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Part of Summary/ Polska Sztuka Ludowa 1962 t.16 z.3
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P
O
L
QUARTERLY
N. 3
I
S
PUBLISHED
H
BY
F
THE
ART
O
INSTITUTE OF
L
THE
K
POLISH
YEAR BOOK X V I
A
ACADEMY
OF
R
T
SCIENCES
1962
SUMMARY OF ARTICLES
Longin
Malicki
— T H E F O L K A R T O F GDAŃSK-POMERANIA ON T H E BASIS OF T H E COLLECTI
ONS O F T H E P O M E R A N I A N M U S E U M IN G D A N S K
T h e y e a r s of t h e G e r m a n c o l o n i z a t i o n d r i v e a c c e l
e r a t e d the p r o c e s s of the d i s a p p e a r a n c e of f o l k a r t
i n the Gdańsk-Pomerania region. T h i s process g a i n e d
i m p e t u s a s f r o m t h e m i d d l e of t h e 19 t h c e n t u r y .
I n t h i s s i t u a t i o n , t h e c o l l e c t i o n s of m u s e u m s a n d tine
d o c u m e n t a t i o n c a m p a i g n i n the a r e a u n d e r r e v i e w
p l a y a p a r t i c u l a r l y i m p o r t a n t role.
A r c h i t e c t u r e is r e p r e s e n t e d b y : cottages, f a r m b u i l
dings a n d churches. T h e typical south K a s h u b i a n
cottage of the 17th to 19 t h c e n t u r i e s w a s a t h r e e r o o m e d b u i l d i n g of t h e a r c a d e t y p e w i t h a g a b l e
roof (most f r e q u e n t l y t h a t c h e d — fig. 2). T h i s t y p e
Oi buitaing is also met w i t n a t K o c i e w . I n the
n o r t h e r n , coastal a n d c e n t r a l K a s h u b i a n region t h e r e
a r e n u m e r o u s cottages of s k e l e t o n c o n s t r u c t i o n f i l l e d
in w i t h c l a y or u n b u r n t bricks, w i t h either a gable
or j e r k i n h e a d roff (thatched). A c h a r a c t e r i s t i c k i n d
of o r n a m e n t a t i o n a r e p i n n a c l e s of v a r i o u s s h a p e s c u t
out of b o a r d s (fig. 5). F a r m buildings stood a p a r t
w i t h i n the f a r m p r e c i n c t s . W o r t h y of n o t i c e a r e t h e
b r e a d b a k i n g o v e n s c o v e r e d w i t h a s m a l l g a b l e roof
a n d r e s t i n g o n s h o r t p o s t s (fig. 7), w h i c h a r e u s u a l l y
located near
the farmhouse
or
in
the
garden.
T h e m o r e w e a l t h y , L o w e r V i s t u l a p a r t of t h e K a s h u b
i a n region a n d the s u r r o u n d i n g d i s t r i c t s h a d m o r e
impressive buildings.
In
Góraki ( S z t u m d i s t r i c t )
there w e r e l a r g e cottages w i t h m a n y rooms a n d deep
a r c a d e s u p p o r t e d b y f i v e posts. I n Ż u ł a w y a n d the
V i s t u l a L o w l a n d s , t h e r e a r e o l d cottages w i t h a
v e r a n d a i n f r o n t (fig. 6). T h e s u p p o r t i n g posts, a n d
the doors a r e s o m e t i m e s o r n a m e n t e d (fig. 8). I n t h e
d i s t r i c t s of S z t u m , K w i d z y n a n d M a l b o r k , there a r e
a l s o o r d i n a r y cottages w i t h t h a t c h e d roofs.
Household
E q u i p m e n t The small homemade
stools w i t h b a c k s a n d t h e rough o r d i n a r y b e n c h e s
t h a t h a v e been p r e s e r v e d testify t h a t the f u r n i s h i n g s
of the cottages i n P o m e r a n i a w e r e r a t h e r p r i m i t i v e
200 y e a r s ago. D e v e l o p m e n t began a t the e n d of t h e
18th c e n t u r y a n d w e n t o n d u r i n g t h e 19 t h c e n t u r y
u n d e r t h e i n f l u e n c e of t h e f u r n i t u r e u s e d by t h e
g e n t r y a n d the t o w n p a p u l a t i o n , a n influence w h i c h
i s e v i d e n t i n t h e d e c o r a t i v e e l e m e n t s of t h e h o u s e h o l d
e q u i p m e n t . U p t i l l t h e s e c o n d h a l f of the 19th
c e n t u r y , d o w r y coffers w e r e u s e d , W h i c h w e r e l a t e r
ousted by urban furniture. T h e painted ornamenta
tion on t h e K a s h u b i a n coffers m o s t l y c o n s i s t s of
p l a n t motifs.
I n p o o r e r homes, t h e coffers
were
p a i n t e d i n o n e colour. T h e s h a p e of the coffers w a s
different i n different p a r t s of P o m e r a n i a (fig. 10 —
15). A p i e c e of f u r n i t u r e t y p i c a l of the K a s h u b i a n
homes w a s a painted sideboard (they were also used
by o t h e r e t h n i c groups in P o m e r a n i a ) .
Ceratain
features of h i s t o r i c a l s t y l e s a r e e v i d e n t i n t h e
d e c o r a t i v e e l e m e n t s (fig 16, 17). T h e s e f e a t u r e s a r e
also to b e f o u n d i n w a r d r o b e s , today r a r e l y u s e d (19).
O t h e r p i e c e s of f u r n i t u r e t h a t h a v e been p r e s e r v e d
a r e stools w i t h b a c k s (fig. 18, 20) p a i n t e d one c o l o u r :
r u s t y b r o w n o r blue, a n d b e n c h e s w i t h d e c o r a t i v e l y
c a r v e d b a c k s (fig 22).
T h e n t h e r e a r e coffer-benches, w h i c h w e r e used
a s beds w i t h a seat t h a t l i f t e d up a n d a front t h a t
c o u l d be d r a w n out. T h i s k i n d of bed w i t h a d r a w -out front a r e s t i l l i n c o m m o n u s e today (fig 24).
T h e l i n e of the b a c k w a l l of t h e s e b e d s is r e m i n i s c e n t
of 18th c e n t u r y b a r o q u e f u r n i t u r e .
T h e r e a r e a l s o s o m e r a r e s p e c i m e n s of c r a d l e s (fig. 21)
a n d o l d t a b l e s (fig 25) a n d a l s o spoon r a c k s (fig 23)
Interior
Decoration.
A t t h e b e g i n n i n g of
the 19th c e n t u r y , r o o m s w e r e d e c o r a t e d w i t h p i c t u r e s
p a i n t e d on glass, p r o f u s e l y h u n g a l l a l o n g the w a l l s .
T h e y w e r e later replaced by printed pictures. T h e
p i c t u r e s w e r e d e c o r a t e d w i t h g a r l a n d s of h e r b s . T h e n
there w e r e t h e f i g u r e s of s a i n t s , e n h a n c e d w i t h p a p e r
f l o w e r s a n d rosettes. A t t h e b e g i n n i n g of 20th c e n t u r y ,
„pająki"
c e i l i n g d e c o r a t i o n s of
spider-like
form,
r a d i a t i n g f r o m a c e n t r a l point) m a d e of s t r a w s a n d
b l o w n egg-shells w e r e u s e d to decorate t h e rooms,
l a t e r they w e r e e n h a n c e d w i t h w o o d e n b i r d s .
