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Part of Summary of articles / Polska Sztuka Ludowa - Konteksty 1976 t.30 z.3-4
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S
U
M
M
A
R
I
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S U M M A R Y
K s a w e r y
P i w o c k i —
FOLK
S
•
O F
A R T I C L E S
CARVINGS
T h e a u t h o r gives a s y n t h e t i c o u t l i n e o f o l d P o l i s h f o l k car
vings destined above a l l for f o r e i g n readers. I n his o p i n i o n f o l k
c a r v i n g s are a f i e l d o f P o l i s h a r t t h a t reflects m o s t f u l l y t h e na
t i v e character of Polish art.
I n the 14th a n d 15th century there was a rich development o f
Gothic carving o f an expressive a n d decorative t y p e i n the Silesian a n d M a ł o p o l s k a regions. T h i s w o r k was the p r o t o t y p e for
later f o l k c a r v i n g s . W h e n , a b o u t 1500, Renaissance a r t c a m e t o
P o l a n d the Gothic c a r v i n g workshops c o u l d n o t cope w i t h the
demands of the new ,,learned" art and began to move into the
provinces a n d w o r k for the simple people. I n P o l a n d the Renais
sance s t y l e w a s a d o p t e d a b o v e a l l b y t h e h i g h e r classes. T h e
p e a s a n t s r e g a r d e d i t as , , a n i n v e n t i o n o f t h e n o b i l i t y " , a n d t h i s
w a s u s e d as a n a r g u m e n t b y t h o s e p r o p a g a t i n g t h e c o u n t e r - R e f o r
mation. I n particular the Jesuits i m b u e d Polish Catholicism w i t h
f o l k e l e m e n t s s u c h as t h e c u l t o f p a t r o n s a i n t s w a t c h i n g o v e r t h e
everyday activities o f the people a n d miracle pictures. This c u l t
and the custom of m a k i n g pilgrimages to places k n o w n for h o l y
grace was later t o p l a y a n i m p o r t a n t role i n the d e v e l o p m e n t o f
f o l k c a r v i n g a n d i n P o l i s h f o l k a r t as a w h o l e .
I n t h e s e c o n d h a l f o f t h e 1 8 t h c e n t u r y , i n P o l a n d as i n o t h e r
E u r o p e a n c o u n t r i e s , t h e p e a s a n t r y b e c a m e c l a s s - c o n s c i o u s . T h e of
ficial a r t o f t h a t p e r i o d — classicism — was again a far c r y f r o m
t h e p e a s a n t s ' u n d e s t a n d i n g o f a r t as a c r a f t . D u e t o t h e c o n t r a
d i c t i o n b e t w e e n t h e g r o w i n g class-consciousness o f t h e p e a s a n t r y
and their estrangement f r o m the art of the ,,nobles", there was
a flourishing development of peasant art created for the peasants.
O f some i m p o r t a n c e here w a s t h e g r o w i n g p r o s p e r i t y o f some stra
ta of the peasantry i n the 19th century. This was the ,.golden age"
of folk carvings.
C o n t r a r y to the eastern a n d southern Slavs, t h e Poles d i d n o t
develop decorative carving. A b o v e all, the Polish folk artists
concentrated on carving religious figures.
T h i s k i n d o f a r t b e g a n t o d i e o u t as f r o m t h e s e c o n d q u a r t e r
of the 20th century. N u m e r o u s sculptors a n d carvers w o r k i n g
i n t h e r u r a l a r e a s t o t h i s v e r y d a y a r e , i t is t r u e , s t i l l c a l l e d f o l k
artists, b u t the a u t h o r considers t h e i r w o r k a m a t e u r i n character
or a n a r t i f i c i a l c o n t i n u a t i o n o f t h e o l d p a t t e r n s a n d desings.
T h e o l d folk a r t h a d to give w a y to the r e v o l u t i o n a r y changes i n
the m e n t a l i t y o f the people.
