Cyfrowa Etnografia

a2ae2224333693bef35c2b01df305dd1.pdf

Media

Part of Summary of articles/ Polska Sztuka Ludowa - Konteksty 1964 t.18 z.3

extracted text

P

O

L

I

S

H

F

The issue devoted to the folk art of the Kurpie region
(northern part of Warsaw Voivodship) opens with an
article by:
Adam Chetnik REGION

THE FOLK ART OF THE KURPIE

The author of the article, merited cultural leader
and researcher into folk art, gives a monographic
review of the folk art of the Kurpie region in his
article, describing all fields of this art in brief. The
Kurpie region folk art developed on the basis of the
raw materials of the region.
The simplest expression of this art are ornaments
built of sand or cut in lawns (fig. 2, 4), mostly done
by children.
The ornamentation generally met with in localitities on the shores of lakes were objects made of shells
(fig. 6) and also of multicoloured pebbles, which were
used for making mosaics- in church interiors.
A l l the wealth of the forests was fully utilized
in this folk art. F i r cones are used for making small
decorative objects (fig. 33), from horn, the Kurpie
people make walking stick handles, powder horns,
horns for shot, drinking horns (fig. 9), hunting horns
chandeliers, snuff boxes, buttons, etc. A l l over the
Kurpie region wherever there is clay we find decorative ceramic ware (fig 7) which does not greatly
differ in its ornamentation from the ceramic ware of
prehistorical times or those of the earliest ages. A m ber ornaments occupy an important place in the art
of the Kurpie people. There was a lot of trading in
amber here in olden times and the trade roules led
from Greece, Rome and Arabia. Our knowledge of
amber here in olden times and the trade roules led
18th century. It included: beads, pendants, pipes, snuff
boxes, walking stick handles, etc.
Thanks to the local iron smelting furnaces, the
people of the Kurpie region had their own iron,
which enabled them to develop the art of blacksmithery, particularly in the 18th century and at the
beginning of the 19th century. Particulary worthy of
mention as regards decorative features are the iron
fittings of carts (fig 10, 11) the iron finishings of wooden figures and the ironwork in the little churches.
Plant and animal motifs predominate in the ornamentation.
The author refers to ornamentation cut out in
lawns as being the first form of the decoration that
later took the form of paper cuts. The same patterns
are to be found cut in wood. Up to the middle of
the 19th century, the patterns were cut out in coloured cotton fabric, and they in turn were replaced
by paper cuts.
Among the oldest kinds of folk art in this region
is basket work. Various kinds of baskets, "measures"
(fig. 15), utensils (fig. 18) were made from roots,
osier, reeds, etc., straw was used for the weaving
work on chairs (fig. 17) and stools, for making hats,
shoes and mats.
The forests in the region promoted the development of building from wood, which is in almost the
same style all over the area under review. The cottages were mostly built of pine wood, the apex wall
facing the street with a garden in front and a cherry
orchard and an apiary at the back. Stables were built
onto the apex wall and the cowshed and barns were
built further away from the cottage. The cottages
were built coillon style and the roof was either covered with wood tiles or thatched. The typical elements of this kind of building were the finishing
of the apex in the form of horns, birds' or horses'

O

L

K

A

R

T

heads. There was also ornamentation carved out
in the wooden planks above the windows and on the
top beam (fig. 19, 20) and the doors were also decorated. Today, the Kurpie art of building is dying out,
or is being distorted.
A separate branch of architecture are the entrance
gates to important buildings or places (churches, cemeteries) (fig. 22—24).
Beams were a decorative element of the interiors
and an important role in room ornamentation was
played by paper cuts, „spiders" made of straw and
curtains made of tissue paper. Chairs and stools were
often ornamented too, and the stoves were painted
blue with various decorative motifs painted on top.
Wood carving was richly represented in the Kurpie
region (in linden, willow, birch, oak and peartree
wood). I n former times, the carvers only used a sharp
knife, and sometimes a small hatchet. They made
figures of the saints {fig. 26—28), walking sticks with
carved heads of birds and animals (fig. 30, 31), small
altars and household equipment decorated with incised
ornamentation.
Toys for children were also carved out of wood
(fig. 32) and sometimes they were made of clay or
dough.
The paintings of the Kurpie region were not only
represented by pictures of the saints painted on paper,
linen and tin sheet by wandering artists. Mural paintings were also to be found in the wooden churches
or on the walls of foresters houses (hunting scenes).
Stoves were ornamented with painted decorative
motifs, as were the window frames of the houses, coffers and earthenware utensils. However, painting is
not one of the arts that have lasted till today in the
Kurpie region.
Thanks to the cultivation of flax and the breeding
of sheep in this region, the art of weaving was very
widespread. Apart from linen and cloth, colourful
decorative fabrics were also made there, namely, small
carpets, the rugs known as „kilims", both striped and
checked. The predominating colours were: green, red,
brick colour, orange, yellow, blue, and sometimes
a little black. The oldest type of „kilims" known, the
striped ones, date batik to the years 1800—1860. Already in the years 1880-90, Kurpie decorative fabrics
were highly valued in the towns. Today, the C.P.I, i A .
(Folk Art Industry Cooperative) concerns itself with
the development of weaving in this region.
An art which is today dying out and which was
once among the most outstanding achievements of the
Kurpie region is embroidery. Shirts, aprons, table
cloths and towels were all decorated with embroidery
(fig. 36). The lace made in the Kurpie region was no
less outstanding (fig. 34, 35).
A separate field of art was the decorative work
connected with various rites, namely, New Year cakes
(fig. 37) and wedding and kermis cakes, the Easter
eggs known as „pisanki" (fig. 41) and wax votive figures (fig. 38).
The author attributes the interest taken by the
people of the Kurpie region in musical instruments
to their love of music. Back in the times when shepherds tended flocks and hunting was widespread,
various kinds of horns were used. The people also
made fifes, pipes, flutes and shawms from wood or
iron tubes, as well as trumpets, whistles from clay
and also violins carved out of linden or willow, as
well as violas and, as time went on, clarinets too. The
set of musical instruments also included drums and
later on, the accordeon too. Music, singing and dancing were very popular indeed in the Kurpie region.
Most of the songs were ritual ones. The most charac183

teristic were the couplets composed for various occas­
ions; there were also historical songs, particularly
about the war against the Swedes in which the K u r pie people fought.
A field of art that was the exclusive domain of the
women, was making artificial flowers from coloured
paper and tissue. The men used to go in for gun-smithery, usually working at the forges. These pro­
ducts included firework mortars for festive occasions,
cast at the local foundries. Attempts were also made
to cast the figures of saints in iron, as well as parts
of iron crosses, and bells of lead, zinc and brass. But
these products called for getting supplies of raw
material in from elsewhere and for this reason their
production was stopped.
In places where the necessary raw material was
available the art of stone masonry was developed:
handmills for grinding and frontier posts were made
(fig. 42), as well as ornamental fonts for churches,
and sometimes holy figures, as is indicated by the
figure of „Christ the Sorrowful" that has been found.
„A11 the folk art of the Kurpie region was largely
dependent on the materials available in the given
locality, and was mostly based on the motifs suggest­
ed to the artists by the local scenery within the limits
of their needs, interests and natural talents."
Anna Kutrzeba-Pojmarowa - T H E F O L K A R T O F
T H E K U R P I E REGION AND T H E INDIVIDUALITY
AND V I T A L I T Y O F T H I S H I S T O R I C A L , C U L T U R A L
REGION
The authoress discusses the views of various
authors concerning the Kurpie region, singling out
various approaches, the historical, the evolutionary
and the tendency towards compromise, represented,
among others in the works of Adam Chetaik, merited
regional leader. She considers that the region is cre­
ated by a separate process of the social, economic
and cultural shaping of a given territory. The shaping
of the Kurpie region was above all dependent on the
existence of the forests there, and this accounts for
the predominance of occupations connected with fore­
stry and working with timber and the character of
various fields of folk art (wooden products, basket-work). The forest known as Green Forest remained
untouched until settlers came there during the wars
against the Swedes in the 16th century. At that time
it was surrounded by six towns and settlements foun­
ded by the nobility. The forest was penetrated by
royal hunters and collectors of wild bees'honey. New
settlements were founded, but in spite of the pri­
vileges granted it, the region was backward as re­
gards economic development. The Kurpie people,
surrounded by villages owned by the gentry set up
on the best soil, felt themselves separate. Apart from
their occupations in the forest and their work of
cultivating the land, they were engaged in the amber
trade, and blacksmithery was started there much la­
ter, in the 19th century. The name „Kurpie" was
used as a rather contemptuous nickname. As the
area of the forests decreased, the region also dimi­
nished.
The slow rate of changes in the traditional cul­
ture is attributed to the slower rate of general chan­
ges in that region by the authoress. This accounts for
the fact that numerous old forms have survived,
which were most certainly even more widely spread
in the past. In the regional costume, however,
one
sees, apart from the old elements, (type of fabric,
arrangement of colours in striped fabric, etc.) influen­
ces from the costumes of the gentry coming from the
neighbouring Masurian region. As a result of the poor
development of agriculture, the population looked for
other additional occupations, which also favoured the
development of handicrafts and folk ornamentation.
184