Pottery.
Pomerania has long-standing tradi
tions a s r e g a r d s pottery (fig 26, 27). T h e r e w e r e
n u m e r o u s potteries s t i l l w o r k i n g t h e r e a t t h e e n d
of the 19th c e n t u r y . A t t h e b e g i n n i n g of t h e 20th
c e n t u r y , i n d u s t r y began to oust tne pottery proctucea
i n t h e s e p a r t s , b u t t h e r e a r e s t i l l potteries w o r k i n g
t h e r e to t h i s v e r y d a y , o n e i n C h m i e l n o ( K a r t u z y
district) r u n b y t h e N e c e l f a m i l y (fig. 41) p r o d u c i n g
painted ceramic w a r e
and
another i n K a r t u z y ,
c a r r y i n g o n t h e t r a d i t i o n s of t h e M e i s s n e r s a n d
p r o d u c i n g pottery a c c o r d i n g to the o l d patterns. T n e
t y p i c a l o l d c e r a m i c w a r e m a d e by t h e K a s h w b i a n s
were large pitchers covered w i t h dark b r o w n glazing
(fig 28) o r d e c o r a t e d w i t h p l a n t m o t i f s (fig. 31).
S i m i l a r p i t c h e r s w e r e p r o d u c e d i n the L o w e r V i s t u l a
region (fig. 32), b u t w i t h d i f f e r e n t
ornamentation
(fig 33, 34).
In
Góraki
and
Żuławy,
the
typical
pottery
products w e r e l a r g e
bowls with verticie ilangeu
edges c o v e r e d w i t h b r o w n glazing. T h e K a s h u b i a n s
a n d the S l o v i n c y u s e d s m a l l e r b o w l s c o v e r e d w i t h
w h i t e g l a z i n g (fig 30).
I n the L o w e r V i s t u l a region a n d a t K o c i e w i e , b o w l - l i k e c o l a n d e r s w e r e u s e d (tig. 33). A l l o v e r Gdańsk- P o m e r a n i a d o u b l e pots w e r e v e r y w i d e l y u s e d (fig.
29, 3i2, 36, 37). T h e oldest s p e c i m e n s f r o m the s e c o n d
h a l f of tne 19th c e n t u r y w e r e d e c o r a t e d w i t h geo
m e t r i c a l p a t t e r n s a n d t h e n e w e r ones, w i t h p l a n t
motifs.
T h e p i t c h e r s a n d d o u b l e pots w e r e s o m e t i m e s c o v e r e d
w i t h different g l a z i n g s i n s i d e a n d outside (fig. 36).
A t t h e e n d of t h e 19th c e n t u r y t h e c e r a m i c w a r e
m a d e h e r e i n c l u d e d s m a l l e a r t h e n w a r e w a l l fonts
(fig. 42, 43). T h e o l d e r ones w e r e s i m p l e i n s h a p e
a n d w e r e c o v e r e d w i t h o n e - c o l o u r glazing,
While
the l a t e r ones — w i t h b a s - r e l i e f c a r v e d figures —
w e r e m u l t i c o l o u r e d . N o n e of t h e o l d toy e a r t h e n w a r e
figures once m a d e h a v e been p r e s e r v e d . T o d a y t h e y
a r e m a d e a t C h m i e l n o (fig 44).
A t the e n d of t h e 19th c e n t u r y , t i l e - m a k i n g b e g a n
to s p r e a d a m o n g the potters. T i l e ^ m a k i n g t r a d i t i o n s
on the P o l i s h coast d a t e b a c k to m e d i a e v a l t i m e s .
Wicker-work.
T h i s craft w a s very
wides
p r e a d i n P o m e r a n i a . T h e m a t e r i a l s u s e d w e r e roots,
j u n i p e r twigs, s r i p p e d o a k l i n g s a n d osier.
Apart
f r o m baskets (fig 48, 49), f i s h i n g nets a n d corn
m e a s u r e s w e r e m a d e u s i n g the s p i r a l technique,
(fig. 47, S I ) . O t h e r w i c k e r - w o r k w a s m a d e b y the
c r o s s - w e a v e t e c h n i q u e (fig. 53) o r m a d e of s t r i p p i n g s
w o v e n w i t h p i n e roots o r of s t r a w w o v e n w i t h roots
or osier. T o d a y , w i c k e r - w o r k o c c u p i e s a n i m p o r t a n t
189
p l a c e i n the a r t i s t i c folk a r t i n d u s t r y a n d is m u c h
in d e m a n d i n t h e t o w n s .
W e a v i n g , w h i c h w a s once e x t e n s i v e l y d e v e l o p e d
in P o m e r a n i a , d e c l i n e d a t the e n d of the 19th c e n t u r y .
T h e s p e c i a l i t y of the region w a s w o o l l e n h o m e s p u n ,
n a v y b l u e for m e n ' s s u i t s a n d b r o w n , green a n d r e d
for w o m e n ' s dresses. I n the w e a v i n g d o n e i n the
L o w e r V i s t u l a region, the i n f l u e n c e of the W a i i m i a n
a n d M a z u r i a n w e a v e r s c o u l d be s e e n (fig. 54, 55).
R e s e a r c h h a s s h o w n that the W a r m i a n a n d M a z u r i a n
w e a v e r s w h o s e t t l e d t h e r e o r passed t h r o u g h this
region on t h e i r w a n d e r i n g s p r o d u c e d l i n e n a n d r a g
rugs T o d a y , t h e r e a r e o n l y a f e w w e a v i n g centres
in the K a s h u b i a n region a n d in B o r y , w h e r e rugs
a r e m a d e (fig. 56, 58). I n the past, t h e r e w e r e also
w o r k s h o p s p r o d u c i n g p r i n t e d l i n e n s (fig. 59).
C o s t u m e s , E m b r o i d e r y a n d L a c e . About
the 19th c e n t u r y , folk c o s t u m e s w e r e n o l o n g e r w o r n
i n t h e region u n d e r r e v i e w . W e h a v e v e r y l i t t l e i n
formation a b o u t the c o s t u m e s of t h e e t h n i c groups
l i v i n g there, w i t h the exception of the K a s h u b i a n s .