T h e a u t h o r a n a l y s e s f o l k c a r v i n g o n a n a t i o n a l scale because
o f i t s l a c k o f s t r o n g r e g i o n a l c h a r a c t e r , f o r i n h i s o p i n i o n t h i s is i n
accordance w i t h the general u n i f o r m i t y o f the c u l t u r a l a t t i t u d e
of the whole Polish nation.
F o l k carvings were f o u n d all over P o l a n d i n peasant cottages
a n d above a l l i n a l l k i n d s wayside shrines. Also figures b y the
wayside. T h e y were v e r y numerous and the author analysed t h e m
a c c o r d i n g t o basic t y p e s , e x a m p l e s o f w h i c h i l l u s t r a t e t h e t e x t .
P i w o c k i argues against the R o m a n t i c thesis, d e e p l y r o o t e d
i n earlier w o r k s devoted to Polish folk carvings, m a i n t a i n i n g
t h a t the authors o f the carvings were peasants whose w o r k was
spontaneous and w i t h o u t a n y t r a i n i n g i n the trade. The m a t t e r
of carving wayside figures was, i n the author's opinion, t o o
i m p o r t a n t for the peasants for t h e m t o entrust the c a r v i n g t o
amateurs. A group o f master carvers came into being i n the rural
areas, whose t r a d e i t w a s t o m a k e t h e f i g u r e s a n d c a r r y o n t h e
traditions o f the o l d carvers' guilds. P i w o c k i mentions the best
k n o w n names and w o r k s of this group.
The author links a f o r m a l analysis o f the carvings w i t h a
description o f t h e m o s t t y p i c a l subjects because i n his o p i n i o n
the expressive f o r m o f the carvings was strongly l i n k e d w i t h
their ideological function.
T h e great m a j o r i t y of Polish religious figurines represent
Christ. T h e y show the Crucifixion, Christ S t u m b l i n g under the
C r o s s a n d t h e S a d C h r i s t . T h e l a t t e r is a n e x a m p l e o f a n e x t r e
mely individual treatment o f a subject imposed b y the old pat
t e r n s . T h i s is a G o d s p e c i f i c t o t h e p e a s a n t s , a G o d r e f l e c t i n g o n
tho evil of the w o r l d a n d the violence done to m a n b y m a n .
A n o t h e r s u b j e c t n e a r l y as p o p u l a r as t h e l i f e o f C h r i s t is
t h a t o f the V i r g i n M a r y . M a n y o f the carvings are copies o f m i r a
c u l o u s p i c t u r e s a n d f i g u r e s s u c h as t h e M a d o n n a o f S k ę p s k a i n
the Mazovian region. However, the most frequent
subjects
— as t h e o n e s m o s t e a s i l y u n d e r s t o o d b y t h e v i l l a g e p e o p l e —
P
E
3
K
D
M
E
— w e r e t h e M a d o n n a f e e d i n g C h i l d a n d t h e P i e t a , w h i c h , toge
ther w i t h tho Sad Christ, were found generally all over Poland
as f r o m t h e l a t e G o t h i c p e r i o d .
N u m e r o u s f i g u r i n e s r e p r e s e n t v a r i o u s s a i n t s a n d t h e i r fun
c t i o n as p a t r o n s o f t h e e v e r y d a y a c t i v i t i e s o f t h e p e a s a n t s , for
i n s t a n c e , J a n N e p o m u c e n , p r o t e c t i n g t h e s p r i n g s a n d r i v e r s , or
S t . F l o r i a n g i v i n g p r o t e c t i o n a g a i n s t f i r e . I t is i n t e r e s t i n g t o
note t h a t even i n regions t h a t
were separated f r o m Poland in
t h e l a t e M i d d l e A g e s , t h e f a v o u r i t e s a i n t s w e r e P o l i s h o n e s , such
as C a s i m i r , S t a n i s l a u s , H e d v i g a . T h i s i n d i c a t e s r e s i s t a n c e aga
inst efforts to germanise the p o p u l a t i o n .