Jacek Olędzki - WOOD C A R V I N G I N T H E N O R T H ­
ERN PART OF T H E KURPIE REGION
The very number of works that have been pres­
erved testifies to the important place carving occupied
in the folk art of the people of the Kurpie region.
This cannot be shown either by museum collections
or by the existing literature on the subject, and this
is why the author is basing his article on the rese­
arch he himself carried out in the localities under
review within the framework of the research conduct­
ed by the Ethnographic Institute of the Polish Acade­
my of Sciences in the years 1958-1963. The material
discussed in the article is all from the last hundred
years. The earliest references to wood carvings are
from the beginning of the X V I I I century and testify
to the fact that already at that time wayside crosses
existed, the earliest known ones dating back to the
beginning of the X I X century (fig. 2, 3). Apart from
shrines, carving was also found independent of archi­
tecture.
Most of the artists were professional carvers who
treated their skill as a means of making a living,
which is proved by the life stories of some wood
carvers of the second half of the X I X century, recon­
structed by the author, namely Andrzej Kaczyński
(fig. 6—10), Łukasz Raczkowski (fig. 12—14, 16), Czer­
wiński and E j m a .
The life stories of some of the later wood carvers
justifies the statement that they began to carve quite
by accident, mostly as a way of passing the time
while tending herds of cows, and that it was only as
they got very proficient in the art that they began to
treat it as a trade: J a n Sęk, Bronisław Polak (fig.
30, 31), Konstanty Chrostek and Franciszek Golan.
Most of the wood carvers of the Kurpie region came
from the carpenters' and joiners' milieu. The profes­
sional character of their work had a lot to do with
the changes taking place in the wood carvings of the
Kurpie region, resulting largely from the endeavours
of the artists to save labour. This is most probably
the reason why, as time went on, the former very
hard types of wood were replaced by softer kinds that
were easier to carve.
A great deal of importance is attached, even to this
day, to the procedure of drying wood, which is a com­
plicated business, showing that it is the result of long
standing traditions. In order to protect the carving
from the effects of the wood drying up after its com­
pletion, the carvers of today, like their predecessors
of the old days, prefer to work with split logs without
the core. Some of them carve from planks and on
planks.
The properties of the block of wood imposed on
the artists the way of carving the object, depending
on the shape of the block, its structure and arrange­
ment of the rings. However, as the art of carving
developed, the shape of the figure was no longer de­
pendent on the original shape of the block of wood
used.
The tools for carving were those usually used in
the countryside for working with wood as well as
planes, broad chisels and drills. Some of the artists !
also used special carving chisels, that were first made
by the local blacksmith. The carvers of today have I
factory made sets of chisels at their disposal, but not
all of them use them, for instance, Golan only uses
a penknife for his carving, and Sęk, first and foremost,
a kndfe.
Describing the techniques of carving applied by
several leading artists, the author shows how differ­
ent they were in each case. Chrostek in particular has '"'
a very original way of working. Unlike the others,
before he starts carving, he makes sketches of his own
figure in the mirror and, adapting the pose of the
figure to his observations, breaks away from the ori­
ginal shape of the block of wood he is to carve,

where as the other folk artists are influenced by the
shape of the block of wood.
As regards the subjects of the carving, the objects
made in the Kurpie region can be divided into sacred
and lay subjects. Up till the beginning of the X X
century, lay subjects were only found in toys, orna­
mented untensils and the carved handles of walking
sticks (fig. 4—5), the toys usually being made by people
who were not carvers by profession, for their children
or grandchildren. After the First World War, the lay
themes spread to other kinds of carvings and in recent
times have come to play a very important role in
them.
Changes can also be observed in the scope of reli­
gious subjects, from which certain themes have dis­
appeared, for instance, the figure of St. Florian and
St. Roch, and the figures of the Virgin and Child and
the „Pieta" which have been replaced by others. The
„Crucifixion" and St. John Nepomucen are subjects
still enjoying unfailing popularity.
As regards formal features, the carvings done in
the Kurpie region have not been uniform. This result­
ed both from differences of workmanship between the
professionals and amateurs and the different approach
of individual artists, not to mention the different tech­
niques and methods of carving applied in various
periods.
In conclusion, the author analyses the problem of
the aesthetic sensitivity of the artists and, on the basis
of the interviews he conducted with them, comes to
the conclusion that aesthetic sensitivity is not propor­
tional to the creative activeness of the artists. On the
contrary, the most outstanding artists have aesthetic
views and reactions that have a much narrower
scope of values than those of the mediocre ones.
Halina Olędzka - R E S E A R C H ON P A P E R C U T S I N
THE KURPIE REGION
The contemporary paper cuts, which today are not
made for the rural people but for the urban milieu,
have departed quite considerably from their traditio­
nal forms because of this separation from their origi­
nal function and locality. For this reason, in her re­
search on Kurpie region paper cuts, the authoress of
this article mainly based her work on old paper cuts
that had been preserved or reconstructed in the loca­
lities in question, and on the information gained from
ilie people living in that region. Working on this ma­
larial, the first attempt has been made by the authoress
to show the various kinds of paper cuts made in the
Kurpie region and to give an outline of their evolu­
tion.
The genesis of the Kurpie paper cuts is still uncert­
ain. Some light is thrown on the problem by their
undoubted link with Jewish paper cuts which are
chronologically earlier. It maybe that the Kurpie paper
cuts began to be made following the example of the
Jewish ones, or perhaps the idea of making them was
suggested by the Jews as the main suppliers of paper
to the rural areas, or the idea may have been born
under the influence of the factory made paper curta­
ins and ..ząbki" (decorative shelf paper) at the time
when the paper mills, then being set up in connection
with the growing use of paper at the beginning of the
19th century, began to supply them.
The oldest document referring to paper cuts dates
back to 1830 and concerns paper „curtains". The
earliest kind of „curtains" for pictures were the so-called „Wstążki" (ribbons) made of thin white paper,
and later of tissue paper (fig. 6). At first crinkled
tissue was used, later smooth tissue paper, but decor­
ated with rows of cut-outs. The custom of decor­
ating pictures with curtains was kept up, the