T h e b a s i c g a r m e n t w o r n by m e n i n the m i d d l e of
the 19th c e n t u r y w a s a l o n g russet coat, w h i c h w a s
either blue o r n a v y blue. A p a r t f r o m dresses, the
w o m e n w o r e bodices o r j a c k e t s of one colour. E m
broidery o n c l o t h i n g w a s c o n f i n e d to t h e g o l d b r o
c a d e d S u n d a y c a p s w o r n b y the w o m e n (fig. 60, 62)
m a d e of v e l v e t . S i l k caps, o r n a m e n t e d w i t h m u l t i
coloured e m b r o i d e r y w e r e also w o r n (fig. 61). T h e
gold b r o c a t e d c a p s w e r e no longer w o r n after the
m i d d l e of t h e 19th c e n t u r y a n d it w a s not w o r n
after the 'middle of t h e 19th c e n t u r y a n d it w a s not
long before s i l k e m b r o i d e r y d i s a p p e a r e d too. A m o n g
the o r n a m e n t a l m o t i f s u s e d i n t h i s region the most
c h a r a c t e r i s t i c w a s the p o m m e g r a n a t e f r u i t . A t the
beginning of the 20th c e n t u r y , t h a n k s to the p r o p a
ganda conducted by
the K a s h u b i a n I n t e l l i g e n t s i a ,
n u m e r o u s e m b r o i d e r y c e n t r e s w e r e set up, m a i n l y
p r o d u c i n g for the towns. W h i t e e m b r o i d e r y w a s found
s o m e t i m e s on the c o l l a r s a n d cuffs of
women's
blouses, a n d a t the b e g i n n i n g of the 20th c e n t u r y
it w a s u s e d to o r n a m e n t the h e m of s k i r t s . A t this
time there w e r e also costumes e n h a n c e d w i t h c r o
cheted l a c e . C r o c h e t e d l a c e w a s a l s o found o n bed
spreads (fig. 64).
(fig. 79). T h e figures a r e u s u a l l y m o v i n g ones w i t h
c a r v e d h e a d s a n d d r e s s e d i n v a r i o u s c o l o u r e d rags.
T h e c a r o l - s i n g e r s s t a r is l e s s common, the d e c o r a t i o n
being v e r y modest. O n the o t h e r h a n d there a r e
a l a r g e v a r i e t y of m a s k s for m a s q u e r a d e s . T h e m a s k s
a r e m a d e of wood, leather, h o r n , c a r d b o a r d ,
tow,
h o r s e - h a i r , etc (fig. 81, 83, 84, 86, 89) a n d s o m e
m a s q u e r a d e c l o t h e s a r e w o v e n f r o m s t r a w (fig. 89).
O n e of the a r t i s t i c f o r m s c o n n e c t e d w i t h c u s t o m w a s
the v i l l a g e e m b l e m (fig. 87, 88), w h i c h w a s s t i l l
found up to the b e g i n n i n g of the 20th c e n t u r y .
As
regards m u s i c a l i n s t r u m e n t s , t h e r e w e r e
the
o r i g i n a l „Devil's f i d d l e s " (fig. 80).
Ornamentation
in Wood
w a s not f r e
q u e n t l y f o u n d h e r e . I n r e l i c s d a t i n g b a c k to the
18th—20th centuries, it i s o n l y found i n some k i n d s
of objects; c a r v e d o r n a m e n t a t i o n : y o k e s for d r a w i n g
f i s h i n g n e t s (fig. 65), m a n g l e s a n d w e a v i n g boards,
the l i d s of d o u b l e pots (fig. 66), stools, butter m o u l d s
(fig. 69), a n d distaffs.
T h i s a r t i c l e d e a l s w i t h 4 portfolios e n t i t l e d „Relics
of the N a t i v e A r t of W e s t e r n P o l a n d " issued s e v e r a l
y e a r s a f t e r the F i r s t W o r l d W a r a n d c o n t a i n i n g the
l i t h o g r a p h s of the Poznań p a i n t e r Professor W i k t o r
Gosieniecki. These lithographs are a valuable docu
m e n t a t i o n of a r t i s t i c r e l i c s . I t w a s p l a n n e d to issue
a fifth portfolio d e v o t e d to the K a s h u b i a n s . I t w a s
to b e b a s e d m a i n l y on the collections of M r G u l g o w ski i n a cottage-museum, w h i c h w a s later burnt
d o w n , a n d the s u p p l e m e n t a r y d o c u m e n t a t i o n that
Professor G o s i e n i e c k i e l a b o r a t e d after the F i r s t W o r l d
War from specimens found in areas previously i n
a c c e s s i b l e to P o l i s h r e s e a r c h e s . T h e fifth
portfolio
w a s to h a v e c o n t a i n e d 20 llthograps s h o w i n g K a
shubian architecture. W e are printing reproductions
of s o m e of t h e m .
I r o n O r n a m e n t a t i o n . I r o n w a s not w i d e l y
used; a b o v e a l l , f i s h h o o k s w e r e
m a d e of iron
(fig. 70) a n d also w r o u g h t a n c h o r s . S o m e t i m e s , b l a c k
s m i t h s tools w e r e decorated, (fig. 73). I r o n o r n a m e n
tation w a s used most i n b u i l d i n g : hinges, the i r o n
w o r k r o u n d l o c k s , etc. a n d a l s o o n i r o n w a y s i d e
crosses (fig.
72), roof c r o s s e s a n d
weather-cocks
(fig. 71), t h e oldest of w h i c h date b a c k to the t u r n
of t h e 17th a n d 18th c e n t u r i e s . A r t i s t i c s m i t h e r y
in
Pomerania
declined at
the beginning of the
20th c e n t u r y , o u s t e d b y i n d u s t r i a l p r o d u c t i o n .
Objects
and
Ornaments
from
Horn
and Amber
a r e r e p r e s e n t e d a b o v e a l l by snuff
boxes m a d e of h o r n , m o s t p o p u l a r a m o n g the K a
s h u b i a n s (fig. 75, 76). T h e y a r e s h a p e d l i k e s m a l l
horns, c a n i s t e r s , top-boots
a n d 'bottles. T h e y
are
often o r n a m e n t e d . A m b e r w a s u s e d to m a k e j e w e l
lery.
T o y s — m a d e of wood. T h e y a r e u s u a l l y h o r s e s
(fig. 77). M o v i n g toys a r e also m e t w i t h .
Art
in rites and
c u s t o m s . T h e custom
of c a r r y i n g the C h r i s t m a s c r i b h a s been k e p t h e r e
190
W o o d C a r v i n g . W o o d c a r v i n g w a s s t i l l Wides
p r e a d at t h e t u r n of the 19th a n d 20th c e n t u r i e s —
i n w a y s i d e s h r i n e s o n posts. A s , h o w e v e r , w o o d d i d
not s t a n d up v e r y w e l l to the d a m p c l i m a t e , they
w e r e r e p l a c e d by f i g u r e s m a d e of 'porcelain, i r o n or
plaster. T h e m o s t t y p i c a l K a s h u b i a n s h r i n e s a r e t a l l
crosses w i t h a s m a l l p o r c h - l i k e roof o v e r the figure
of the c r u c i f i e d C h r i s t . T h i s figure i s a l s o found
on t h e c r u c i f i x e s c a r r i e d i n processions a n d i s m a r k e d
for the elongation of t h e body. T h e r e is m o r e v a r i e t y
in the figures of s a i n t s (fig. 9 1 ^ 9 6 , 98) a p a r t f r o m v e r y
p r i m i t i v e c a r v i n g s , t h e r e a r e r e a l i s t i c c a r v i n g s often
after h i s t o r i c a l styles. T h e f o l k c a r v i n g traditions
a r e s t i l l k e p t u p today (fig. 95, 96), but religious
t h e m e s a r e g i v i n g w a y to s e c u l a r ones. B a s - r e l i e f s
are r a r e l y met w i t h .
P a i n t i n g . T h e most common here were p a i n
tings o n l i n e n a n d glass, p a i n t e d in the 18th a n d
19th c e n t u r y for the p e o p l e by the c r a f t s m e n i n the
s m a l l towns. A t the a n d of t h e 19th c e n t u r y they
began to g i v e w a y to p r i n t e d religious p i c t u r e s a n d
v e r y few of t h e m h a v e b e e n p r e s e r v e d till t h i s d a y
(fig. 102—107).
