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Part of Summary of articles/ Polska Sztuka Ludowa - Konteksty 1965 t.19 z.4
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No. 4
Q U A R T E R L Y P U B L I S H E D B Y T H E A R T I N S T I T U T E OF T H E P O L I S H A C A D E M Y OF SCIENCES
YEAR BOOK X I X
1965
SUMMARY OF A R T I C L E S
Miroslava
L u d v i k o v a , Brno —
F O L K B L O C K - P R I N T I N G O N FABRICS
MORAVIAN
Such printed fabrics from the 18th and 19th centuries
are relics of old technique w h i c h , at the beginning of the
15th century, was the starting point i n book p r i n t i n g .
Up to the 18th century printed fabrics were only used
by gentry and rich burghers,, the lower strata of the
population only saw such fabrics on the occasion of
certain church ceremonies at w h i c h pomp was not
allowed (lent, mourning, periods of epidemics, etc.).
I n the 18th century, the block calico-printing technique
was mastered by r u r a l artisans and became something
of a folk handicraft. The designs were p a r t l y influenced
by traditional patterns (even taken from book printing),
partly by the production of artisans, manufactures and
factories and partly by regional folk tastes and customs.
The authoress describes examples of Moravian folk
calico-prints obtained by block p r i n t i n g (that is, printed
from designs made on wooden blocks or copper plates)
and divides them into three basic groups according to
their use:
(1) fabrics for personal use, e.g. clothes l a i d on the bed
of a confined woman and ornamented towels, w i t h motifs
taken f r o m o l d forms.
(2) Fabrics the function of w h i c h was connected w i t h
the printed text, and the technique was similar to
book-printing. Many of them were simply wood engrav
ings, only printed not on paper but on fabric w h i c h
was more durable and more easily obtained. Pictures
showing religious scenes were sold at church festivals,
fairs, and they served as icons, scapulars, etc. Handker
chiefs w i t h p r i n t e d pictures and town-plans were brought
by soldiers returning home, as souvenirs. Sometimes
satirical pictures and historical scenes were also p r i n t e d
on handkerchiefs.
There is a separate group of older, more p r i m i t i v e
prints used i n the countryside and inspired by p r i m i t i v e
folk wood engravings, old chronicles and fair songs.
This group includes eastern-Slav prints showing the flight
to Egypt, episodes f r o m St. Stephen's life, etc. A l t h o u g h
they served other purposes, one can easily discover that
they inherited much from the old printed tapestry
showing various scenes and used as interior ornaments
i n old times. I t has been ascertained that prints of this
k i n d were k n o w n i n Moravia i n the 16th century.
(3) Printed fabrics, used particularly for women's dresses,
appeared i n the middle strata at the beginning of the
18th century and i n the m i l i e u of r u r a l population later,
but were used up to the end of the 19th century.
Home-made linen or any other one-colour material
brought by the customer was printed w i t h special blocks.
I n south-east M o r a v i a and south-east Slovakia kerchiefs
were printed w i t h black designs; i n other regions cotton
fabric used for men's shirts was printed, etc. B u t tech
nical possibilities and the craft of artisans were l i m i t e d :
the p r i n t made w i t h boiled o i l paint was perishable and
was spoiled by washing.
The authoress deals mostly i n her article w i t h the
first group of tapestries used for the ornamentation of
the i n t e r i o r (curtains, w a l l tapestry, bedspreads). The
tapestries she depicts i n her article mostly date from
the 18the century or the beginning of the 19th century
at the latest. They differ from relics once used by the
gentry, they also differ from folk block prints from other
regions published so far, because each region added some
i n d i v i d u a l features to this form of folk art, something
directly connected w i t h its own traditions.
The authoress recalls how different as regards their
application and form are printed fabrics from Poland,
Ukraine, Italy, Germany and Switzerland, and analysing
the features of Moravian prints she comes to the con
clusion that as regards their composition they are
similar to embroidery, folk embroidery above a l l . Such
prints are devoid of figured motifs, often occurring i n old
woven fabrics. On the other hand, such motifs are often
found i n occasional prints.
When describing the Cataje towel (fig. 2) w i t h
colours characteristic for this locality, the authoress
states that observance of local traditions is one of the
242
basic features of Moravian printed fabrics. They were
made to order of the customer and thus corresponded to
the style of folk art i n the given locality or region.
They were printed on linen cloth w i t h wooden blocks,
pigment colouring matter being used (oil or albumen).
The basic pattern was printed i n dark-blue, almost black,
and additional colours were then added, e.g. red, light
blue, yellow. The authoress describes bedspreads w i t h
features characteristic for local traditions (fig. 4, 5) and
the bedspread w h i c h is best from the point of v i e w of
p r i n t i n g technique, (fig. 6), most probably made for
people of the bourgeois milieu.