various ornamental motifs remained, but their arran­
gement underwent a change as the paper cut makers
became more skilled in the technique (fig. 8, 10, 11).
The first coloured paper cuts, which began to be
made later, date back to the turn of the first and
second halt of the 19th century. The oldest type of
these paper cuts „Leluja" (lily) in a vase, at first had
the same form in the whole of the region under
review, but as time went on a wealth of different
forms came into being (fig. 12—19). The „Leluja"
motif is also found in striped patterns (fig. 20) which
was a later type than the single „Leluja".
Another variety of the striped patterns are the socalled „Lalki" (Dolls) (fig. 24). The striped patterns
show a tendency towards the application of large
decorative forms in interiors, and the „leluja" motif
in rows is associated with the more widespread form
of interspersion of the „leluja" motif, as new additio­
nal elements such as bird, heart and cross motifs were
introduced as time passed. Later, in addition to the
former type of „Leluja" a new kind was introduced,
which had a division of the upper part into what
was called „korony" (Crowns).
As regards the technical process of cutting out,
in the first phase there was a division into: base,
centre part and crowning part. The different parts
established the constructional pattern to which the
decorative motifs were subordinated.
Departures from the typical constructional pattern
of paper cuts are found in cases (after 1920) when
they began to be made to order for customers living
outside the locality.
A different evolution of the „leluja" type of paper
cuts is noted in the north-eastern part of the Kurpie
region, which can probably be attributed to the fact
that paper cuts began to be made there 20 years later
than in the rest of the region under review.
Here, the different constructional pattern of the
paper cuts is due to the use of plant motifs instead
of the geometrical ones applied elsewhere. Here too,
the custom of making paper cuts died out earlier.
A special version of the „leluja" motif in the K u r ­
pie paper cuts were those known as „hostie" (fig. 46,
47), but according to the information obtained from
the local people, these paper cuts were not generally
used in the interiors of rural homes. Among the oldest
types are those known as „circles" or „stars", made
of white paper with a coloured centre. As the paper
cut makers mastered the technique, the cut-outs beca­
me smaller. As time went on the coloured centres
disappeared and the cut-outs were brought right into
the centre.
After 1900, a new type of „star" paper cut made
its appearance (fig. 53).
In interior decoration as a whole, an important
role was played by figurative paper cuts: birds (fig.
1, 58), horses with riders (fig. 55), most of them
being multicoloured. Among the bird motifs, the most
popular were cocks and peacocks, and they were made
with special care to get an exact liking to the birds.
Paper cuts representing definite subjects, made
more often by men than by women, were often made
by using guiding patterns that could be repeated. The
scope of the various subjects was usually limited to
two or three villages neighbouring with each other.
Apart from the paper cuts, there were other wall
decorations in the Kurpie region, such as „Kokardy"
(Bows) (fig. 56') and „Pajączki" (Spiders) (fig. 57).
In the development of the art of making paper
cuts in the Kurpie region, the most important role
was played by their function in decorating the walls
and the individual inventiveness of the paper cut
makers.

n O / l b C K O E

H A P O f l H O E

BbinycK, n o c B H i u e H H b i í í Hapo^HOMy t i c K y c c T B y K y p ( c e B e p H a a n a c T b BapmaBCKoro Boe-

nëBCKoro paiïoHa

BOflCTBa), OTKpbIBaeTCH CTaTbeíí

AflaM X e H T H M K — H A P O f l H O E T B O P H E C T B O K Y P ITEB B OBJIACTM M C K Y C C T B A
ABTOP,

fleaTejm

3acjiy>KeHHbiii

H iiccjieflOBaTejib

napoflHoro MCKyccTBa, flejiaeT B cBoeii cTaTbe
rpacpMHecKMÍi

0630p

MOHO-

KypneBCKoro

TBopnecTBa,
/rasaa
KpaTKyro xapaKTepncTMKy Bcex ero O T p a c j i e í i . M C K V C CTBO KypneB pa3BMBajiocb Ha 6 a 3 e Cbipba, HaxofliiBu i e r o c H Ha MX T e p p i i T o p w i .
CaMbIM
npMMMTMBHblM npOaBJieHMeM MX TBOpnecTBa aBJiajiiicb opHaiweHTbi M3 necKa JIMÔO, Bbipe3bi-

BaeMbie Ha MypaBe (MJIJI. 2—4); STMM rjiaBHbM oôpa30M

3aHHMajIMCb fleTM.
ô e p e r a x B O « Qbum pacnpocTpaHeHbi M3flejiMa
H3 p a K y i i i e K (MJIJI. 6) M p a 3 H o n , B e T H O H r a j i b K w ; name
B c e r o OHM npiiMeHHJiMCb
B MosanKe,
yicpamaBLuew
KOCTejIbl.

Ha

BoraicTBa

itypnëBCKOfi

nymw

McnoJib30BaHM

B HapoflHOM

TBopnecTBe

pafioHa. M 3 uiMiiieK ^ejiajiMCb
M3 pora —

noJiHOCTbio

SbiJiM

jKMTejieii

aToro

yKpameuMH (MJIJI. 33).

KypnëBmwHbi,

-raw

MMeeTca

rfle

rjiMHa,

BbicTynaeT

xyflo»cecTBeHHaH KepaMMKa (MJIJI. 7), KOTopaa no CBOe-

My opHatvieHTy HeMHorwM PO3HMTCH OT vœpfijiuvi npe/ibiCTpoMHecKoro MJIM paHHewcTopMHecKoro nepMOfla.

BOJIbLUOe MeCTO 3aHMMaK>T M3flejIMH M3 «HTapH.
B öbijibie BpeiieHa 3flecb Bejiacb KpynHaa ToproBJin
HHTapein, a ToproBbie nyTM BejiM M3 Tpeu;MM, PMMB
M ApaBMM. CßeflenMH o KypneBCKtix a m a p H b i x i i 3 flejiMax MMeiOTca c X V I I I B. B mix TOBOPMTCH O ôycax,
noflBecKax, TpyôKax, TaôaKepKax, pynKax K najiKan
M T.n.
Bjiaroflapa co6cTBeHHbiM MeiajijiyprMHecKMivi nenaM
MecrHbie «CMTejiM MMejiH cBoe ?Kejie30. 3TO cnocoôCTBOBajio pa3BMTMio Ky3HeHHoro peMecjia, AocTMrmero

SHaHMTejibHoro pacirseTa B X V I I I M B Hanajie X I X BB.
OcoSeHHO O T M e i a j i M C b
fleKopaTMBHtie
sjie.MeHTbi OT-

AejiKM SKjmajKeü (MJIJI. 10, 11), JKeJie3Hoe ocpopMJieHMe flepeßaHHbix CKyjibnTyp M l a c o B e H .

nepBbie nonbiTKii pesnoro opnai-iema flejiajiiicb no
cJioBaM aBTopa Ha MypaBe. B opHaMeHTe npeoÔJiaiiajiM
paCTMTejIbHbie M 3BepMHbie MOTMBbl. AnajiorHHHbie
y3opbi noBTopajiMCb B p e 3 b 5 e no ijepeB.y. J\o cepeflwHbl X I X B. flejiajIMt'b Bbipe3KM (T3K Ha3. BbmUIlaHKH)
113

i^BeTHoro nojioTHa,

a

noTOM CTajiii

ynoTpeôjiHTb

fljiH 3T0ÍÍ ueJiH GyMary. Cpe/xw ôoraToro pa3HooGpa3iia
MOTHBOB

oôpamaiOT

BHMMaHt-ie

„Jiejiioe"

a T3K>Ke KpyjKKii w 3Be3flbi. KypneBCKaa
no ceń fleHb ycneixtHO pa3BMBaeTca.

(JIIIJIMM),

Bbipe3K.a

K
CTapeüiiiMM BHflaM MecrHoro Hapojj,noro TBopnecTBa npMHaAJieJKMT njieTeHMe. M3 KopHeü, iiBbi,
KaMblIIia, TpOCTHMKa M T.n. nJiejIM KOp3MHbI, „MCpKM'
(MJIJI. 15),
nocy/ry (MJIJI. 18),
TaôypeTbi M CTyjiba
(MJIJI. 17), m j i a n b i , oôyBb, U,MHOBKM.

n y m a npeflocTaBjifljia

B03M0?KH0CTb pa3BMB3Tb jj,e-

peBHimoe cTpoMTejibCTBO, pacnpocTpaneHHoe -jyTb jni
He no BceMy paííoHy. M3ôbi, rjiaBHWM o6pa30M, CTpoii-

jiMCb M3 cocHbi jiMu,eBOM CTopoHOił K yjiMu,e.