A s e p a r a t e group a r e p i c t u r e s made f r o m w o o d c a r v i n g s glued onto t h e b a c k g r o u n d (fig. 104 t y p i c a l
a m o n g the K a s h u b i a n s .
Feliks
Markowski
— RELICS OF THE KASHUBIAN
REGION IN T H E LITHOGRAPHS OF WIKTOR GO
SIENIECKI.
Feliks
Markowski
— THE FOLK ARCHITECTURE
OF N O R T H E R N POLAND IN T H E W O R K OF T H E
A R C H I T E C T U R E AND R U R A L PLANNING CHAIR
OF T H E GDAŃSK T E C H N I C A L U N I V E R S I T Y
T h e C h a i r w a s founded i n 1945. S t u d e n t s w h o p a r t i
c i p a t e i n i n v e s t m e n t w o r k a r e a l s o e n c o u r a g e d to
m a k e t h e i r c o n t r i b u t i o n to the r e s e a r c h w o r k c o n
d u c t e d by t h e C h a i r . T o d a y , the C h a i r h a s d o c u m e n
tation of the f o l k a r c h i t e c t u r e of v a r i o u s regions
of P o l a n d , but a b o v e a l l , f r o m t h e K a s h u b i a n region.
n O / l b C K O E
KBAPTAJIbHblH
H A P O f l H O E
JKyPHAJI
H3flABABMbIK
N° 3
MajiHi^KHÍí
HAPOßHOE M C K y C C T B O r ^ A H C K O r O n O M O P B H H A 3>OHE K O J I JIEKIIMÏÏ n O M O P C K O r O M y 3 E H
roflti
repMaHCKoro
KOJioHM3au,MOHHoro
HaTwcKa
5'CKopmiM
npouecc
3aiwMpaHMH HapoflHoro
MCKyccTBa
Ha
TeppMTopMM T f l a H C K o r o n o M o p t a . n p o q e c c stot
b
^aTwpyeTca
nojiOBMHe
X I X
Bena.
B
co3ßaBmeMCH
m H a ^ a T a n KaiunaHMH
H a T e p p M T o p M M SToro STHMHecKoro
oöcTaHOBKe KOJiJieKinro My3eeB
cöopa
flOKyMeHTOB
OKpyra
MMeiOT
cymecTBeHHoe
ApxMTeKTypa
3Ha«łeHne.
npeflCTaBjieHa:
n36aMn,
xo3HMCTBeH-
HMMM nOCTpOMKaMM, 3flaHMHMM pejiMrno3Horo
npesHa3HaneHMH. H a TeppnTopnn lOJKHbix KauíyS BecbMa
xapaKTepHW
60BbIM
TpëxKOMHaTHbie
MeTOflOM,
flByxcKaTHOií
M36bi,
BHGHIHMM
C
Kpbimeü
nocTpoeHHbie c p y -
HaBeCOM,
nOKpbITbie
(npewMymecTBeHHO
coJiOMeH-
(pMC. 2).
3tot o6pa3eu, M36bi BCTpenaeTca TOJKe b K o u e B e .
H a ceBepe, b n o a c e n o 6 e p e ? K b a m u , e H T p a j i b H O M n a c T M
TeppuTopMM K a m y 6 HaxoflMTca MHoro M36, nocTpoeHHblX Ha OCHOBe flepeBHHHOÍÍ CKejieTHOÍÍ KOHCTpyKU,MH,
KOTOpyK) 3anOJIHHJIM rJIMHOH MJIM HeBbIJKJKeHHblM KMpnHHOM. 3 t M M 3 S b I TOJKe nOKpbITbl flByXCKaTHOÍÍ K p b l mePí, a M H o r ^ a cojiomoü. X a p a K T e p H b i M y K p a i u e H n e M
M 3 6 b l «BJiaeTCa K 0 H € K , B b i p e 3 a H H b l f í M 3 flOCOK b p a 3 Hoo6pa3Hbix dpopMax ( p u c . 5).
X03HMCTBeHHbie
nOCTpOÜKM CTpOMJIMCb OTßejIbHO,
xoTH b n p e f l e j i e K p e c T b í m c K o r o flBopa. CpeflM n o c T HOÜ)
poeK
BbifleJiHHDTCH
HCKVCCTBA UOJlbCKOH AKAJ1EMHH HAYK
KynoJioo6pa3Hbie
xjieÖHwe
nenn,
flByxcKaTHOíi K p b i m e M m ycTaHOBjieHHbie
HH3KHX CTOJiÔMKax ( p w c 7), pacnojiojKeHHbie b6jim3m
1962
OcoSeHHOCTblO
c
noflHMMaeMoii
HBJIJIIOTCH C n a j I b H b i e CKaMbM-CyHflyKM,
KpbmiKOM m B b i f l B M r a e M o i ł
nepeflHeii
HacTbK).
PacnpocTpaHeHbi
BaTM
BbiflBHraeMOM
n o c e r o f l H a u i H M M ^eHb
B H y T p e H H e e
B
X I X BeKa
Hanajie
CTeKJie,
rycTo
nepeflHeń
y ö p a H C T B o
n o M e m e H M ü :
yKpamajiM M36bi
KapTMHKaMM
pa3BemaHHbiMM
ctch.
Bflojib
n e n a T H b i e KapTMHKM. K a p T M H b i y K p a m a j i M B e HOHKaMM M3 JieHeÖHblX TpaB. ft>nrypKM CBHTblX ÖbIJIM
yKpameHbi
ßyMaroM
m po3eTKaMw. E m e b Hanajie
XX
B e K a pa3BeuiMBajiM b W36ax n a y K M
n 3 cojiomm.
fljia
H3roTOBjieHMH
nayKOB y n o T p e Ô J i H J i n c b a f ł ą a , m3
KOTOpblX BblflyBajIM C O f l e p j K M M O e ( T . H a 3 . „BblflMyUIKM").
3aTeM
yKpamajiM
T o H H a p H o e
flepeBaHHUMH
ÄeJio
Ha
nimKaMH.
TeppMTopMM
ho
flejiMH,
Bcë-TaKM
coxpaHMJiMCb
TpaflMi(HK)
MaücHepoB,
flefłcTByioinne
JKHBmMii
Ty3ax
poii
HaxoflMTCH
KamyScKOM
KepaMMKe
CBoiicTBeHHbi
(pmc 28), mjim y K p a u i e H H w e
hto
oBopyflOBaHMe
M 3 6 Ha
noMopbe
b npouijioM (npwMepHO 200 jieT c jm
i mh
i mm TOMy
nOKpbITbie
noBMCJia
( p M C 31). O i e H b
m b
KoueHe
C X O J K M
BCTpenajiMCb
KapbejibHoe
flejio
—
TpaßMinroHHoe
SepejKbM
e m eco
cpeflHeBeKOBbH.
opHaineHT.
UaeT.
BeflHHKM
<ï>opMbi
Bcero,
pacKpauiMBajiM
cyHflyKOB
pacTMTejibHbiii
cyHflyKM
pa3Hoo6pa3Hbi
b ojhh
b pa3Hbix
paííoHax ñoMopba ( p u c . 10 — 15).