A n o t h e r c h a r a c t e r i s t i c t h i n g is t h a t t h e c a r v i n g s o f p a t r o n
s a i n t s w h o h a d a d e f i n i t e p r o t e c t i v e f u n c t i o n , s h o w n b y t h e res
p e c t i v e a t t r i b u t e s , w e r e t r e a t e d b y t h e c a r v e r s w i t h less i n d i
v i d u a l i n t e r p r e t a t i o n . T h e i r r e p r e s e n t a t i o n d i d n o t g i v e so m u c h
scope t o t h e a r t i s t s ' i m a g i n a t i o n .
I n c o n c l u s i o n , t h e a u t h o r deals w i t h t h e h i s t o r y o f research
i n t o P o l i s h f o l k a r t b y scholars a n d a r t i s t s a n d i t s role i n t h e conte
m p o r a r y n a t i o n a l c u l t u r e as a s o u r c e o f i n s p i r a t i o n f o r s c u l p t o r s .
T h e t r a d i t i o n s o f f o l k c a r v i n g i n w o o d are s t i l l a l i v e t o d a y , b o t h i n
official a r t (the w o r k o f R z ą s a , K u l o n , S ł o n i n a ) a n d i n the works
o f a m a t e u r s a n d m o d e r n p r i m i t i v e s . T h e y are a n i m p o r t a n t
e l e m e n t o f t h e a r t i s t i c consciousness o f t h e Poles, c o n s c i o u s l y or
unconsciously c o n s t i t u t i n g a p o i n t of departure or comparison,
w h i c h e l s e w h e r e is t h e r o l e o f w h a t is k n o w n as , , g r e a t a r t " .
T h u s i t is one o f t h e e l e m e n t s o f P o l a n d ' s c o n t r i b u t i o n t o the
art of the world.
T a d e u s z
C h r z a n o w s k i
SCULPTURES I N SILESIA
—
PRIMITIVE
STONE
T h e a u t h o r d e a l s w i t h p r i m i t i v e a r t as a m a r g i n a l o c c u p a
t i o n o r a v a r i a t i o n o f m o d e l s c o m i n g f r o m o u t s i d e , f r o m the
basic t r e n d o f s t y l i s e d a r t .
T h e a r t i c l e c o v e r s S i l e s i a n s c u l p t u r e i n s t o n e f r o m t h e ear
l i e s t p r e - C h r i s t i a n e x a m p l e s a n d G o t h i c p e n i t e n t i a l crosses, t o m
bstones a n d e p i t a p h s d a t i n g f r o m t h e 1 6 t h t o 1 8 t h centuries,
a r c h i t e c t u r a l o r n a m e n t a t i o n i n s t o n e , as w e l l as f i g u r e s a n d s h r i
nes b y t h e w a y s i d e , h e w n i n s t o n e .
T h e f o r m a l analysis o f the m a t e r i a l was t a k e n b y the author
as a b a s i s f o r t h e f o r m u l a t i o n o f g e n e r a l t h e s e s c o n c e r n i n g p r i
m i t i v e s c u l p t u r e . I n t h e e a r l y s t a g e w h e n S i l e s i a n s c u l p t u r e s were
t a k i n g shape (in accordance w h i t the general laws o f phenomena
a c c o m p a n y i n g t h o b i r t h o f a n e w b r a n c h o f a r t ) t h e sculptures
h a d t h e f o r m a l f e a t u r e s o f p r i m i t i v e a r t ( p e n i t e n t i a l crossess
e a r l y a r c h i t e c t u r a l o r n a m e n t a t i o n ) ; o n e also o b s e r v e s t h e trans
m i s s i o n o f c e r t a i n elements f r o m tho p a s t t o sculptures belonging
t o l a t e r periods (relics o f sepulchre a r t f r o m t h e t u r n o f t h e Gothio
a n d R e n a i s s a n c e p e r i o d s ) , as w e l l a s i n c l i n a t i o n s t o w a r d s t r a d i
t i o n a l i s m , the p r e s e r v a t i o n a n d special v a r i a t i o n o f models that
h a d a l r e a d y become o u t - d a t e d i n t h e m o r e c e n t r a l places. Ano
t h e r c h a r a c t e r i s t i c f e a t u r e o f m a n y o f t h e S i l e s i a n s c u l p t u r e s is
r o u t i n i s m resulting f r o m serial p r o d u c t i o n (tombstones).
