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P
O
L
I
S
QUARTERLY
N. 3
H
F
PUBLISHED
BY
YEAR
THE
STATE
BOOK
SUMMARY
M a r i a Przeździecka — T H E O R I G I N OF C A S U B I A N
EMBROIDERY
The problem of modern Casubian embroidery and
its a f f i n i t y w i t h local popular traditions has been
many times discussed i n Polish f o l k a r t l i t e r a t u r e .
Yet, the p r o b l e m has never been treated i n a l l its
complexity and a l l the accounts available on this
subject are of a fragmentary character.
I n r e v e r t i n g once more to this subject, Miss Przeź­
dziecka discuses the genesis of Casublan embroidery
agaimt t h e background o f general a r t i s t i c trends at
w o r k and the various local schools characteristic
of certain periods of time Which influenced the
development of Casublan! embroidery.
The lack of p r i m a r y sources makes i t impossible
to ascertain whether popular Casublan embroidery
existed i n the past and the p u r e l y decorative cha­
racter and the rich variety of colours of modern
Casublan embroidery are out o f l i n e w i t h Polish
popular traditions. Present day Casuibian needle­
women use as many as seven different colours,
w h i l e facilities f o r colouring were l i m i t e d i n the
past. The assumption seems j u s t i f i e d that Casublan
embroidery developed under the influence of u r b a n
and guild a r t and the authoress puts special stress
on the influence of convent embroidery w h i c h
through the Church penetrated easily i n t o the peasant
milieu.
The convents i n Zukov and Żarnowiec were i n
the 17th a n d 18th centuries i m p o r t a n t embroidery
centres i n t h e Casublan area and the r i c h 'collections
of embroidery w h i c h have been preserved show an
a f f i n i t y w i t h Renaissance patterns w h i c h , beginning
w i t h the 16th century w e r e p r i n t e d i n I t a l y and
Germany. The preserved embroidery shows no l i n k
w i t h folk art traditions of t h a t time.
Modern Casubian embroidery has m u c h i n common
w i t h the 17th century Z u k o w and Żarnowiec con­
vents embroidery and w i t h ornaments o f later
periods w h i c h consisted m a i n l y o f f l o r a l designs,
tulips, pomegranates and roses. A n analogy w i t h the
convent embroidery can also be traced i n the themes
of the compositions.
I t w o u l d be d i f f i c u l t to state w h e n was i t that
folk embroidery b a d reached f o r patterns of the e l i t a r i a n art. The preserved specimens of women's
bonnets f r o m the 18«* century (cloth of gold) were
most probably embroidered i n the convents. The most
recent i n f o r m a t i o n on Casubian popular embroidery
originates f r o m t h e beginning of the 20th century,
but i t w o u l d be reasonable to date i t back to earlier
times, w h e n r u r a l w o m e n a n d g i r l s embroidered
robes to dress figures of saints. Charactaeristic of
the Zarnow district, the robes were most probably
closely l i n k e d w i t h the Zarnow convent. U n f o r t u ­
nately, not one of these robes has been preserved.
Research into Casubian f o l k art does not exclude
that Casuibian motifs, characteristic n o t only of em­
broidery, but of other speoimes o f Casubian f o l k a r t ,
190
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1958
ARTICLES
take their o r i g i n f r o m ornaments dating back to
the 17ch century.
Casubian embroidery of o u r times was i n i t i a t e d
at the beginning o f t h e 20th century b y Izydor G u l gowski, a teacher i n the village o f Wdzydze and his
w i f e Teodora, w h o had artistic inclinations and being
a sister of the convent's vieary, came t o study the
convent embroidery. M r s Gulgowska n e x t studied
p a i n t i n g i n B e r l i n where, a l i k e i n Poland, folk a r t
witnessed a stage of r e v i v a l at t h e end of the 1 9
and the beginning of t h e 20th centuries.
The embroidery centre i n the village of Wdzydze
set up b y M r s Gulgowska d i d n o t d r a w u p o n popular
traditions.
M r s Gulgowska herself composed the
designs and decided o n t h e colours. Yet, she drew
i n s p i r a t i o n f r o m Casubian p o p u l a r a r t , as for e x a m ­
ple, f r o m pottery, f u r n i t u r e and sometimes also f r o m
o l d Casubian bonnets. Thus, the embroidery i n i t i a t e d
by M r s Golgowska takes up i n an i n d i r e c t w a y local
Casubian t r a d i t i o n s b y using creatively patterns
f r o m other fields of f o l k art. A n d yet, f r o m the very
moment of i t s b i r t h the Wdzydze embroidery has
never been of a p u r e l y f o l k character and despite
the fact t h a t b y n o w i t has been i n existence for
50 years i t d i d not take root among the Casubian
people and remains a regional p e c u l i a r i t y produced
for sale i n the towns. I t represents Casubian a r t
outside the Casubian area, a factor w h i c h should not
be underestimated w h e n t h i n k i n g about the future
of Casuibian embroidery.
th
Władysław Muller
ARCHITECTURE?