Oco6eHHOCTbK> K a u i y 6 o B HBJiajiMCb KpameHbie 5 y o b e T b i , K O T o p b i e mohcho h3mtm m y . z i p y r a x STHHnecKMx
rpynn
Ha T e p p M T o p M M n o M o p b a .
B
mx
«eKopaTMB-
HOM BblnOJIHeHMM 3aMeTHbI HepTbl CTMJIbHOM MCTOpMHecKoii Me6ejiM ( p w c . 16, 17). 3tm nepThi 3 a M e T H b i
y
iiiKacpoB,
'laeMbix
npe«Ha3HaHeHHbix
b nacToamee
CoxpaHMJiMCb
eme
BpeMH
CTyjibHaKM
fljia
oneub
oflejKflbi,
pe^Ko
(3bifljie)
(pmc.
BCTpe-
(pmc. 19).
18 —
20),
o«hmm l^bctom. y n o T p e ö J i a e M b i e K p a c mjim r o j i y ö a a . C o x p a H w i H C b
eine CKaMbM c y 3 o p H O Bbipe3aHHoii cühhkom (pmc. 22).
pacKpaiueHHbie
km: p » a B O - K o p M H H e B a a
C
Ta3oo5pa3Hbie
p e -
uieTa (pmc. 33). H a TeppMTopMM T^aHCKoro n o M o p b a
6bijiM p a c n p o c T p a H e H b i äbomhmkm (pmc. 29, 32, 36, 37).
C T a p w e o 6 p a 3 U b i 2-om nojioBMHbi X I X b. yKpameHbi
reOMeTpMHeCKMM OpHaMeHTOM, HOBbie mmöot pacTMTejIbHblM OpHaMeHT.
KyBUIMHbl
M flBOMHMKM MHOTfla ÖbIJIM nOKpbITbl
r j i a 3 y p b K > BHyTpM m CHapyjKM (pmc. 36). B KOHrie
XIX
B. BCTpenajIMCb CpeflM KepaMMHeCKMX M3fleJIMM
rjiMHHHbie K p o n M j i b H M U b i (pMC. 42, 43). C a M b i e CTapwe
M3 HMX OTJIMHajIMCb npOCTOM CppOMOÜ M OflHOtfBeTHOM
pacKpacKOM ( r j i a 3 y p H o í i ) , n o 3 f l H e i i r i i M e c dpnrypHbiM
öapejibedpoM, MMejiM MHorouBeTHyio
pacKpacKy. He
coxpaHMJiMCb CTapwe (pMrypHwe MrpyuiKM w3 rJiMHbi.
C o B p e M e H H O MrpyuiKM flejiaiOTCH b X M e J i b H e (pmc. 44).
BecbMa
npejK^e
TMnMHecKMe
TeMHO-KopMHHeBOM
pacTMTejibHbiiw
H M M M
KyBIIIMHbl, npOM3BOflMMbie B H w j K H e M
noBMcjie (pMC. 32),
ho c flpyrMM npMMeHeHMeM opHaiweHTa (pmc. 33, 34).
PaüoHy
TypaKOB
m X y j i a B CBOMCTBeHHbi SoJibrnne
Ta3bl
C BepTMKajIbHbIMM SeperOBbIMM
BOpOTHMKaMM,
noKpwTbie KopMHHeBOM SMajiMeii. K a u i y B b i m CjioBMHUbi ynoTpeôJiHjiM T a 3 b i noMeHbiiie, noKpbiTbie 6 e jioM r j i a 3 y p b i o (pmc 30). H a TeppMTopMM HMHCHero
OpHaMeHTOM
Ha3a/í) OHeHb npMMMTMBHbIM. Pa3BMTMe
flaTMpyeTCH,
HaHMHaa c K o m i a X V I I I BeKa m npoflOJiscaeTca b X I X
BeKe nofl BJiMflHMeM äbophhckom m ropoflCKoń iue6ejiM. 3to BJiMHHwe iiauíJio OTpaateHMe b .ąeKopaTWBHbix
fleiajiflx
yTBapM. C o BTopoü nojioBMHbi X I X BeKa
y n o T p e Ô J i a ï O T C H KpameHbie c y H f l y K M
flJia npMflaHHoro,
KOTOpbie BnOCJieflCTBMM ÔbIJIM BblTeCHeHbl TOpOflCKOM
MeôejibK). Rjin KapTMHOK, HaxoflflinHxca Ha c y H ^ y K a x ,
xapaKTepeH,
b Kap-
m b p a é o T e 6a3npyeT H a C T a p w x y 3 o p a x . C T a -
rjia3ypbK)
ôbijio
iieH-
Tpbi roHHapHoro
flejia:
oflHH b X M e J i b H e (noBHT K a p Ty3bi) b MacTepcKOM ceMbM H e i ; e j i b (pmc. 41), B b i p a ö a T b i B a r o m M ü KpameHyio KepaMMKy. Btopoü, n p o f l o n -
Ha
CBMfleTejibCTByro,
noMopba
MMeeT orpoMHyio TpaflML(Mio. M H o r w e i^eHTpbi p a 6 o TajiM e m e b KOHi;e X I X B e K a . B H a n a j i e X X BeKa
npOMbILUJieHHOCTb HaMajia BblTeCHHTb 3fleUIHMe H 3 -
KyBUIMHbl,
3 a J K M T O H H b I Í Í paíIOH H M J K H e r O n O B M C J I H M OKpecTHocTeü MMeJí C T p o M T e j i b C T B o 6oJiee nbiuiHoe. H a TeppMTopMM T y p a K y B (iiobht HlTyM) y a c e b H a n a j i e B e K a
CTpOMJIMCb M H O r O K O M H a T H b i e M36bl C TJiyBoKMM B H e U I HMM HaBecoM, ynnpaBiuMMCH H a iihtm cTOJiSax. H a
TeppMTOpHM X y j i a B M H a f l B M C J I H H C K O M H M 3 M G H H 0 C T M
HaxoflHTca a e p e B H H H b i e c p y ß H b i e H 3 6 b i c BbiflBWHyTbiM Bnepëfl KpbijieHHbiM HaBecoM ( p u c . 6). CTOJi6bi
m flBepM dbijim Tosce y K p a m e H b i (pmc. 8). B noBHTe
HlTyM, K B M f l 3 b I H b ,
MajIbOOpr
HaXOflHTCfl TOJKe
npOCTbie CpyÔHbie M36bt C flByXCKaTHbIMM KpbllliaMW,
n O K p b I T b i e COJIOMOM.
floMauíHua
yTBapb:
C o x p a H M B U i M e c H caMO«ejIbHbie CTyjIbHaKM (3bIflejIbKM) J'I npOCTbie CKaMbM,
Ha
no3flHee
BBejiH
ÖOJIbLUWe
mjim b c a ^ y .
Kpo-
^acTbio (pmc. 24).