IIcpeA

M360ÍÍ HaxoflMJiCH najiMcaflHMK, a no3afli-i — BiiujHeBbiii cafl M n a c e K a . KOHIOIXIHIO npMCTpaMBaJIII K jiMi;eBofi C T e n e . j^ajiee CTpoMJiwcb KOPOBHHK M aiviöap. I l o C T p o i i K M CTaBMJiMCb TaK Ha3. cnocoöOM „na w ę g i e ł

KpblLUH

KpbIJIMCb

TOHTOM MJIM COJIOMOM.

BepXHaa

nacTb KpbiuiM y K p a m a j i a c b poraMii, nTHHbMMii JIMSO
KOHCKMMM rojioBaMM HT o cocTaBjiHjio
xapaKTepHbiw

186

3JieMeHT nocTpoiiKH. yKpamajiMCb pe3b6oiï OKOHHbie
najiHHHMKH, BepXHaa oajiKa (MJIJI. 19, 20), flBepM. B naCTOHinee BpeMH cTpoHTejibHoe MCKyccTBO B K y p n ë s miffle HCKaîKaeTca M npMxoflMT B ynaj^OK.
OTflejibHyio OTpacjib apxMTeKTypw cocTaBjiaiOT B O poTa B oö-beKTax ocoöoii BajKHocTM, K a K HanpMMep
KOCTeJibi, KJiaflÔHma (MJIJI. 22—24).
OflHMM 113 sjieivieHTOB BHyTpeHHero
yKpameHMa
M3ÔM öbiJia ßajiKa. CymecTBeHHyio pojib MrpajiM TBKJKÖ
Öy.MSiKHble Bbipe3KM (BbIIJ,MHaHKH), nayKM M3 COJIOMbl
M 3aHasecKM M3 nanMpocHoii 6yMarn. HacTO yKpauiajiiicb TaKiKe TaSypeTbi M cKaMeeHKii; neHM KpacMjiH
rojiy6oií CMHbKoii BbiBOfla Ha HMX pa3JiMHHbie y3opbi.
flepeBHHHbie KOCTejibi M HacoseHKi-i BoraTo yKpamanHCb pe3HWM opHaMeHTOM no flepeBy, stMBonMcbio
M «HTapeM. OcoöeHHO nonyjiapHbiM VKparueHMeM noCTpoeK öbijia flepeBanHaa pe3b6a, BbinojiHaeMaa njioTHMKaMM M CTOJiapaMM. Pe3b6oii yKpamajiMCb TaKiKe
MejiKMe npeflMeTbi flOManiHero oÖMXOfla. K nJioTHMHbeMy

MacTepcTBy

aBTop,

MejKfly

npoHMM, npMHMCJiaeT

Bbipe3aHHbie na flepcBbax OOPTHMHŁM 3HaKii M pe3HOH OpHHMeHT Ha ÖOpTHMHbeÜ yTBapM. 3TOT BMfl
iicityccTBa coxpaHMjiea JJ,O Tex nop,
noKa
M3/;aH npMKa3 j i H K B M f l a u i i w B n y m e ô o p T e i i .

pyKOHTKH, pora flJia n o p o x a M py>KeüHoíi

flPOÔM, flJlH HHTbB (MJIJI. 9), OXOTHMHbM pora, JIJOCTpbl,
TaSaKepKM. nyroBMiibi M T.n. no Bceii TeppwTopMM

M C K Y C C T B O

He

SMJI

Pe3b5a no j;epeBy nojiyiMJia B KypnëBixinHe UJMpoKoe pacnpocTpaHeinie. MaTepwajiOM cjiyjKiiJiH juina,

iiBii, Gepeaa, rpyoja. TorflaixiHMe CKyjibnropbi M p e j MMKH nOJIb30BajIMCb MCKJIIOHHTeJIbHO OCTpO OTTOMeHHbl.vl

HOJKOM,

a

B

HeKOTOpblX

C J i y i a a X TOnopMKOM.

Onu
BbinojHin.iM cpMrypbi cBHTbix (MJIJI. 26—28),
najiKM, 3 a K O H H e H H b i e p e s H W M H rojioBaMM n T M i ; M 3 B e pefi (MJIJI. 30, 31), ajiTapn M flOManiHioio yTBapb, yxpaUieiIHyiO pe3HbIM OpHaiVlOHTOM.
il,eTCKMe MrpyuiKH fleJiajiMCb M3 J4epeBa, rJiMHbi
M TecTa 32.
JKMBonMCb KypnëBiu,MHbi oxBaTbiBajia ne TOJibKO
CBaTbie o6pa3a, BbinojiHaBLuweca Ha 6yMare, noJiOTHe
JIMÔO 5KecTM CTpancTByioiUMMM xyjj,OH'HHKaMM. BcTpenajiacb TaKiKe n a c T e n n a a »MBonMCb B jiepeBaHHbix

Kocrejiax MJIM B jiecHbix CTopo>KKax (oxoTHHHbM ciJ,eHW). HjBeTHbiM opnaMeHTOM yKpamajiMCb B M3oax nenn,
cyn^yKM, rjiMHaHaa nocyaa. OflHaKO co BpeMeHeM >KHjjonucb B KypiicBiqMHe CTajia rjioxHyTb.
Bjiaroflapa
3anaTMaM
jKHTejieii —
OBi4eB03CTBy
u Bos^ejibiBanMio Jibua — 5ojibiijoe pacnpocTpaiieHMe
iiojiywii.no xyflO/KecTBenHOL' TKanecTBO. KpoMe nojioTna u cyKHa Bbi^ejibisajiMCb aeKupaTMBHbie I K U H H apliOH paCI^BtíTKli: KOBpW, KMJIMMbl, nOJIOCaTbIC JIMÔO
i. KJieiKy. B pacicpacKe npeoôJiaflajiM cjieflyioiuMe
MBCTa: 3ejIOHb!M, KpacHbl/ł, KIipnilHHblii, OpaHiKeBblli,
ÄCjiTbiii, rojiyöoü, mpe^Ka nepHbiH. K CTapefiniMM
ii'jBecTHbDi Ha M nojiocaTbiM KHjiiiMaM, TaK Ha3. „nacaKaM'' npwHaflJieíKaT KMJiiiMbi c 1800—1860 rr.
Vxc
B 1880—90 roflax KypnëBCKiie TKUHH BbicoKO LiOHMJiiicb
B ropoflax. B name BpeMH TKa'iecTBo oneKawr KoonepUTMBbl Il,eHTpajIM HapOflHOH M XyflOJKCCTBeHHOM IipOMblUJJieHHOCTM.
HeKor^a cJiaBiijiiicb

KvpncBCKne BMIUMBKM. Hbiiie

3TOT BMfl MCKyCCTBa OTMJipaOT. BblIUHBKaMH y K p a m a ­

jiMCb copoHKM, nepeflHMKii, cKaTepTM, nojiOTenua (MJIJI.
36). ToHKocTbio iicno.Tiiciinn oTjiM'iajiiiCb TaKiKe K y p nëBCKwe Kpy>KeBa (MJIJI. 34—35).
OcoSbni

BHfl

l

TBop iecTBa

npeflCTaBJiHJio

KyjibTo-

boe

MCKyccTBO BCHKoro po/^a: npa3aHMMHoe neneHMe
no cjiynaio H o B o r o ro^a, cBaseö (MJIJI. 37) xpaMOBWx
ii])U3flHMKOB; nacxajibHbie nucaHKM (MJIJI. 41), BOCKOBbie npiiHoiueHwa (MJIJI. 38).

ilHTepec KypnëB K .uyabiKajibHbiM WHCTpyMCHTaii
CBH3aH, 110 MHeiIMlO aBTOpa, C MX My3bIKajIbHOCTb'0.
C nacTymecKMx M oxoTHuibi-ix BpeMeH MM ôbiJiM M3-

aecTHbi pa3.nM4Horo po/ia pora fljia wrpu.