—
DECLINE
OF
POPULAR
The r a d i c a l changes w h i c h had been going on i n
the Polish countryside since after the f i r s t w o r l d
w a r and the impact b r o u g h t about b y the last, war
dealt a severe b l o w to t r a d i t i o n a l r u r a l architecture.
The advancing indiustriailization h a d 'also reached the
countryside w h e r e wooden huts, m i l l s , tuileries and
smithies are being ousted by modern i n d u s t r i a l b u i l ­
dings a n d concrete and bricks are definitely repla­
cing wood, u n t i l recently the f a m i l i a r b u i l d i n g ma­
t e r i a l i n the Polish countryside. Higher standards
of l i v i n g induce the peasants to abandon the old,
t r a d i t i o n a l b u i l d i n g patterns and to b u i l d along mo­
dern lines.
I t w o u l d be useless to t r y and check this inevitable
process of modernisation, b u t something should be
done to save the fine t r a d i t i o n a l r u r a l architecture
f r o m complete decay. Under the present c i r c u m ­
stances m a n y among the finest specimens of r u r a l
architecture are i n a state of d i l a p i d a t i o n , some are
reconstructed along modern lines, w h i l e m a n y more
are p u l l e d d o w n altogether.
The voivodsbip (regional) Conservator, is the official
i n charge w i t h the d u t y to protect the buildings
w o r t h y of being preserved. I t w o u l d , be, however,
t o much t o expect o f t h e Conservator to take care
of each i n d i v i d u a l b u i l d i n g i n the area under his
supervision; overburdened w i t h his daily r o u t i n e
work, the Conservator is content i f he manages to
keep an accurate i n v e n t o r y of a l l the buildings
which badly need repair.
Next come the financial worries: the conservatory
cannot afford to meet a l l the expenses connected
with the upkeep of buildings w h i c h on account of
their historic value should be preserved, w h i l e the
owners show no interest i n investing money i n o l d fashioned dilapidataed b u i l d i n g s ; they prefer to b u i l d
houses w i t h modern amenities.
The author suggests as the o n l y possible solution
for saving r u r a l architecture f r o m complete o b l i v i o n ,
the setting u p of a Skanson centre, composed of
buildings i n various regional styles. The accumu­
lation of the finest specimens i n one area has, i n
the author's opinion, m a n y advantages: i t makes
easier the study of the various styles to experts
and offers an interesting sight-seeing to tourists.
In conclusion, the author criticises the w o r k of the
designing offices w h i c h , according t o h i m , show
a lack of understanding f o r the need t o preserve
the fine traditions i n popular architecture, even
though they also lack i n understanding f o r m o d e m
requirements i n present-day b u i l d i n g .
Janina Krajewska
—
CASUBIAN
POTTERY
This article contains the data w h i c h Miss Janina
Krajewska collected i n the Casubian area i n the
years 1934—39, a t the time she was m a k i n g research
which preceded the opening of an ethnographie sec­
tion i n the Gdynia M u n i c i p a l Museum. Miss K r a j e w ­
ska makes a survey of Casubian pottery, 'including
the production technique of Casubian earthenware
(pottery for domestic use, religious objects, o r n a m e n ­
ted tiles) and t h e methods o f ornamentation.
The biggest pottery centres w e r e concentrated
in the towns of Kościerzyna, K a r t u z y and Chmielno,
followed by Wejherowo and Puck. Some of the p o t ­
ters also settled i n villages. The earliest i n f o r m a t i o n
the authoress succeded i n t r a c i n g about the Casubian
potters dates back to the beginning of the 19th cen­
tury.
Clay, Technique and Ornamentation
The Casubian potters used for t h e i r products local
clay. The preparation process started i n the a u t u m n
and lasted several months. Cleansing was usually
done by hand a n d o n l y bigger workshops h a d at
their disposal a slime-cleaner. (See drawings 2 & 4)
It was not u n t i l the end of the 19th c e n t u r y that
machines replaced hand-cleaning. The earthenware
was shaped either on whetstones or i n moulds. The
latter technique was m a i n l y used to produce r e ­
ligious objects (minute figurines of saints, aspergilla, etc). A t the end of the 18th century, the K a r tusian Monastery produced these religious objects
in mass quantities.