HepTbi m
x 3 a f l H n x c j i M H O K HanoMMHaiOT M e ß e j i b X V I I I
BeKa (CTMJlb B a p O K K o ) . H a X O f l H M p e ^ K O C T H b i e 3K3eMn j i a p b i KOJibi6ejieü ( p M C . 21) m coxpaHMBUiweca
npejKHMe CTOJibi (pmc. 25) m iiojiohkm fljia JiojKeK (pmc. 23).
c
noKpbiTbie
ABopoB
BO
rOß H3^AHHfl X V I
P E 3 K) M E
—
JIohthh
HHCTHTyTOM
M C K Y C C T
B
KOHije
X I X
—
b.
pacnpocTpaHMjiocb
cpe^M
peMecjio
roHnapoB
Ha
n o -
n j i e T e H M e (njieiiëHKapcTBo) Ha noMopbe oneHb
pacnpocTpaHeHo. ynoTpe6jiaeMbiM
MaTepMaji: kophm.
MOJKHteBejibHMK,
flëpTbie flyÖKM m paKMTa. K p o M e
Kop3MH (pmc. 48, 49), TyT njiejiM pw5ojioBHbie BepuiM
m 3epHOBbie MepKM, njieTëHHbie cnMpajibHoíí TexHMKOM
(pmc. 47.51). Ä p y r M e M3«ejiMH M 3 r o T O B J i a j i M C b KpecTO-
BOM TeXHMKOM (pMC. 53), MJM
I 3anjieTajIM JIbIKO COCHOBbiM KopHeM, a M H o r f l a y n o T p e 6 j i a j i M c o j i o i w y , K O T o p y w
cnjieTajiM
c
kophhmh mjm
i paKMTOM. T e n e p b
njieTeBoe
3aHMMaeT nonëTHoe MecTO b
xy^oÄecTBeHHOM
H a p o ^ H O M TBopnecTBe, H a x o ^ a
pwHOK c S b i T a b r o poflax.
T K a ą K o e
npoM3BOflCTBO,
Kor^a-To
oieHb
pa3BMTOe Ha TeppMTopMM nOMOpbH, nOHTM MCHe3JIO
flejio
191
b K o H u e X I X BeKa. Oco6eHHocTtio npoM3BO^CTi3a
b 3TOM paíioHe HBJiaeTCH uiepcTHHOM xojict, p a c K p a b CHHHÜ i n s e T ,
iiieHHbiíi
npeflHa3HaHajica
H a MyjKCKyio
—
ofleíKfly, a K o p M H H e B b i í í , 3ejiéHbiií m KpacHbiü
Ha
HceHCKMe nnaTbH. B TKauKOM npoH3B0flCTBe Hn?KHero
IIOBMCJIH
3aMeTHO
BapMHHCK0-Ma3ypCK0e
BJIMHHMe
noflTBepflMJiw,
hto jkmbmjim n y T e u i e c T B y i o i n i i e B a p M M H C K O - M a 3 y p -
(Pmc. 54, 55). M c c j i e f l O B a H H H
iiine
3flecb
CKHe
TKaHH
I^flKH).
M3rOTOBJIHJIM nOJIOTHO H JIOCKyTKM
COXpaHMJIOCb
HeCKOJIbKO
(uiMa-
TKai^Koro
ueHTpOB
npon3BOflCTBa Ha TeppMTopMH K a m y 6 m b B o p a x , r ^ e
M3rOTOBJIHK)T nOJIOBMKM (pHC. 56, 58).
B npomjioM cymecTBOBajiM TaKHte M a c T e p c K M e , n e HaTaBuiMe nojioTHo (phc 59).
H a p n f l , B b i u i M B K a , k p y hc e b a : Okojio X I X b.
HapoflHbiw
Hapnfl
pnflax
nepecTají
uawn
CMaTMBaeMoii
MecTHbix
pacnpocTpaHHTbca
TeppHTopwM. HauíM
STHHHecKMX
rpynn,
Ha p a c -
cBefleHMH
o H a -
3 a MCKjiiOHeHMeM
K a m y S o B , oneHb CKynbi. Ochobhoí nacTbio MyjKCKOíi
ofle>Kflbi nojioBMHbi X I X b. H B J i H J i a c b
r o J i y 6 a a mjim
cmhhh cepinara. JKeHmHHbi
KpoMe n j i a T b a
hoCMJIM OflHOLÍBeTHbie JIMCpHMKH MJIM KOCpTbI. B b l I X I M B K a
HapHfla
npMMeHHJiacb
n p M yKpaiueHMM
30Jiotom
npa3flHMHHbix
HíeHCKMX
H e n u , O B (pmc. 60—62), M 3 r o TOBJieHHbix M3 S a p x a T a . Hocmjim TaKJKe mejiKOBbie
n e n u b i , yKpameHHbie MHorou,BeTHOw BbiuiMBKOM (pmc.
—
61).
BbiuiMBKa
30JioTbiM
—
i^BeTOM n e n i j o B
npeKpaTMjiacb
b 1-OM nojioBMHe X I X b., a B C K o p e n p e n p a T M j i M y n o Tpe6jIHTb UiejIKOByiO BblHIMBKy. CpeflM OpHaMeHTajIbHblX MOTMBOB 3T0r0 paÜOHa BblflejIHeTCH MOTMB n j i o flOB r p a H a T a . B Hanajie X X b., Sjiaroflapa nponaraH^e,
npOBOflMMOM K a i I i y S C K O M M H T e j I J I M r e H U , M e M , S b I J I M C 0 3 flaHbi
MHorMe
u,eHTpbi
MymecTBeHHo,
BbimMBKa
fljia
BbiuiMBKM,
ropoflCKnx
ynoTpe6jiajiacb
bopothmkob m M a H H c e T O B
paSoTaBiiiMe,
npeM-
noTpeSMTejieft.
Bejiaa
MHorfla
npn
M3roTOBJieHMM
sieHCKMx
pySameK.
B H a n a j i e X X b. yKpamajiM STOÜ
BbiuiMBKOM HMXHHe
6 e p e r a k>6ok. B c T p e i a e M T a K s c e Hapaflbi,
y K p a m e H Hbie
BH3aHHbIM
KpyjK6BOM, K O T O p b i e
ynOTpeÓJIHJIM
MHor^a
fljia
yKpameHMH
noKpbmají
Ha KpoBaTM
(Pmc. 64).
I T p M K j i a f l H o e
MCKyccTBO n o
flepeay
npMMeHHJIOCb OHeHb pe^KO. B COXpaHMBIHMXCH naMHTHMKaX C X V I I I •— X X BB. HaXOflMM e r o CJieflbl TOJIbko
H a HeKOTopbix
koíí: a p M a
cpopMbí
npeflineTbix.
yKpamajiM
rpaBnpoB-
fljia
CTarMBaHMa
Macjia
(pmc
I I p M K J i a f l H o e
69),
npacjinubi.
M C K y c c T B O
(pmc.
npM6opw
73).
yKpamajiM,
npesc^e
Bcero,
jKene3Hwe M3flejiMH, ynoTpe6jiaeMbie b cTpoMTejibHOM
npoM3BOflCTBe:
flBepHbie
neTjiM, apiwaTypy 3aMK0B,
m KpbiuieBbie
npMflopoJKHbie
72),
cpjiajKKM,
HanpaBjieHMH
CpJiaJKKM
M3rOTOBJieHbI
SiecTBeHHoe
scejie3Hbie
ycTaHaBJiMBaeMbie
flejieHMH
BeTpa
fljia
onpe-
( p w c . 71). C a M b i e
cTapbie
— XVIII
peMecjio
Ha
M 3 j e j i n a
3to
M 3
npocTpaHeHHbie
cpep,n
SaKepKM
cpopMy
MMeiOT
JieHHineM,
HHTapH
6yTbiJiKM.