T h e l a s t g r o u p o f s c u l p t u r e s d i s t i n g u i s h e d b y t h e a u t h o r are
w o r k s a r i s i n g f r o m a specific social d e m a n d , n a m e l y sculptures
f o u n d e d b y t h e l o w e r classes, w h i c h a c c o r d i n g t o t h e author,
g a v e b i r t h t o a u t h e n t i c f o l k a r t . T h i s g r o u p i n c l u d e s Silesian way
side f i g u r e s .
R o m a n
R e i n f u s s — F O L K S C U L P T U R E S I N STONE
IN T H E WESTERN FOOTHILLS
T h e a u t h o r g i v e s t h e r e s u l t s o f h i s f i e l d r e s e a r c h i n t h e Gor
lice r e g i o n . H e f o u n d a q u i t e l a r g e c e n t r e o f s t o n e - w o r k a t Jodł ó w k a T u c h o w s k a a n d several workshops operating individually
in villages.
T h e a u t h o r i s o n e o f t h e f e w r e s e a r c h e r s so f a r i n t o P o l i s h
f o l k s c u l p t u r e s i n s t o n e ( a n e a r l i e r s t u d y c o n c e r n e d t h e a r t of
t h e Ł e m k o w i e ) . U n t i l r e c e n t l y t h i s k i n d o f s c u l p t u r e s w a s regar
d e d as t h e e x c l u s i v e d o m a i n o f c r a f t s m e n i n t o w n h a v i n g n o t h i n g
in c o m m o n w i t h folk art.
Reinfuss d r a w s a t t e n t i o n t o t h e f a c t t h a t t h e a r t i s t i c g e n e
alogy o f m a n y s t o n e w o r k e r s m a k i n g w a y s i d e f i g u r e s i n s t o n e c a n
be traced t o r u r a l c r a f t s m e n w h o m a d e s u c h t h i n g s as m i l l - s t o n e s ,
g r i n d i n g stones, w h e t s t o n e s , e t c . . H e d i s c u s s e s i n d e t a i l t h e t e c h
nical p r o c e d u r e a p p l i e d b y t h e s t o n e w o r k e r s o f J o d ł ó w k a b e g i n
ning w i t h t h e i r m o t h o d o f c h i p p i n g s t o n e a n d a n a l y s e s t h e w o r k
of the l o c a l w o r k s h o p s t h a t h a v e e x i s t e d f o r s e v e r a l g e n e r a t i o n s
and wore s t i l l i n o p e r a t i o n t i l l t h e f i f t i e s o f t h e p r e s e n t c e n t u r y .
I n some case h e h a s m a n a g e d t o t r a c e t h e p a t t e r n s u s e d b y t h e
stone m a s o n s . A m a t t e r u n e x p l a i n e d so f a r is w h e r e t h e s t o n e
masons f r o m J o d ł ó w k a t o o k t h e i r f i r s t m o d e l s f o r m a k i n g s t o n e
figures. T h e a u t h o r t h i n k s — o n t h e b a s i s o f h i s r e s e a r c h so f a r —
• — that the first stone masons o f J o d ł ó w k a m a y h a v e l e a r n t t h e i r
trade f r o m t h e s c u l p t o r s i n t h e t o w n o f C i ę ż k o w i c e .
A p a r t f r o m t h e sculptors w h o , l i k e t h e ones f r o m J o d ł ó w k a ,
originated f r o m centres o f c r a f t s m e n w o r k i n g i n s t o n e , t h e r e
were also s c u l p t o r s i n t h e w o s t e r n f o o t h i l l s w h o d i d n o t b a s e t h e i r
work on the t r a d i t i o n s o f t h e local c r a f t s m e n a n d d e v e l o p e d t h e i r
own i n d i v i d u a l s t y l e i n v i l l a g e s . T h e a u t h o r a n a l y s e s t h e w o r k
of t w o o f t h e m : M a r i a n D z i a d z i o f r o m R z e p i e n n i k S t r z y ż e w s k i
and W o j c i e c h J ę d r u s i a k f r o m T u r z a .