I n conclusion the authoress polemizes w i t h the opiniin
of C. schirk and P. Notker C u r t i who considered
that prints were only a substitute for more expensive
fabrics and thus were deprived of any artistic values.
Maria Paradowska
BAMBERS
-
T H E COSTUME OF T H E
I n the years 1719—1750, the villages belonging to the
t o w n of P o z n a ń , w h i c h had been depopulated following
the Swedish wars and plagues, were colonized by German
population brought from the locality of Bamberg i n
Bavaria, and Southern Germany. These people k n o w n
as the Bambers, were q u i c k l y Polonized and, about 1850",
the inhabitants of German origin were completely assi
milated w i t h the Polish r u r a l population of that region.
The influence of the Bambers on the culture of the
Polish population of the villages belonging to the t o w n
of P o z n a ń is seen most distinctly i n the women's
costumes. B u t men used to follow Polish peasant's costu
mes as soon as the X l X t h century. After the villages
were incorporated i n t o the t o w n at the beginning of the
20th century the costume lost its importance and, i n
the middle of the 20th century, was only functionally
connected w i t h the rites of the Catholic Church, being
w o r n by elderly women participating i n processions.
These women have handed the costume down to their
children, who, under the influence of the r u r a l culture
and fashions,, no longer w a n to wear i t .
Ewa Snieżyńska-Stolot, Stefania
Krzysz
t o f o w i c z — PAINTER JĘDRZEJ MAZURKIEWICZ
The authors describe the polychrome m u r a l painting
in three chapels i n the neighbouring villages of Wola
Zarczycka and Huciska. The polychromes were painted
at short intervals of time, they are similar i n form
and are a l l signed by the painter Mazurkiewicz. They
are painted i n distemper and each of them is composed
of the following elements: 1) the figures of saints on the
external walls ( w i t h an ornamental frieze above them),
2) inscriptions over the doors giving the name of the
founder and the date, 3) polychrome painting on the
ceiling. The chapel at Wola Zarczycka also has poly
chrome painting on the external walls.
J ę d r z e j Mazurkiewicz, polychrome artist, born 1834
at K r z e s z ó w - o n - t h e - S a n , died i n 1866. He was an organist
i n the village of Wola Zarczycka. A p a r t from painting,
he also carved figurines of saints. He was a self-taught
folk artist, but he was also influenced by the artistic
centre of Leżajsk, w h i c h was flourishing at that time.
Maria Źywirska -
JÓZEF WIACEK'S PANORAMA
The authoress introduces an interesting personality,
an amateur painter — a Polish emigrant l i v i n g i n France.
T h i r t y five years ago, Wiącek, not being able to find
w o r k i n Poland, l i k e many others, signed a contract to
go and w o r k i n the mines and left his native village
in the Rzeszów region. His o w n fate and that of his
fellow countrymen i n France gave h i m the idea of
painting a great work, a panorama of 45 pictures,
depicting the dramatic life story of the Polish emigrant
miner. His intentions i n painting this w o r k were didactic;
he wanted to express his own reflections and experience
of life as a w a r n i n g to the young generation to save them
from sharing his o w n fate.
W i t h his panorama, w h i c h took h i m six years t o
paint a n d absorbed a l l his savings, W i ą c e k travelled
to various places i n France, particularly to places where
there were large concentrations of Polish emigrants. His
exhibition i n Deauville brought h i m a great success and
the Grand P r i x Internationale. I t also brought h i m the
attention of Paris, where three exhibitions were arranged
for h i m (Salon d'Hiver, Salon des I n d é p e n d a n t s 1960,
Y M C A - 1962).
w o r n i n the towns, w i t h much more embroidery than the
restrained ornamentation designed b y Fatla and his con
temporaries.
Wanda
Gentil-Tippenhauer
STANISŁAW
F A T L A - T H E MOST F A M O U S F O L K T A I L O R I N T H E
PODHALE DISTRICT
H e l e n a Ś r e d n i a w a - T H E WORK
SCULPTORS F R O M JURGOWO
The o l d highlanders' folk costumes were almost
completely unornamented (only some edges were laced).
I t was only the last decade of the last century that
brought quick changes i n the costume, including the
introduction of multicoloured embroidered
decoration,
the fashion o f wearing short capes (known as „ c u c h a '
in Polish) t h r o w n over one shoulder Hussar style, etc.