BbiAeJifaiBa-

j r a c b T a K H t e n u m a n K M M3 B e p S t i , CBMpejiH, cpjieiłTbT
M A Y A H H3 flepeBa JIMGO 5Kene3a, T p y S b i , rJiMHHHtie
CBHCTKM, CKpwnKH, Bbipe3aHHbie M3 jinnw JIMGO Bep5w,
K0HTpa5acbi, KJiapHGTW. B MysbiKaJibHOM aHcaMGjie H a XOAHJICH TaKJKe óapaóaH w no3AHee rapMOHb. My3biKa.
nemie, TaHiibi G b i j u i oneHŁ nonyjiapHbiMii BM^aMii
iiCKyecTBa B KypneBLUHHe. C p e f l H neceH npeoójiaAaJiii
oupn^oBbie. XapaKTepHWMH G b u n i „npwneBbi"; cnaraeMbie Ha cjiynaii; coxpaHMjmcb TaKJKe JicTopiinecKwe
necHi-i, oco6eHHO co BpeweH uiBeflCKMX BOMH, B KOTOpwx
jKtiTejiH K y p n e B i n i i H W npnHMMajin ynacTiie.

IlcKjiroHHTejibfio B p y K a x JKeHHJMH S b i j i a Bbl^CJIK.-l
ncKyccTBeHiibix

óyMarw. . H T O

i^BeTOB

M3

UBeTHoii

naniipocHofi

II

xpaHHJiiicb
pa3JiMMHbie C T a p b i e
rpopiibi,
KOTOpbie
E npejKHee BpeMa BbicTynajw BepoaTHo B 6ojiee
vm~
poKoii cTeneHM. OAHaKo B oflejKfle, HapHfly c npejKIIIIMH s j i e M e H T a M i i (POA T K a H e i i , p a c i ^ B e T K a n o j i o c a T b i x
TKaneii „pasiaki" M T.A.) HaGjiioAaeTca BJiMHHMe OACJKAbi RieJiKoii m j i a x T b i , 3acejiHioiii,eM c o c e A H M e M a 3 y p w .
BBiiAy
cjiaooro p a 3 B i i T H a
3eMjieAejiMH HaceJieHwe
n c K a j i o AonojiHiiTejibHbix 3aHHTMH, MTO M e ł K A y
npo-

MHM cnocoGcTBOBa.no paaBiiTHio pe.Mecjia H HapoAHoro
npwKJiaAHory IiCKyecTBa.
HąeK OjieHfl3KM — A E P E B H H H A H
E CEBEPHOH KyPnEBlUMHE

CKYJIBnTyPA

?Ke KacaeTca opy>KeMHoro peMecjia, TO

OHO 6 b u i o uejiHKOM B p y K a x MyjKHMH. OHM BbipaGaTbiBajiM CBOM M3flejiwa rjiaBHbiM o 5 p a 3 0 M B K y 3 H M u a x ,

B

K
3TJ1M H3flejIMHM npilHaflJIOKajIM, B MaCTHOCTM
MOpTMpbl flJIH CajlIOTOB, OTJIMBKa KOTOpbIX npOH3BO/(I1-

•rejibCTByeT x o T a 6 w casio KOJiiinecTBO coxpaHHBUiMxca
oGbeKTOE 3 T o r o poAa. H u B My3eiiHbix KOJIJieKl MaX,

jiact n a MecTHbix MeTajuiyprwHecKMX npeAnpnaTnax.
/J^cjiajiMCb TaK?Ee nonbiTKii OTjiMBaTb dpiirypu CBHTWX
M KpeCTbl M3

JKOJie3a,

KOJIOKOJia M3

CBMHIia,

IIHIIKa

H MCflH. H O cnyCTH HOKOTOpoe BpeMa BbipaGOTKa ¡13AejiMM, Tpe5oBBBLLiiix npnB03Horo cwpbH, npeKpaTiijiacb.

TaM, r f l e HMejiocb Ha MecTe noflxoiiHiu,ee cbipbe
pa3BMBajiocb KaMHepe3Hoe peiwecjio: BbipaGaTbmajiHCb
pymibie >KepHOBa, Me>KeBbic CTOJIGM (HJIJI. 4 2 ) , iiepKOB-

iibie KponiiJibHimbi xyAOJKecTBeHHoii paSoTbi a nopoii
u cTaTyi-i CBHTbix, o nem, HanpiiMep,
iiaii^eHHaa CTaTya Xpi<icTa.

cBiifleTeJibCTByoT

TBopnecTBo K y p n e a G a 3 w p o B a J i o c b na M a r e p i i a J i e ,
KOTopbiM pacnojiara.n flanHbiii paiioH... Ha MOTHBax,
oKpyyKaiomeii npupoAbi, KOTopbie miipoKO ncnojib30n a j i i i B CBoe.M TBopnecTBe MecTHbie xy/i,0JKHMKM, yflOBjieTBopna no inepe CBOMX npnpojKAeHHbix flapoBaHiiń
flyxoBHbie 3anpocbi it y K p a m a a noBceflHeBHwii 6biT.
Anna

KyTLueóa-IIoMHapoBa

—

KyPnEBCKOE

JKJ43HEHHOCTM

MCTOPMHECKOrO

PEmOHA

KyJIbTYPBI

B CTaTbe paccMaTpHBawTCH B3rjiaAM pasjiMHHbi:-:
aiiTopoB Ha wcTopwK) KypneBCKoro peniOHa, npiiHeM

c-TMenaiOTCH Tpii TOMKH 3penna: JicTopicnecKaH, S B O jiioijnoHMCTCKaa u KOMnpoMiiccHaa. B nacTHOcra, 3'ry
iioeJieaHioio npeACTaBJiaer B CBOHX Tpyziax 3 a c j i y j K e n iibiii pernoHajibHbin fleaTejib A A H M XeHTHMK, KOTopwii
oiHTaeT, HTO periion CO3AUCTCH nyTCM enerinajibHoro
npo;;ecea eoiinaj:bHo-3KOHOMHHecKoro n KyjibTypnoro
(bopMiipoBauMa onpeAejieHHOii TeppiiTopnii. P a s s i m i e
KypniiBCKoro perwoHa GÓIJIO B nepByro o n e p e A b o G y cjior.jieiio cymecTBOBanncM n y m i i ; OTCiofla
nepeaec
CBji3aHi-ibix c Heii 3aiiHTiiii, a TaK>Ke x a p a K T e p p a 3 -

jiji>nibix OTpacjifrft napoAHoro iiCKyecTBa (AepeBO, n / i e T e n n e ) . TaK na3. 3e.)ieiiaa n y m a O b u i a sacejieHa n o 3 A HO, B X V I BeKe, BO B p e i i a uiBeACKMx BOMH. E e

oKpy-

niajm TorAa uiecTb ropoflOB 11 uuiHxeTCKiie noce.TeHiia.

li n y m y npoHHKajiii KopojieBCKiie CTpejiKH u OOPTHHKII.
B b i p o c j i n HOBbie iioceJieHMa, Tein He MCHee, HCCMOTPH

na

pa3iibie

penioiia

npiiBMjierriM,

OTCTaBajio.