A n n a
K u n c z y ń s k a - I r a c k a — CARVED
CROSSES
AND W O O D E N M O N O L I T H I C F I G U R E S I N T H E MAŁO
POLSKA
REGION
T h e a u t h o r e s s a n a l y s e s m o n u m e n t a l crosses m a d e b y f o l k
sculptors i n t h e n o r t h p a r t o f t h e M a ł o p o l s k a r e g i o n . T h e g r e a t
majority o f the k n o w n relics, o f w h i c h there are a b o u t 90, h a v e
survived to this d a y i n villages. T h e y w e r e discovered i n recent
years d u r i n g f i e l d r e s e a r c h c o n d u c t e d m a i n l y b y t h e A r t I n s t i
tute o f t h e P o l i s h A c a d e m y o f Sciences (the a u t h o r e s s p a r t i
cipated i n t h i s research) a n d b y t h e E t h n o g r a p h i c M u s e u m i n
Cracow. T h e o l d e s t k n o w n e x a m p l e s a r e f r o m t h e e n d o f t h e
18th c e n t u r y a n d t h e b e g i n n i n g o f t h e 1 9 t h c e n t u r y . M o s t o f
them date back to the last q u a r t e r o f the 19th c e n t u r y a n d the
most recent ones w e r e m a d e i n t h e t w e n t i e s o f t h e p r e s e n t c e n t u r y .
M o n u m e n t a l s c u l p t u r e s i n t h e M a ł o p o l s k a r e g i o n are
—
—apart f r o m t h e examples f o u n d i n s o u t h e r n W i e l k o p o l s k a —
— the o n l y large g r o u p o f m o n o l i t h i c , c a r v e d crosses a n d w o o d e n
f i g u r e s a n d w a y s i d e s h r i n e s d i s c o v e r e d so f a r . O t h e r e x a m p l e s
similar to those i n M a ł o p o l s k a a n d W i e l k o p o l s k a h a v e been f o u n d ,
t h o u g h v e r y f e w i n n u m b e r , i n o t h e r r e g i o n s as w e l l ( p a r t i c u l a r l y
in the Podlasie a n d K u r p i e regions) a n d t h i s leads t h e authoress
to the c o n c l u s i o n t h a t t h i s k i n d o f p e a s a n t w a y s i d e m o n u m e n t
could h a v e boon g e n e r a l a l l o v e r t h e c o u n t r y . T h e t e c h n i c a l s k i l l
i n c a r v i n g t h e w o o d , w h i c h is o n q u i t e a h i g h l e v e l , l e a d s t h e
authoress t o assume t h a t t h e y are l i n k e d u p w i t h t h e g e n e r a l
national traditions o f c a r v i n g i n P o l a n d .
All the examples k n o w n to the authoress were founded b y
peasants, b e i n g f i n a n c e d c o l l e c t i v e l y b y a w h o l e v i l l a g e , a f a m i l y
or b y t h e m o s t w e a l t h y p e a s a n t s . T h e m a k e r s o f t h e c r o s s e s a n d
figures w e r e s c u l p t o r s w o r k i n g f o r t h e v i l l a g e c h u r c h e s a n d also
peasants w i t h a k n o w l e d g e o f w o r k i n g i n w o o d , c a r p e n t e r s a n d
village w h e e l w r i g h t s . A m o n g t h e r e a l p e a s a n t s c u l p t o r s w a s t h e
most well k n o w n o f t h e M a ł o p o l s k a carvers w h o l i v e d i n t h e second
halt o f the 1 9 t h c e n t u r y — W a w r z y n i e c Szwej.