The authoress discusses this period of changes t a k i n g
as an example the most w e l l - k n o w n and creative tailor
of folk costumes i n the Podhale district — S t a n i s ł a w
Fatla. He was born i n 1865, learnt the trade of tailor i n
1886 and w o r k e d as such t i l l ripe o l d age. He died i n
1961. The analysis of his w o r k shows that, w i t h his wife,
K a r o l i n a K a p ł o n , an embroideress, he was very inventive
in the realm o f embroidery on highlanders' trousers
(fig. 3—6), i n introducing machine stitching t o outline
edges, etc. T h e c u t of the highlanders trousers made
by Fatla was t i g h t f i t t i n g to the legs and he was also
the first to introduce the short w h i t e cape (cucha)
ornamented w i t h embroidery l i k e the a p p l i q u é w o r k on
the jackets and sheepskin coats made at L i p t ó w (fig. 10).
Fatla was assisted i n his w o r k by his w i f e and six
children; the eldest son,, S t a n i s ł a w , is today a w e l l - k n o w n
tailor o n those parts. Fatla senior set fashions, having
excellent i n t u i t i o n regarding changes i n the tastes of his
highland customers. However, after the last w a r , only
the older highlanders remained faithful customers, the
younger men preferring looser trousers, more l i k e those
r i O J l b C K O E
KBAPTAJIbHblH
X» 4
JKYPHAJI
J a n S e t k o w i c z - ANDRZEJ BIEROWIEC - CAR
VER
O F F I G U R I N E S F R O M K A S I N K A (CRACOW
VOIVODSHIP)
The article introduces a folk sculptor, born i n 1903,
who has been developing his artistic w o r k since 1938.
OF Y O U N G
A m o n g the folk artists of the highland regions the
group of young people at Jurgowo is w o r t h y of particular
attention. The group was founded i n December 1963 on
the i n i t i a t i v e of the folk artist Andrzej Gombos. Under
his guidance, b u t leaving t h e young people complete
artistic freedom, a most interesting group o f eleven
sculptors has come into being. T h e i r w o r k — showing
a certain influence of t r a d i t i o n a l f o l k art, p a r t i c u l a r l y
in the figurines of saints, w h i c h are not very numerous
— is distinguished f o r i t s uniqueness both as regards
form and subject, where lay themes p r e v a i l i n accordance
w i t h the interests o f the boys.
The use of similar tools (an ordinary k n i f e a n d
flat chisel) and of the same matterials (small blocks
of waste wood), impose small forms (up to 20 cm) upon
the artists and as they have a l l attained more or less
the same level of s k i l l , a l l this gives t h e i r w o r k certain
common features. Another common feature is the unique
character of these sculptures, resembling the a r t of
a child rather than folk art. B u t the group has produced
some very talented a n d i n d i v i d u a l artists, for instance
15-year-old Beniamin M i ś k o w i c z (fig. 8) a n d Jan Chowa
niec (fig. 2, 6, 7), 14-year-old Jan M a r t i ń c z u k (fig. 10),
Józef Wojtas (fig. 9) and A n d r z e j Sołtys (fig. 3-5).
The first year's w o r k of the group was crowned
by an e x h i b i t i o n of sculptures at the Tatra Mountains
Museum. As t i m e w e n t on the group decreased i n n u m
ber. Some of the young people have gone away to schools
elsewhere and three boys have gone t o the secondary
art school i n Zakopane.
H A P O A H O E
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iimkji
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d é p e n d a n t s 1960, YMCA 1962.
B a H ^ a r e H i H J i b - T H n n e H r a y s p — CTAHHCJIAB OATJIH — J i y H l I I H l ï H A P O A H H Ï Ï nOPTHOÏt
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jiaHHoe n o Bceü B e p o a T H O C T M n o B i t y c y M e m a H C K O M cpejibi.
b 1865 r . , b 1886 r . BbiyHMJica n o p T H a x c H O M y peMecny
B 3aKjiK)HeHwe aBTop nojieMH3Mpyer
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B Hakane X X b., K o r ^ a oKpecTHbie aepeBHM 6biJiPi
npwcoeflpiHeHbi k ropowy, H a p a « 3tot n o T e p a j i CBoe n e p Eona'iajibHoe 3HaieHPie, a c c e p e « i i n b i X X b. rrpiioBpeji
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C T p o r o cpyHKiTPioHajibHbiM x a p a K T e p , c B H 3 a H H b i ü
HPITeJIbHO C OOpHflOBbIM K y j I b T O M KaTOJIMMeCKOM rrepKBPi.