SKOHOMnnccKoe

>KnTeAM

pernoHa,

pa3Bin'iie

OKpyHieniibie

AepeBHHMii MejiKow uiJiaxTbi, BjiaAeBiueM S o j i e e njioAOpOAHblMII Se.MJIHMII, COXpaiIHJIH HyBCTBO CBOeil OÓOCOÓJieHHOCTH. H a p H f l y C 3aHflTMHMU, CBa3aHHbIMM C 3 8 MCA.neHHeM u c G.inisocTbio n y m a , OI-IM 3aHMMajincb
HHTapHbiM npoMbic.noM; jiimib B X I X B. nojiyHii.no
Tai«Ke
pa3BHTne
Ky3HenHoe
pemecjio.
Ha3Banno
, . K y p n e ' ' HOCHT x a p a K T e p npo3BMu;a. I I o Mepe Toro
K3K
KOPMMJICH JieCHOH MaCCMB KOpHHJiaCb TaKHCG

'icppiiTopnH peniOHa.
3a.viefljienHbie

Tewnbi

npeoopajKeHiia

r

I;H B jiMTepaType npeAMeTa OTO He HaxOAMT CBoero
oTpajKeiiiiH. MiieHi-io nooTOMy aBTop CTaTbM oriMpaeTCH
na p e 3 y j i b r a T b i paMOHHbix iiccjieAOBaHMM, npoBeAeHi.biM MM B 1958—1963 rr., B paMKax paGoT K a D H H e T a
STHorpacpMii IIojibCKoii AKafleMHM H a y K . PaccMaTpwBaeMbie MaTepwajibi oxaaTbiBaiOT nepwoA nocjieAHnx
era JIOT. CaMbie p a H H i i e y n o M i i H a m i f l o CKyjibHTypo
r

noasjiaiOTca B nanajie X V I I I B., CBMAeTejibCTBya o TOM,
'ITO y?Ke TorAa cymecTBOBajiit npiiAopo>KHbie KpecTbi;
CaMbie pilHHlie J13 M3BeCTHbIX HaM oGbeKTOB nOHBJl.nwcb B nana.ne X I X B. (HJIJI. 2, 3). H a p a A y c nacoBeHKaiui cymecrBOBajiM TaKJKe CKyjibnTypbi Ge3 apxnTeKTypHoro oupopMjieiiMa.
Ccbijiaacb Ha TO, HTO MaTepnajibHaa KyjibTypa Kyp­
neB pa3BHBaJiacb Ha ocuose 6oraTbix pe3epB0B A e peBa, AOCTaBJiaeMoro n y m e i i , B CMJiy Mero jKMTejiH
onMcwBaeMoro

paiioHa npeKpacHo

BJiaAejin TexHHKOii

oGpaGoTKM AepeBa, aBTop B CBOMX MCCJieAOBaHMHX
yTBep>KflaeT, HTO OTOT cpaKT nrpaA HeMajiyio pojib
B pasBMTMM KypneBCKOM CKyjibnTypbi.

HA-

PO/IHOE TBOPHECTBO M B O n P O C C B O E O B P A 3 M H
M

O TOM, KaKoe Gojibinoe aiecTo 3aHMMajia CKyjibTypa
napoAHOM HCKyccTBe KypneB yGeAMTejibHO CBMAe-

TpaAHMMOH-

Hoii Ky.ibT.ypbi aBTOp oóbaciiaeT 3aMeflJieHHbiM Te.\inoM n p e o G p a j K e H M M 3Toro perwoHa. no3T0My TaM c o -

TBopi^aMH ee GbiJiH TJiaBHbiM o6pa30M n p o o p e c c j i o iiajibHbie

CKyjibnTypbi,

cHiiTaBirme

CBoe

TBopnecTBo

IICTOHHIIKOM AOX0AOB.
OG 3T0M
CBHAeTejIbCTByiOT
HccjieAOBaiiHbic asTopoii GMorpaobHii CTapbix csyjibnTOPOB BTOPOW nOJIOBMHbl X I X B., K3K AHAJKeW K a uiiiibcKii (MJIJI. 6—10), J l y K a u i PanKOBCKH (HJIJI. 12—14,

16), HepBiiiibCKM II ŚiiMa. M S oHorpacpMM no3AHeMiunx
CKyjlbllTOpOB CJieAyeT, HTO OHM HaHMHajIM TBOpMTb
HIICTO cjiynailiio, OOBIHHO Ha nacT6Mii;ax, xoAa

3a K O -

poBaMU n jiniiib no aiepe cosepineHCTBOBauMa CBoero
peuecjia nocTenemio iiaHHHajiw CHHTaTb ero CBoeii

n p o c p e c c u e ł i ( H H C e H K , B p o H M C J i a B IIOJIAK, K o H C T a H T b i

KpocrtK,

<ł>paimnuieK To-naH.

BojIbHIHHCTBO KvpneBCKMX CKyJIbnTOpOB B npouijioM
paooTajiii iuioTHi-iKaMH ii CTojiapaMii. IIpo<peccnoHajibHbiii xapaKiep n x paóoTbi Bbi3Baji B KypneBCKoii
CKyjibnType nepeMeebi, KOTopbie B 3HaHiiTejibHoii CTeneHH .MOJKHO OÓbHCHHTb CTpeM JieHHCM K MaKCMMajIbiioii 3K0H0MHM Tpyfla. 3 T O GWJIO, n o j K a j i y n , npHHHHOii
BbiTecucHMH APCBecMHbi TBepAbix nopoA 6oJiee MHTKMK B , GoJiee noAaTjiMBbiMii RJIH oópaGoTKH nopoAaMM.

Bojibiuoe 3HaHemie no ceii aeHb npwAaeTCH npO'
i;eccy cyuiKii APcecciiubi, conpoBO?KAaeMOW cjioJKHbiMH IipneMa.MH, C B I I f l e T e j I Ł C T B y i O m M M H
B03HiiKa.nn noA BJiiiai-iHeM cTapoń

O TOM, HTO OHM
TpaflMi^MH. ^ J I H

Toro, HToGbi npeflOTBpaTMTb paecbixaHiie CKyjibnTypbi,
TenepeuiHite M a c T e p a , TOHHO 'raK j K e , KaK M AasHHinHiie, npeAnoMHTaioT ynoTpeGjiaib RJIH paGoTbi pacTHTP.nbHI.IM f T R ' 1 1 . .inillPHHblH COpHeBUHM. HeKOTOpbie
BbipesbisaioT CBOM CKyjibnTypbi 113 AOCKH M H a A O C K e .
OcoGeHHOCTM HypKM HaBa3bIBajIM XyAO>KHMKaM MeT0A OOpaÓOTKH CpOpMbl. COTBCTCTBCHHO 0'IOpTaHHHM
nypiiii, ee CTpyKType u pacnojiojKennio CJIOOB. O f l H a K o
no Mepe coBepnieHCTBOBaHna peMecjia onepTaHHa
(purypbi Tepajin CBoe CXOACTBO C nepBOHaHajibHWMM
onepTaHwaMM.
187

Jinn pe3b6bi y n o T p e ß j i a n M C b M H C T p y M e H T W , u i w p o K O
npnMeHHeMb:e B
iiepeBHe
npw
o6pa6oTKe
flepeBa,
a TaKJKe p y S a n K H , j i o j i o T a , CBepjia. K p o i n e Toro HeKOTopwe M a c T e p a n o j i b 3 0 B a j i n c b fljia pe3b6bi cneiiMaJibiibiMH
flOJiOTaMM,
paSoTbi
Ky3HGi^0B.
TenepeuiHMe
CKyjibriTopbi pacnojiaratoT n a o o p a M M d p a S p w H H b i x floJIOT, o f l H a K O H e B c e HMH n o j i b 3 y i O T c a . T a K , H a n p H M e p ,
rojIHH
B b i p e 3 b I B a j I TOJIbKO n e p O H H H H b I M
HOJKMKOM,
a CeHK — B nepByio OHepejxb HOJKOM.
O n w c b i B a a n p o u e c c paöoTW HeKOTopbix Sojiee vn~
B e C T H b l X C K y j I b H T O p O B , a B T o p yKa3biBaeT H a
pa3JIM4Hbie MeTOflbi, n p M M e H a e M b i e
oT/iejibHbiMM
MacTepaMM.
O c o ß b i M C B o e o 6 p a 3 H e M OTJiMHaeTca T B o p n e c T B O XpocT e K a , K O T o p w i i B npoTMBonojiOJKHOCTb
flpyrMM
jjeJiaji
npeflBapMTejtbHO
3apwcoBKy
coöcTBeHHoii
cpnrypbi,
H3yHHB ee nepe/i 3epKajiOM M npHHopaBJiMBaa 3aTeM
K H a S j n o j J a e M M M o S t e K T a M , yxojjMT OT dpopM n y p K i i ,
KOTopbix T a K C T p o r o n p w f l e p j K M B a j i H C b B CBOMX
cKyjibnTypax
flpyrae
HapoflHwe MacTepa.

