne i rocz
ne Przedsiębiorstwo Kolportażu Wydawnictw Zagranicznych „Ruch"
w Warszawie, ul. Wronia 23, za pośrednictwem PKO Warszawa, konto
nr 1-6-100024, tel. 20-46-88.
SPRZEDAŻ
Egzemplarze numerów zdezaktualizowanych można nabywać w Punk
cie Wysyłkowym Prasy Archiwalnej „Ruch", Warszawa, ul. Nowomiejska nr 15/17 na miejscu, lub na zamówienie za zaliczeniem poczto
wym. Konto PKO Nr 114-6-700041 V I I O/M Warszawa.
Aktualne numery czasopism Instytutu Sztuki PAN posiada Ośrodek
Rozpowszechniania Wydawnictw Naukowych PAN w Pałacu Kultury
i Nauki w Warszawie.
Indeks 37132
Zakład Narodowy im. Ossolińskich — Wydawnictwo Polskiej Akademii Nauk.
Wrocław, 1971. Oddział w Warszawie. Nakład: 1530 + 120 egz. Objętość: 9,40 ark.
wyd.: 8,00 ark. druk. Papier: rotogr. III kl., 120-gram., Al. Karton: Kred., III W.,
220-gram., BI. Oddano do składania 20 XII 1970. Podpisano do druku we wrześniu
1971. Wydrukowano' we wrześniu 1971. Cena: 18,- zł
Zakłady Graficzne „Tamka" -
Zakład nr 2, Warszawa,
Zam. 934/70. U-107.
ul. Podchorążych 39