Glazing and Enamel
In the period under r e v i e w (end of the 19th and
beginning of the 20th centuries) flower-pots and
saucers to be placed under t h e m were mostly left
unglazed, b u t j u d g i n g b y t h e pottery i n the n e i g h ­
bouring regions i t w o u l d be safe to assume t h a t
more biscuit vessels for domestic use were produced
in earlier times.
Varnished pottery was glazed i n b r o w n , yellow,
white and green and then covered w i t h a vitreous
brown, green or dark blue coating w h i c h served as
a basis for ornamentation.
The Technique of Ornamentation
The Casubian potters used various ornamentation
techniques, i n c l u d i n g engraving and glued applica­
tions. Religious figures were usually adorned w i t h
glued on plastic ornaments, w h i l e painted ornaments
w e r e don© b y means of a funnel o r brush i n white,
green and b r o w n . Whitewash and metal oxide were
used to obtain the colours.
Ovens a n d F i r i n g
The ovens were m a i n l y b u i l t of bricks, b u t clayovens — s i m i l a r to bread ovens — were also used
i n earlier times. N o t infrequently, the equipment
was m u c h more p r i m i t i v e , w i t h a p i t i n the earth,
or a chimney being used as an oven.
The authoress gives a description of a l l types of
ovens and t h e i r construction, discussing i n detail the
methods of f i r i n g and placing the vessels i n the oven.
Organisation of W o r k and Sale of Wares
The poorer potters w o r k e d usually by themselves.
Owners of bigger workshops employed apprentices,
each one of w h o m performed just one stage of the
w o r k . The potters themselves travelled to small
townships and villages to sell t h e i r wares.
Olga
Mulkiewicz
— KAŃCZUGA
NET-LAGE
The art of net-lace m a k i n g has not been much
discussed i n Polish f o l k a r t l i t e r a t u r e . Miss Olga
M u l k i e w i c z ' detailed account o f the net-lace history
i n Kańczuga (Rzeszów Voivodship) is a n attempt
at f i l l i n g the gap. The study contains m u c h compa­
r a t i v e data f r o m other regions.
Bordering upon w i c k e r - w o r k and weaving, the
net-lace technique was k n o w n i n the remote past
and is s t i l l alive i n m a n y European countries.
Formerly, Kańczuga net-lace was chiefly used —
or a t least i t appears so i n the l i g h t of present day
findings — f o r m a k i n g bonnets and belts and almost
every w o m a n i n Kańczuga was a skilled lace-maker.
The production of net-lace bonnets 'began to dwindle
away i n the i n t e r - w a r period and i t vanished alto­
gether i n the years 1940—1942. Jewish vendors used
to finance the p r o d u c t i o n of net-lace, they then
dyed the lace, l i n e d i t w i t h l i n e n 'and sold readymade bonnets i n a l l the regions neighbouring on
Kańczuga.
S m a l l looms were used for cotton o r silk y a m
weaving. (See d r a w i n g 1).
The technique and weaving desings as applied
by the various neeldle-women are discussed i n detail
by Miss M u l k i e w i c z (See drawings 4, 5, 6). Vertical
stripes and sometimes chequer desings were cha­
racteristic of Kańczuga bonnets. There is n o suffi­
cient comparative m a t e r i a l to f i n d out whether
groups of p a r t i c u l a r desings can be l i n k e d u p w i t h
either regions or p r o d u c t i o n centres. A general con­
clusion seems t o be justified t h a t though the Kań­
czuga bonnets were distinguished for the variety
of t h e i r designs, the bonnets f r o m L u b l i n and Pod­
lasie regions testify to better workmanship of the
women lace-makers f r o m t h a t regions.
Similar i n t h e i r general character to the net-lace
products i n ' other European countries, the Polish
specimens are most a k i n to Czechoslovakian and
Wołyń net-lace articles, w h i c h can be explained by
close neighbourhood and trade relations.
m
Teresa Karwicka
L U B L I N AREA
—
NUPTIAL
VERGES
IN
THE
The custom of n u p t i a l w i c k e r verges has r i c h
traditions i n Europe. I n Poland i t was a general
custom i n the middle of the 1 9 century, though
now i t has completely vanished. I n the L u b l i n area,
the bride's maids made the verges f r o m tree b r a n ­
ches and adorned them w i t h coloured glossy paper,
feathers, ribbons and sometimes w i t h candles. When
the verge was properly adorned, the bride's maids
used to go to the bridegroom who hung gifts for his
future wife on the verge.