Ho cBoeii TeMaTHKe KypneBCKaa CKyjibriTypa flejiHTca H a pejinrH03Hyio M cBeTCKyio. flo Hanajia X I X B.
c B e T C K a a T e M a T M K a ncnoJib30Bajiacb TOJibKO B H r p y m Kax,

flOMauíHeíí

yTBapw,

pe3Hbix p y i K a x

najioK

(MJIJI.

4—5). OTMeTMM, HTO wrpyiiiKH /jejiajiH C K o p e e HenpocbeccMOHaJibi fljia CBOMX fleTeö JIMSO B H y K O B . nocne
n e p B o i i M M p o B o ü BOHHW CBeTCKaa TeMaTMKa n p o H H K J i a
M B CKyjibiiTypy
a ß n o c j i e i n ł e e BpeMa HanMBacT
s a H H M a T b B c e öojibuiee MecTO.

—

3aMeMaioTca TaKJKe nepeMeiibi B pe.jiMrH03HOM T C M a T M K e c K y j i b m y p . HeKOTopwe T e M b i MCHe3aiOT, H a npMMep M3o6pajKeHiia C B . c&jiopwaHa M C B . Poxa,
EoroMaTepi-i c Mjiajjei-meM M IlbeTbi ycTynaioT MecTO
flpyrMM.
HonpejKHeMy n o n y j i a p H a T e M a „PacnaTMa"
M C B . H H a HenoMyiiei-ia.

c

SojibiiiHM npMTOKOM ßyMarw,
B.

XIX

CTaJiM

nocTaßjiaTb

KOTopyio

B Hanajie
OTKpbiBiuMeci
6y-

BHOBB

MajKHbie dpaSpwKM.
CTapeiłuiMfi flOKyMeHT, ynoMMHaromMii o Bbipe3Kax,
j i a T M p o B a H 1830 r. M KacaeTca SyMajKHbix „3aHaBecoK".
CaMofi paHHeił dpopMoü 3aHaBecoK nofl o6pa3a Bbijiii
,.jieHTbi" ,MJIJT. 6) M3 TOHKOÍÍ 6eJiOM SyMarw, a no3flHee
M3 nannpocHoii SyMarn. nepBOHanajibHo MX sejiajin
B c6opKy, a noTOM rjiaflKHMM, yKpamaa paflaMM n o pe30K. OSbinaM yKpamaTb o6pa3a saHaBecKaMM coxpaHMJica flu CMX nop, coxpaHMJiMCb TaKJKe OTfleJibH b i e M O T M B b i o p H a M e H T a , o f l H a K O , no
H H K M Menajiacb MX dpopMa (MJIJI. 8,

Mepe

pocTa

Tex-

10, 11).
H,BeTHbie Bbipe3KM npMHafljieJKaT K Sojiee no3/j,neM.y
nepMOfly (cepe^MHa X I X B.). M X CTapei'iuiMM ran —
„jiejiioa" ( j i M j i M a ) B Ba30He — BbiCTynaji CHanajia
B nofloSHOM obopMe no Bceü TeppiiTopMM, HO C TeneH M e M BpeiHeHM CMJlbHO M3MeHMJICa M n O J i y H M J I pafl H O cbix pemeHMÜ (MJIJI. 12—19). T O T >K6 MOTMB ..Jiejiioii''
BbicTynaeT Ha .neHTax (MJIJI. 20), HO 3TO SoJiee no3flHee
aBJieHi-«;^ H GM oTflejibHbie „jiejiiOM".
ĘpynZ: BM/IOM j i e H T O H i i b i x Bbipe30K a B J i a i o T c a T a K
H 3 3 . „KyKJIbl" (MJIJI. 24). JleHTOHHbie BbipG3KM SblJIM
3aflyMaHbi, KaK

j j e K o p a i n M M 6 o J i b u i M x d p o p M , B TO B p e M a

K a K „JiejiiOM B pa/o," C B a 3 a H b i c 6ojiee HIMPOKMM aBJieHMeM pacnpocTpaHeHHa oflMHOHHbix „Jiejnoił", K KOTOpbiM co BpeMeHeM npMSaBjiajiHCb HOBwe ojieMCHTbi,
i:aK,

HanpiiMep,

iioaBJiaeTca

cep^eneK,

MOTMBM mmi,

Co BpeMeHeM

KpecTa.

napafly co CTapwM TunoM „jiejnoii"

HOBBIM,

KOTopbifi

CBepxy

flejiMTca

na

l

iaCTM, Ha3bIBaGMbie KopoHaMii.
B TexHMHecKOM npoLiecce Bbipe3biBaHMa

K nepBOM

c p a 3 e n p H H a ^ J i o K a j i o flejieHMe uejioro na nacTi-i: OCHOBa, cpejjHaa nacTb M 3aBepuieHne.
OT/rejibHbie i a c T M wrpajiw K O H C T p y K T M B H y i o p o J i b ,
OT K O T o p o i i saancejiM a j i e M e n T W y K p a m e H M a .
OrcTynjienMH OT 3TOM TMnMHHoii c p o p M b i B b i p e 3 0 K
i i a n a j H i c b c MOMenTa, K o r ^ a n a B b i p e 3 K H (nocjie 1920 r.)
CTajiM n o c r y n a T b 3 a K a 3 b i w 3 B n e .
l

Ho
CBOHM
cpopMajibHbiM
nepTaM
KypnëBCKan
CKyjibnTypa oneub pa3Hooöpa3Ha. 3TO oÖTaacHaeTca
p a 3 . i l I I H H a M M MOKfly M a C T e p C K M M M n p o c p e c c H O H a j i b H b i x
H

iienpocpeccMOHajibHbix

CKyjibnTopoB,

MX

HHAMBM-

flya.nbHblMM

OCOÔeHHOCTHMH, pa3JIMHH0H TeXHMKOM MCI I O J I I i e H M a M p a 3 J I M H H b I M M CnOCOßaMM p a ß O T b l B
OTflejibHbie nepnojjbi BpeMenH.
B 3aKJiiOHeHMe asTop CTUTBM anajiM3MpyeT Bonpoc
3 C T e T M H e c K o r o BocnpnaTMa C K y j i b n T o p o B
M H a OCHOBaHHM
npoBe/ieHHbix
MccjieflOBaHMíí
flejiaeT
BWBO.H,
HTO
r j i y ö M H a GCTCTMHecKoro B o c n p u a T w a
H e nponopM i i o n a j i b H a T B o p n e c K O J i aKTMBHOCTM. HanpoTMB
Kpyr
HHTepecoB
öojiee Bbi/iaromMXCa
xyflOJKHMKOB M MX

3CTeTMHecKoe BocnpMHTHe
cpe^Heü pyKM.

cjia6ee,

neM

xyaojKHMKOB

rajiima Ojienfl3Ka — 113
I1EBCKMX B L I P E 3 0 K

MCCJIE/I.OBAHMł

KYP-

CoBpeMeHiibK- xy^oiKOCTseiiHbie B b i p e 3 K H ( B M I I I I i n 6yMarn jjejiaioTCH c e ü n a c HG jijia n y j K j j jxepeBHH, a fljia ropoflCKoro jKMTejia. M BOT B oTpbiBe
OT CBoeii nepBOHanajibHOM abynKUMM M OT MecTa CBoeI'O B O S H I I K H O B e H M H , BbipC3KH 3 H a > i M T e j I b H O OTOUIJIH OT
CBOMX Tpa/IHIIHOHHblX OpOpM. ÜO3T0MJ' a B T O p B CBOMX
HccjiejiOBaHHax rjiaBHbiM oöpasoM ororpaeTca na coxpaHMBUjneca B paüone CTapbie JIMÖO peKOHCTpyMpo-

H3HKM)