TOTOBHT
JiouiafléHKM
KamySoB
h h t a p h.
77).
M3
üpejKfle
( p M C 75, 76).
b
MHorfla
c
yKpauueHbi.
M3
M3flejIMH.
—
MacKM
M3roTOBJieHbi
oieHb
MacKapaflM3
flepeBa,
(Pmc. 81, 83, 84, 86, 89), HeKOTopbie o6pa3u,bi ofleJKflbi
M3 cojiOMbi. CpeflM xyflojKecTBeHHbix p e K BM3MTOB STOrO 06bIHaH O C o S e H H O C T b K ) S b I J I BOJIOCTHOM
3HaK (pmc 87 m 88), BCTpenaeMbiM e m e b Hanajie
XX
BeKa. C p e f l M My3biKajibHbix MHCTpyMeHTOB BCTpeHajIMCb OpMrMHajIbHbie „HépTOBbI CKpMnKM" (PMC. 80).
P e 3 b 6 a
n o
flepeBy.
Pe3b6a
ynoTpe6jiHJiacb
e m e b X I X — X X bb., b npMflopojKHbix nacoBHHX, Ha
CTOJiSax.
OflHaKO, flepeBO o n e H b HeycToííHHBOe bo
BJiajKHOM KJIMMaTe, 3aMeHMJIM cpapcpopoBbiMM, 2 K e jie3HbiMM m rMncoBbiMM
cpMrypKaMM. H a K a u i y 6 a x
cnjieTeHbi
BbiflejiaiOTca
npMflopoxíHbie
BbicoKMe
KpecTbi
c
npo-
b stmx
MecTax
CpMJIMpOBaHHblM ctojiBom M KpbiuieM, KOTopaa n p M KpbiBaeT cpMrypKy P a c n a T M H . O n r y p y 3Ty BCTpenaeM
Ha
K p e c T a x , hocmmbix bo B p e M H K p o c T H o r o
Xofla.
TyjioBMine
cpMrypKM yfljiMHeHo. Bojiee pa3Hoo6pa3Hbi
cpMrypKM CBHTbix (pmc. 91—96, 98). H a p a f l y c npMMMtmbhoí CKyjibnTypoií BCTpenaeM peajiMCTMHecKMe p a CoTbi,
MMeromwe HepTw MCTopMHecKMx CTMjieíi. T p a flMUMOHHaa C K y j i t n T y p a e m e MaroTOBJiaeTCH (pMC. 95,
96,
98), ho pejiMrM03Haa Tenia 3aMeHeHa cbctckom
TeMOH. P e f l K o BCTpenaeM Sapejibepp.
X H B o n w c b .
PacnpocrpaHeHbi
SbijiM KapTMHbi H a nojioTHe m H a cTeKJie, M 3 r o T O B j i e H Hbie b X V I I I m X I X bb. fljia H a p o f l a ,
ropoflCKMMM
peMecjieHHMKaMM. B KOHi;e X I X b. BbiTecHeHbi n e HaTHblMM
KapTHHaMM,
ynoTpe6jiaeMbiMM B
O BpeMH
MHflyjIbreHIÍMM.
,ÍT,0 CMX n o p
KapTMH
BbiflejiKM
pyHHoíi
COXpaHMJIOCb
( p n c . 102 —
OHeHb
107). B
—
MajIO
oTflejib-
Hyio r p y n n y mojkho BbiflejiMTb K a p T M H b i
noflKJieeHHbie rpaBiopbi Ha «epeBe (pmc 104). 3 T a r p y n n a oneHb
TMnMHHa fljia K a i u y S o B .
BcTpenaioTca
o S p n ^ a x
íejiMKC MapKOBCKMÍi — nAMHTHMKM C T A PMHbl
K A H i y B C K O H 3EMJIM B
JIMTOrPA4>MHECKMX PABOTAX BMKTOPA rOCEHEH,KOrO
B c T a T b e o G c y j K f l a i o T c a 4 ajibóoivia n o f l o6iumm H a 3 BeHMeMb „naMHTHMKM OTHeCTBeHHOrO M C K y C C T B a 3 a naflHoíí
IIojibiiiM",
M3flaHHbie HecKOJibKo
JieT nocjie
OKOHHaHMH 1 - O M MMpOBOÍÍ BOMHbl, B KOTOpblX HaXO^MJiMCb jiMTorpacpMH n o 3 H a H C K o r e xyfloatHMKa, n p o cpeccopa
CH
BMKTopa
ToceHeuRoro.
3tm p a 6 o T b i hbjihiot-
I^eHHOM flOKyMeHTalíMeM n a M H T H H K O B
noAroTOBjiaeMbifí
5-bifi
XyfloJKHMK
ajibSoM
o6ocHOBaji
CTapMHbl.
Smji n o c B a m e H
cbom pa6oTbi H a
KOJIJieKUHHX, COÓpaHHblX M 3 ^ 0 p O M TyJIbKOBCKMM B M36e-My3ee, KOTopbiü noTOM c r o p e j i . ñocjie 1-oií MMpoboí BOMHbi x y ^ o J K H M K n o n o J i H M J i M M e í o i n y i o c H y H e r o
AOKyMeHTauMio o6"beKTaMM, co6paHHWMM Ha T e p p n topmm, paHbine HeflocTynHOií noJibCKOMy M C C J i e f l o BaTejno.
AjIb60M (5-bIÍÍ) M M e j I COCTOHTb M3 20-TM JIMTOrpacpMü
flOKyiueHTOB
KauíyScKoro
cTpoMTejibCTBa.
—
HecKOJibKO
paSoT
Mbi ny6jiMKyeM.
* e j i M K C MapKOBCKHÜ — HAPOAHAH
APXMTEKTYPA
CEBEPHOIÍ
nOJIblIIM B
PABOTAX
K A O E ^ P B I APXMTEKTYPBI M njIAHMPOBAHMH
«EPEBHM
TjlAHCKOrO
nOJIMTEXHMHECKOrO
MHCTMTYTA
TapH3aL(MM.
B
npeMMymecTBeHHo
flBMJKyiUMecH
m o S b i H a a x .
Co-
x p a H M J i c a oObinaü uiecTBMH c BepTenoM (pmc. 79).
<I>MrypKM, BbicTynaBuiMe b stom BepTene, noHTM B c e r fla no^BMJKHbie c pe3HWMM r o j i o B K a M M , ofleTbie b p a 3 Hoi^BeTHbie jiocKyTOHKM. P e s c e
BCTpenaeM
odbinaü
192
noxoflaMM.
c
Kacpoflpa 6bijia co3flana b 1945 ro,ay. B mccjigaoT a - BaTejibCKofi p a S o T e npMHMMaioT
ynacTMe
CTyfleHTbi,
r o KOTOpbie aKTMBHO c o T p y ^ H M H a i o T b p a S o T e n o M H B e H -
MrpyuíKM.