Although there m u s t have been m a n y makers of m o n u m e n t a l
sculptures i n M a ł o p o l s k a ( t h i s is seen i n t h e differences e v i d e n t i n
the w o r k i n g o f d e t a i l s o f v a r i o u s crosses a n d f i g u r e s f o u n d i n
the w h o l e r e g i o n ) , t h e y a l l c o n f o r m e d t o a c o m m o n c o m p o s i t i o
nal scheme a n d i c o n o g r a p h i e p r o g r a m m e . T h i s w o u l d i n d i c a t e
the existence o f c o m m o n m o d e l s w h i c h w e r e m u c h o l d e r t h a n t h e
examples w h i c h h a v e s u r v i v e d . I t is n o t o u t o f t h e q u e s t i o n t h a t
the t r a d i t i o n s o f t h e c a r v e d crosses go b a c k t o t h e l a t e G o t h i c
period.
A l e k s a n d e r
J a c k o w s k i — CONTEMPORARY
PTURES K N O W N AS F O L K A R T
SCUL
S c u l p t o r s h a v e a l w a y s b e e n less b o u n d b y c o n v e n t i o n t h a n
craftsmen. T h e i r w o r k d i d n o t h a v e regional features, this being
due t o t h e d i f f e r e n t f u n c t i o n i t p l a y e d i n t h e c o m m u n i t y a n d t h e
different w a y t h e a r t i s t s a c q u i r e d t h e i r s k i l l . T h e v a r i e d degree
of s k i l l i n w o r k m a n s h i p a n d p o s s i b i l i t i e s o f i n t e r p r e t i n g t h e i r
subject h a d a s t r o n g e r i n f l u e n c e o n t h e difference i n a r t i s t i c
approach t h a n local traditions.
C o n t e m p o r a r y s c u l p t u r e s differ f r o m o l d e r ones i n t h e i r
c h a n g e d f u n c t i o n ( p a r t i c u l a r l y t h e c h a n g e - o v e r f r o m c u l t t o aes
t h e t i c v a l u e s ) a n d t h e i r p u r c h a s e r s ( t o d a y t h e y a r e b o u g h t bypeople i n t o w n s ) . W h e r e a s i n t h e f o l k c r a f t s t h e o l d f e a t u r e s o f
style are c a r e f u l l y p r e s e r v e d , i n c o n t e m p o r a r y s c u l p t u r e s o n e
observes considerable differences, m o s t l y due t o the expansion
o f t h e s u b j e c t m a t t e r a n d also t o t h e c h a n g e d m e n t a l i t y o f t h e
sculptors. This means t h a t the borderline between folk art and
a m a t e u r a r t is b e i n g g r a d u a l l y e r a s e d .
T h e a u t h o r considers t h e m o t i v e s l e a d i n g t h e a r t i s t s t o choose
certain subjects a n d a t t r i b u t e s t h e m to t w o kinds o f creative
personality, namely introvert and extravert. The former work
f r o m a need f o r self-expression a n d t h e i r a r t is a n expression o f
s o m e t h i n g t h a t f i l l s t h e i r t h o u g h t s . I n m o s t cases t h i s i n n e r s t i
m u l u s is f o u n d i n p e o p l e a l i e n a t e d f r o m n o r m a l l i f e a n d is also
due to a greater sensitivity. T h e i n t r o v e r t sculptors do not borrow
ideas f r o m others b u t create f o r m s t o suit t h e i r e m o t i o n a l state
a n d g i v e t h e m t h o p o s s i b i l i t y o f expressing themselves i n scul
p t u r e s . T h e i r w o r k is m u c h m o r e i n t e r e s t i n g t h a t t h a t o f t h e
e x t r a v e r t artists, o f w h o m there are m a n y m o r e a n d w h o express
themselves i n f o r m s created b y others before t h e m . V e r y often
t h e y d o n o t u n d e r s t a n d t h e essence o f t h e f o r m s t h e y c o p y b u t
j u s t i m i t a t e ist seeming message, whereas t h e artists w o r k i n g
f r o m a deep inner need create authentic w o r k s . T h e i r strength
is i n t h e i r i n d e p e n d e n c e f r o m b o r r o w e d f o r m s , a l t h o u g h s o m e
t i m e s t h i s is a l s o a w e a k n e s s .