B a H H b i e M a T e p n a j i b i , a TaK>Ke na y c T H b i e
MHCpopMaIJHM, coopaHHbie n a Meere. Ha ocHOBe Bcex STMX waT e p w a ^ O B ö b i j i M ci;ejiaHbi nepßbie n o n b i T K H oTo5pa>i<eH M a dpopM K y p n e B C K H X B b i p e 3 0 K M n p o i j e c c a nx
pa3BMTMH.
r e n e 3 M C OToro B M f l a w c K y c c T B a H e B b i a c H e H . YcTa«OBjieua j i H i i i b H e c o M H e n i i a a C B H 3 b c e ß p e i i c K O M Bbip e 3 K 0 M , KOTOpaa xpOHOJIOrMHeCKM B 0 3 H M K J i a p a H b i u e .
M o j K e T öbiTb BCJiefl 3 a Heñ n o a B M J i a c b M K y p n e B C K a ü ,

a MOJKeT 6biTb ee BjjoxHOBMTejibaMM 6bijiM eBpeM, K a t ;
r j i a B H b i e nocTaBmMKM 6 y M a r w B
flepeBHio;
ö b i T b MOJKCT
TaKJKe, HTO Mbicjib o B b i p e 3 K a x poflMJiacb nojj B j i M a HueM

coK

cpaopMHHo M3roTOBJiaeMbix 6yMa>KHbix 3aHaBeH , , 3 y 6 H M K O B " ßjiH y K p a i u e H w a nojioK B CBH3M

HHOM n p o u e c c pa3BMTMH T i i n a „ J i e j i i O M ' '
xapaKTepen
J1.JIH ceBepoBOCTOHHoii nacTM KypneBLUMHbi. n o Bceii
B e p o a T H O C T H 3TO oSbHCHaeTCa T e M , HTO T a M B b i p e 3 K M
cxa JIM
noaBJiaTbca
flBa/;n;aTbio
rojiaMM no35Ke,
neM

B ocTajibHbix nacTHx MsynaeMoro aBTopoM panoHa.
3j;ecb M i i o e n o c T p o e H M e B b i p e 3 K i i CBa3aHO c p a c T H TOJIbHblMH M O T H B a M H , a ne c reoMeTpMHecKMMM, K a i e
B 3PJTIIX M e C T H O C T a X .

3flCCb TaKJKe 3T0T BHJI

iicKyc-

CTBä 3arjiox panbine.
Oco6biii pafl „jiejnoü" cocTaBjiajiw B K y p n e B C K o w
B b i p e 3 K e „npoccpopbi'' (MJIJI. 46—47), o/iHaKO no MneHMIO 3 I i a T O K O B OHM BCTpeHajIMCb ne BO B c e x K p e C T b a H CKMX flOMaX. K CaMbIM C T a p b l M TMIiaM IipriHajJJICJKaT
..Kpyn-i'',
iiasbiBaeMbie 3 B e 3 j i a M n , M3 Sejioii 6y.\iarn
e useTHbiMM cepe/jMHKaMM. no Mepe OCBOCHMH TexmiKii
i : p o p e 3 M c T a H O B a T c a Bce Gojiee MejiKiiMM. nocTenenno
¡(BeTHbie

eepejjMHKM

nfqe3aioT,

a

n p o p e 3 M flocTMraioT

cepefliiHbi. nocjie 1900 ro^a n o a B J i a e T c a H O B b r i i BMJI,
3Be3flbi (mur. 53).
Bo B H y T p e H H e M yÖpaHCTBC H3ÖbI GoJibuiyio p o j i b
urpajiM cpnrypiibie Bbipe3KM: nTMi_(bi (MJIJI. 1, 58),
nae3flHMKM n a Jiouiaflax (MJIJI. 55) npeMMymecTBenHO p a 3 H 0 I 4 B C T H b I 0 . P Î 3 IITMII 0C060M n o n y j i a p H O C T b M
H0JIb30BajIMCb IICTyXH M IiaBJIHHbi; MX B b i p e 3 b I B a j I M
C QojIbUIOH TUjaTCJIbHüCTbK), CTapaHCb HO BO3M0JKH0CTII
Tonnée nepe/jaTb CXOJJCTBO.
TeMaTiiHecKMe B b i p e 3 K i i ; ; e j i a j i M r j i a B H b i M o5pa30M
M y j i i H M H b i , 3 a n a c T y i o noJib3yacb m a o j i o H a M M . OTfleJibHbie T e M b i GbuiM xapaKTÊîpHbi jiMiJib jjjia y3xoro K p y r a
HecKOJibKHX

6jni3jiejKaiJ4HX

jjepeBeHb.

KpoMe Bbipe30K B c r p e n a j i M C b B KypneBmMHe eine
M flpyrne HacTeHHbie y K p a m e i - i n a : SanTbi (MJIJI. 56, 57).
w iiayHKM.
B MCTopiiii pa3BMTMa KypneBCKHX B b i p e 3 0 K nepBoe
MecTO 3 a H M M a e T 3HaHeHiie MX cpyHKi^iiM B
fleKopar^MH
M 3 5 b l , a T a K J K e M300peTaTejIbHOCTb M HaXO/XHMBOCTb

MHflMBHAyaJIbHblX Xy/IOJKHMIl.

CZASOPISMA

INSTYTUTU SZTUKI PAN
wydawane przez

P.P.

W Y D A W N I C T W A 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. d u ż e g o
formatu, o k o ł o 100 ilustracji. Cena 24 zł, prenumerata p ó ł r o c z n a 48 zł,
roczna — 96 zł.
P O L S K A S Z T U K A L U D O W A , k w a r t a l n i k , 64 str. dużego formatu,
bogaty m a t e r i a ł ilustracyjny. Cena 18 zł, prenumerata p ó ł r o c z n a 36 zł,
roczna — 72 zł.
P A M I Ę T N I K T E A T R A L N Y , k w a r t a l n i k , ponad 170 str. druku, około
100 ilustracji. Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł.
K W A R T A L N I K F I L M O W Y , około 100 str. druku, k i l k a n a ś c i e
Cena 10 zł, prenumerata p ó ł r o c z n a 20 zł, roczna — 40 zł.

ilustracji.

M U Z Y K A , k w a r t a l n i k , około 130 str. druku, liczne p r z y k ł a d y
Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł.

nutowe.

Wszystkie czasopisma
meracie.

nabywać

można

regularnie jedynie

w prenu­

W A R U N K I PRENUMERATY
„POLSKIEJ SZTUKI LUDOWEJ"
P r e n u m e r a t ę na kraj p r z y j m u j ą u r z ę d y pocztowe, listonosze oraz O d ­
działy i Delegatury „ R u c h u " .
Można 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 „ R u c h " Warszawa, u l . W r o ­
nia 23.
Prenumeraty przyjmowane są do 15 dnia miesiąca p o p r z e d z a j ą c e g o
okres prenumeraty.
Cena prenumeraty: półrocznie zł 36, rocznie zł 72.
P r e n u m e r a t ę na z a g r a n i c ę , k t ó r a jest o 40'%> droższa — przyjmuje
Biuro Kolportażu Wydawnictw
Zagranicznych „ R u c h "
Warszawa,
ul.

W r o n i a 23, tel. 2 0 - 4 6 - 8 8 ,

konto P K O

Nr

1-6-100024.

SPRZEDAŻ
Egzemplarze n u m e r ó w zdezaktualizowanych 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 „ R u c h " , Warszawa, u l . Srebrna 12,
konto P K O N r 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
Rozpowszechniania W y d a w n i c t w Naukowych P A N w P a ł a c u
i Nauki w Warszawie.

Ośrodek
Kultury

S t o ł e c z n e Z a k ł a d y G r a f i c z n e . Z. 2. w - w a , P o d c h o r ą ż y c h 39. z a m . 446/64. Pap.
i l u s t r . k l . I I I , 120 g A l + k a r t o n b i a ł y k l . I I I , 220 g . B l . N a k ł a d 1300 egz. Z-94.
W k ł a d k i o f f s e t o w e i o k ł a d k ę w y k o n a ł a d r u k a r n i a Z N A K — W a r s z a w a , F o k s a l 11.