M c K y c c T B O
HbiMM
yKpauíaioT
CBH3aHHbIX
pora, p a c -
pojkkob, 6anoK, c a n o r a
BbiBaiOT
^epeBHHHwe
(pmc.
3aMM-
npoMbimjieHHbiM
M3roTOBJieHHbie
K)BejIMpHbie
M r p y u í K M :
m
p o r o B
TaSaKepKM,
BB. X y , z ; o -
IToMopbe
p a e T b Hanajie X X b., BbiTecHaeMoe
np0M3B0flCTB0M.
Bcero,
KpecTbi (pnc.
H a Kpbinie
b XVII
Ky3HenH0e
KOTopyío
kojkm, poroB, KaproHa, naKjiM, kohckoto BOJioca m T.n.
Kauiy6aM.
ik e ji e 3 y .
n o
JKejie30 y n o T p e S j i a j i o c b
b oneHb y3KOM MacuiTa6e.
M3 Hero M3roTOBJiajiM, npewMymecTBeHHO,
ocTpora
(pMC. 70), K O B a H H b i e «Ropa, M H o r ^ a yKpamajiM K y 3 H e n Hbie
c o 3Be3floíí,
CKpOMHO. 3 a T 0 MHOTO MaCOK,
fljiH
pbi6ojioBbix c e T e ü (pmc.
65), p y S e j i a fljia KaTaHMH S e j i b a , T K a i n a i e flouieHKM,
KpblUIKM flBOÜHMKOB (pMC 66), CnMHKM C T y j I b H a K O B ,
fljia
KoJiaflOBaHMa
Kacpeflpe
TeKTypbl
MMeeTca
M3 p a 3 H b I X
b oojibixiMHCTBe
M3
^oKyMeHTauMH
CTOPOH
TeppMTopMH
HapoflHOíí
nojIbUIM
KauíySoB.
—
apxwO^HaKO
KpoMe y n o M H H y T b i x CTaTefi, b H O M e p e H a x o f l f l T C H :
,,MaTepMaji
^jih 6 M 6 j i M o r p a c p M H e c K H X CBefleHHÍí n o
HapoflHOMy
MCKyccTBy
C^oBMHiíeB" T a f l s y u í a
BojiflyaHa,
peqeH3MM H a M 3 f l a H w a m x p o H H K a B a H C H e i í u i M X
COSbITMM.
CZASOPISMA
INSTYTUTU
wydawane
P.P.
WYDAWNICTWA
SZTUKI
PAN
przez
ARTYSTYCZNE
I
FILMOWE
B I U L E T Y N H I S T O R I I S Z T U K I , k w a r t a l n i k , ponad 100 str. dużego
f o r m a t u , około 100 i l u s t r a c j i . C e n a 24 zł, p r e n u m e r a t a półroczna 48 zł,
r o c z n a — 96 zł.
POLSKA SZTUKA
L U D O W A , k w a r t a l n i k , 64 s t r . dużego f o r m a t u ,
bogaty materiał i l u s t r a c y j n y . C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł,
r o c z n a — 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 , p o n a d 170 str. d r u k u , około
100 i l u s t r a c j i . C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł, r o c z n a — 72 zł.
K W A R T A L N I K F I L M O W Y , około 100 s t r . d r u k u , kilkanaście i l u s t r a c j i .
C e n a 10 zł, p r e n u m e r a t a półroczna 20 zł, r o c z n a — 40 zł.
M U Z Y K A , k w a r t a l n i k , około 130 str. d r u k u , l i c z n e przykłady
C e n a 18 zł, p r e n u m e r a t a półroczna 36 zł, r o c z n a — 72 zł.
nutowe.
PRENUMERATA
Zamówienia i przedpłaty n a prenumeratę p r z y j m o w a n e są w t e r m i n i e
do d n i a 15-go miesiąca poprzedzającego o k r e s p r e n u m e r a t y — p r z e z :
Urzędy Pocztowe,
listonoszy o r a z Oddziały i D e l e g a t u r y
„Ruchu".
Można również zamówić prenumeratę dokonując wpłaty n a konto
P K O n r 1-6-100020 —
C e n t r a l a Kolportażu P r a s y i
Wydawnictw
„Ruch" — W a r s z a w a , u l . S r e b r n a 12.
C e n a p r e n u m e r a t y z a granicę j e s t o 40"/o droższa od c e n y podanej w y
żej. Przedpłaty n a tę prenumeratę p r z y j m u j e n a o k r e s y półroczne
i r o c z n e Przedsiębiorstwo E k s p o r t u i I m p o r t u „Ruch" w
Warszawie,
W i l c z a 46, konto 2-6-71 w N a r o d o w y m B a n k u P o l s k i m w W a r s z a w i e ,
u l . W a r e c k a 10.
SPRZEDAŻ
E g z e m p l a r z e z d e z a k t u a l i z o w a n e można nabyć w s k l e p i e „Ruchu" p r z y
u l . W i e j s k i e j 14 w W a r s z a w i e . Zamówienia spoza W a r s z a w y należy
kierować d o C e n t r a l i Kolportażu P r a s y i W y d a w n i c t w „Ruch", W a r
s z a w a , u l . S r e b r n a 12.
Aktualne numery czasopism Instytutu Sztuki P A N
w większych księgarniach m i a s t wojewódzkich:
Białystok — L i p o w a 43
B i e l s k o — Dzierżyńskiego 33
B y d g o s z c z — 1 M a j a 17, D w o r
c o w a 14
B y t o m — Kościuszki 4
Chorzów — Wolności 13
Częstochowa — A l . N M P 8
Gdań&k-Wrzeszcz — G r u n w a l d z
ka 8
G d y n i a — Świętojańska 47
G l i w i c e — Zwycięstwa 31
Grudziądz — R y n e k 13
Inowrocław — Królowej J a d w i
gi 31
K a l i s z — Śródmiejska 14
Katowice — Warszawska
11
K o s z a l i n — Młyńska, b l o k 12
K i e l c e — S i e n k i e w i c z a 30, S i e n
k i e w i c z a 60
Kraków — Podwale 6
Lublin
—
Krakowskie
Przed
mieście 68
są
do
nabycia
Łódź — P i o t r k o w s k a 102a
Poznań — M a r c i n k o w s k i e g o
A r m i i C z e r w o n e j 37
21,
Przemyśl — Franciszkańska 19
R a d o m — Żeromskiego 27
Rzeszów — Kościuszki 3
S a n d o m i e r z — płk. S k o p e n k i 4
Słupsk — P I . Zwycięstwa 11
Sopot — Bohaterów M o n t e C a s s i
no 26
Sosnowiec — Czerwone
Zagłę
bie 23
Toruń — R y n e k S t a r o m i e j s k i 30
Warszawa — Krakowskie Przed
mieście 7, K r e d y t o w a 9, Pięk
n a 31/37, B r a c k a 20, N o w y
Świat
35,
Rynek
Starego
M i a s t a 22/24
Włocławek — 3 M a j a 25
W r o c ł a w — Kuźnicza 42
Z a b r z e —• Wolności 276
Stołeczne Zakłady
G r a f i c z n e . D. W. W - w a , Podchorążych 39. Z a m . 472 P a p .
i l U B t r . k l . I I I , 120 g B I ł k a r t o n biały k l . I I I , 220 g. B I . N a k ł a d 1.550 egz. H-76