A s s u m i n g t h i s d i v i s i o n t h e a u t h o r discusses c o n t e m p o r a r y
sculptures according to different groups:
s p o n t a n e o u s
r u r a l a r t ( f i g . 7 - 1 1 ) a n d u r b a n a r t ( f i g . 5 7 ) , p s y c h o p a t h ol o g i c a l a r t ( f i g . 12-15) a n d t h e w o r k o f such i n d i v i d u a l per
sonalities
as C h a j e o a n d Z e g a d ł o o r L u r k a ( f i g . 1 8 , 2 3 ) ,
whose sculptures are a n expression o f t h e i r r i c h personality.
D e p e n d e n c e o n e x i s t i n g f o r m s a n d b o r r o w i n g s are f o u n d i n o t h e r
groups: i n centres o f sculptors influenced b y fascination w i t h the
w o r k o f one o u t s t a n d i n g a r t i s t or the d e m a n d for a certain k i n d
o f s c u l p t u r e ( f i g . 24-35), i n families ( f i g . 36-38), i n sculpture of
t h e r e l i c t y p e h a v i n g a d i r e c t l i n k w i t h o l d t r a d i t i o n s ( f i g . 1-4),
i n s c u l p t u r e s p r o d u c e d f o r c o m m e r c i a l p u r p o s e s a n d also i n t h e
w o r k o f amateur sculptors basing their art on the principles
a c c e p t e d i n f o l k a r t . S i m i l a r t o t h e s e is t h e g r o u p o f i n t e l l e c t u a l s
of rural origin a n d still e m o t i o n a l l y linked w i t h their villages,
w h o p r o d u c e w o r k i n " f o l k s t y l e " ( f i g . 6 1 ) . T h e r e is a l s o t h e
w o r k p r o d u c e d b y t r a i n e d c r a f t s m a n a n d a d u a t o s o f a r t schools
for commercial purposes, n a m e l y , souvenirs for tourists. The
last g r o u p consists o f sculptures m a d e i n villages a n d i n t h e su
b u r b s i n f l u e n c e d b y t h e c u l t u r e o f t h o t o w n s , w h i c h are p r o d u c e d
for the local people, catering for t h e i r tastes (fig. 5).
A n a l y s i n g the changes t h a t h a v e t a k e n place i n contempo r a r y sculpture, the a u t h o r draws a t t e n t i o n to the greater freedom
o f i n t e r p r e t a t i o n o f i c o n o g r a p h i c subjects (i.e. f i g . 16-23) a n d t o
t h e increased r o l e o f o b s e r v a t i o n s f r o m n a t u r e (i.e. f i g . 3 6 - 5 0 ) .
H e also emphasises t h a t c o m p e t i t i o n s a n d organised help for
artists has c o n t r i b u t e d t o t h e d e v e l o p m e n t o f c o n t e m p o r a r y
s c u l p t u r e , w h i c h is d o n e b y s e v e r a l h u n d r e d a r t i s t s t o d a y .
L u d w i g
Z i m m e r e r — REFLECTIONS BEFORE THE
F I G U R E O F ST M I C H A E L T H E A R C H A N G E L S C U L P T E D
I N 1971 B Y W Ł A D Y S Ł A W C H A J E C O F K A M I E N I C A G Ó R
NA.
T h e a u t h o r , F R G r a d i o c o r r e s p o n d e n t , d u r i n g t h e 20 y e a r s
he spent i n P o l a n d gathered a huge collection o f contemporary
f o l k s c u l p t u r e s a n d is o n e o f t h e b e s t e x p e r t s o n t h i s a r t . A n a l y
sing the w o r k o f Chajec, L u r k a , Z e g a d ł o a n d K r a j e w s k i he tries
t o reconstruct the w o r l d o f i m a g i n a t i o n t h a t distinguishes the
f o l k character o f religious t h o u g h t f r o m official religion. Chaj e c ' s S t M i c h a e l ( f i g . 2 ) is n o t a g r e a t p r i n c e , l e d a e r o f t h e h e a
v e n l y hosts, b u t an o r d i n a r y m a n , a peasant. I n the sculptures of
Chajec, L u r k a a n d Zegadlo we f i n d a specific a u t o - i d e n t i f i c a t i o n .