HapHH 9T0T H a ^ e B a i o T H e M O J i o f l t i e j K e H i u n H b i , n p p r m i M a i o i i i H e y n a c T M e b n p o i i e c c P i a x . Oh n e p e ^ a e T C H n o H a cjieÄCTBy
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y Hero 6buio iiiecTepo. CaMbiü cTapuiMM c b r n — Ó r a H P i c j i a B n o c e ñ fleHb C H M T a e T c a i r p e K p a c H b r M nopTHbnvi.
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M3MeH6HMa B O B K y C a X CBOMX KJIPieHTOB-rOpiieB. O^HaKO
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Tpëx 'qacoBHax.
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CBoeAepeBHHx:
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06pa3H0M CbopMOÜ M TeMaTMKOM.
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mx t b o p M H e c T B y n e K O T o p b i e
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nOMMHaiorxieM C K o p e T B o p n e c T B O peSeHKa n e M H a p o f l cTenax.
HOe M C K y C C T B O .
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mx
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b
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HapOSHbrii XyflOJKHMK, MCKyCCTBO KOTOpOrO, OflHaKO, ÖbIJIO
nos BJiMHHMeM ropo/ia J l e s o i ł c K a ,
m
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b KJKeinoBe Ha/CaHe, ywep b 1886 ro^y. PaßoTaji o p r a -
244
oh
nepBbiM TOĘ cyuiecTBOBaHMa rpyTrrrbi 3aBepuinjica
BbicTaBKopt pa6oT b TaTHîaHbCKOM My3ee. TIocTeneHHO
rpynna y M e H b u i a j i a c b m b HacToauiee B p e M a H a c H M T b i BaeT jipmib HecKOJibKO HeJioBeK. Hacrb MOJionescM noexajia y H M T b c a , rpoe nocTymuin b x y ^ o s ç e c T B e H H y i o
uiKOJiy, Koropaa HaxOflMTca b MeçTHÇfCTM 3aKonaHe.
CZASOPISMA INSTYTUTU SZTUKI PAN
wydawane przez:
P.P. W Y D A W N I C T W A A R T Y S T Y C Z N E I F I L M O W E
B I U L E T Y N H I S T O R I I S Z T U K I , kwartalnik, ponad 100 str. dużego
formatu, około 100 ilustracji. Cena 24 zł, prenumerata półroczna 48 zł,
roczna — 96 zł.
P O L S K A S Z T U K A L U D O W A , kwartalnik, 64 str. dużego formatu,
bogaty materiał ilustracyjny. Cena 18 zł, prenumerata półroczna 36 zł,
roczna — 72 zł.
PAMIĘTNIK T E A T R A L N Y , kwartalnik, ponad 170 str. druku, około
100 ilustracji. Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł.
M U Z Y K A , kwartalnik, około 130 str. druku, liczne przykłady nutowe.
Cena 18 zł, prenumerata półroczna 36 zł, roczna — 72 zł.
Wszystkie czasopisma n a b y w a ć można regularnie jedynie w
meracie.
prenu
K W A R T A L N I K F I L M O W Y — w roku 1966 przestanie się ukazywać;
zeszyt 4 za rok 1965 będzie ostatnim numerem tego czasopisma.
WARUNKI PRENUMERATY
„POLSKIEJ S Z T U K I L U D O W E J "
Prenumeratę na kraj przyjmują urzędy pocztowe, listonosze oraz Od
działy i Delegatury „Ruch".
Można również dokonywać wpłat na konto P K O Nr 1-6-100020 —
Centrala Kolportażu Prasy i Wydawnictw „Ruch" Warszawa, ul. Wro
nia 23.
Prenumeraty przyjmowane są do 5 dnia miesiąca poprzedzającego
okres prenumeraty.
Cena prenumeraty: półrocznie zl 36, rocznie zł 72.
Prenumeratę na zagranicę, która jest o 40% droższa — przyjmuje Biuro
Kolportażu Wydawnictw Zagranicznych „Ruch" Warszawa, ul. Wronia
23, tel. 20-46-88, konto P K O Nr 1-6-100024.
SPRZEDAŻ
Egzemplarze numerów zdeaktualizowanych można n a b y w a ć w Punk
cie W y s y ł k o w y m Prasy Archiwalnej „Ruch", Warszawa, ul. Nowomiejska nr 15'17, konto P K O Nr 114-6-700041 V I I Oddział Miejski Warszawa.
Aktualne numery czasopism Instytutu Sztuki P A N posiada Ośrodek
Rozpowszechniania Wydawnictw Naukowych P A N w Pałacu Kultury
i Nauki w Warszawie.
Zakłady Graficzne „Tamka" Zakład Nr 2 W-wa, Podchorążych 39. Zam. 746. Pap.
ilustr. kl. I I I , 120 g A l r karton biały kl. I I I . 220 g. B I . Nakład 1270 egz. M-5