T h e y express t h e k i n d o f t h o u g h t s f o u n d i n f o l k tales i n w h i c h
t h e p e a s a n t is n o t a f r a i d o f t h e D e v i l a n d s h o w s h i m s e l f
to
be m o r e c u n n i n g a n d the simple m e n , the son n o b o d y t h i n k s
a n y t h i n g of, m a n a g e s t o p e r f o r m deeds t h a t m o r e p o w e r f u l m e n
t h a n he h a d n o t been able t o do. T h e St M i c h a e l i n c h u r c h sculp
t u r e s a n d p i c t u r e s c o n f i r m s t h e v a l i d i t y o f t h e d i v i s i o n i n t o lea
ders a n d m e n , t h e h e a v e n o f the r i c h a n d t h e poor.
T h e experiences o f t h e p o w e r f u l are d i f f e r e n t f r o m those o f
t h e p e a s a n t . H e l l h o l d s n o fears f o r t h e m a n w h o l i v e s n e x t t o
i t i n his e v e r y d a y life. S a t a n t e m p t s the r i c h m a n w i t h the p o w e r
o f t h e t e m p o r a l w o r l d , b u t t h e d e v i l i n t h e villages is s i m p l y
the p o w e r g o v e r n i n g p o v e r t y a n d b a d crops. T h e m o r t i f i c a t i o n
c a l l e d f o r b y t h e c h u r c h c o u l d be a h e a v y sacrifice f o r t h e r i c h
m a n , b u t for the poor m a n i t was j u s t his fate.
T h e p i c t u r e s o f B a r a ń s k a ( f i g . 17) l i n k a b o l d a n d n a i v e
transformation of paganism into christianism. I n their lush
sensuality original sin a n d the p o v e r t y o f m a n disappear and the
b o r d e r l i n e b e t w e e n t h i s a n d t h e o t h e r w o r l d is e r a s e d .
T h e folk approach to religion links m a n directly w i t h the
h e a v e n l y w o r l d , thus n e g a tin g the division i n t o priests and l a y m e n .
253
T h e c o n s e r v a t i v e a t t i t u d e o f t h o c h u r c h , t a k i n g the side o f the
rich a n d powerful, was c o n d u c i v e to this division. I t was expressed i n i c o n o g r a p h y , a f a r c r y f r o m t h e f o l k a t t i t u d e t o w a r d s
r e l i g i o n . T h e ParUokrator
a n d t h e Sad C h r i s t m a k e one realise
the difference b e t w e e n c o n c e p t i o n s : t h e t h r o n e d one a n d
the
t i r e d G o d , w o r r i e d a n d s a d a b o u t t h e f a t e o f m a n ( f i g . 3, 5 ) .
is o f t h e o p i n i o n t h a t t h e i r w o r k s g i v e s h a r p e r e x p r e s s i o n t h a n
t h e o l d f o l k a r t t o f e a t u r e s o f f o l k s p i r i t u a l i s m . W h e r e a s i n Chajec's
w o r k s t h e i n t e r p r e t a t i o n o f i c o n o g r a p h i e s u b j e c t s is i n t e r e s t i n g ,
i n L u r k a ' s s c u l p t u r e s h i s a p p r o a c h is a r e s u l t o f h i s o w n m e d i t a t i o n s a n d h i s o w n c o n c e p t i o n o f f a i t h . F o r i n s t a n c e , h e shows
C h r i s t c a r r y i n g t h e cross w i t h a l l m a n k i n d ( f i g . 12), or protecting
p e o p l e so t h a t t h e y s h o u l d n o t f a l l i n t o t h e b o t t o m l e s s p i t ( f i g .
13) —
t a k i n g the f o r m o f a tree-cross.
Discussing the w o r k s o f Chajec a n d L u r k a , the a u t h o r stresses t h e i r e x c e p t i o n a l c h a r a c t e r i n P o l i s h f o l k s c u l p t u r e , b u t h e
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WARUNKI
PRENUMERATY
Cena prenumeraty rocznej
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Zakład Narodowy imienia Ossolińskich — Wydawnictwo Wrocław, Oddział w War
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