Miss K a r w i c k a makes a detailed analysis of the
various kinds of verges used i n the L u b l i n area
and the mode of adorning them
t h
Zofia B. Głowa — CRACOW E M B R O I D E R Y
ANCIENT „ŁOKTUSE".
AND
Miss Głowa makes an analysis of some exhibits
of the Cracow Ethnographic Museum. She dwells
i n p a r t i c u l a r on square home-spun l i n e n kerchiefs,
either p l a i n or w i t h embroidered edges, k n o w n i n
the past as „łoktuse", w h i c h i n southern Poland
were an i m p o r t a n t element o f a woman's gala dress.
The custom of weaving „łoktuse', as a shoulder
kerchief, survived u n t i l the end of the 1 9 century.
l h
Ewa Fryś — E X H I B I T I O N
FABRICS A N D REGIONAL
OF N O R T H
COSTUMES
LUBLIN
Miss Fryś reviews the e x h i b i t i o n of N o r t h L u b l i n
fabrics and regional costumes w h i c h was organized
in Biała Podlaska by the People's Council's Cultural
Department, i n cooperation w i t h the L u b l i n Museum
and the L u b l i n Ethnographic Society. G i v i n g a short
description of the exhibits, Miss Fryś h i g h l y values
the i n i t i a t i v e of the organizers, saying that e x h i ­
bitions of this k i n d are m u c h more useful than the
usual regional exhibitions including a l l forms of folk
art.
POLSKA
SZTUKA
LUDO W A
R. X I — 1 9 5 7
S P I S
T R E Ś C I
Błachowski Aleksander
Wystawa ukraińskiej sztuki ludowej w Warsza­
wie s. 44—53
Bogatyński Władysław Elementy strojów ludowych mieszczan i chłopów
w świetle materiałów źródłowych s. 159—167
Brzeska
Wanda Bożena Stelmachowska (1889—1956) s. 190—191
.
Chitimia, Jon. Const. O rumuńskiej literaturze ludowej s. 53—56
.
.
Cieśla-Reinfussowa Zofia Brańskie dywany dwuosnowowe s. 68—107.
.
Dubiel Ludwik
Cieszyńska ceramika ludowa s. 195—207
Dunare Nicolae
Siedmiogrodzkie kafle ludowe s. 224—228.
.
.
.
Fryś Ewa Garncarstwo ludowe Lubelszczyzny s. 37—42
.
.
.
Fryś Ewa Rzeźby Jana Gładysza z Chlebowa s. 157—158.
.
.
.
Gawrak ZbignieiD Filmografia sztuki ludowej i f o l k l o r u za lata 1945—1956
s. 121—124
.
.
.
Gawrak
Zbigniew
O filmowe a r c h i w u m polskiej twórczości ludowej
s. 119—121
Gerlach Alicja Wystawa sztuki ludowej w Koszalinie s. 183—136.
.
.
Glapa Adam Sztuka ludowa w
Muzeum w Lesznie
Wielkopolskim
s. 182—183
Głowa Zofia
Dziesięć l a t A r c h i w u m Sekcji Badania Plastyki Ludowej
P.I.S. s. 187—190
Głowa Zofia Materiały do mapy ośrodków garncarskich w Polsce s. 56—60
Głowa Zofia Materiały do mapy ośrodków garncarskich w Polsce, cz. V I
s. 124—127
.
Jasiewicz Zbigniew
A r t y z m w wyrobach z metalu s. 181—182.
.
.
Kotula
Franciszek
Wpływ m e b l i małomieszczańskich na urządzenie izby
wiejskiej s. 167—174
Kowalska-Lewicka
Anna Haft biały na Podhalu s. 229—249.
.
.
Mulfciewicz Olga Ozdoby rysowane
piaskiem s. 216—223.
.
Mulfciewicz Olga Wystawa sztuki ludowej w Rzeszowie s. 42—14.
,
.
Pachoński Jan Z historycznego a r c h i w u m s. 186—187.
.
.
,
.
Pietkiewicz
Kazimierz
Z okazji wystawy ludowej sztuki litewskiej w Pol­
sce s. 131—157
Przeździecka Maria Na tropach skulskich ochweśników s. 250—256.
.
Przeździecka Maria Szymon Czerniakiewicz — podlaski wycinkatrz ludowy
s. 33—37
Reinfuss
Roman Z doświadczeń nad stosowaniem f i l m u w dokumentacji
etnograficznej s. 117—119
.
:
Rss. Banicka Dedina Zakarowce s. 180—181
Rss. A r c h i t e k t u r a polska do połowy X I X w i e k u s. 63—64
.
.
.
.
Rss. Kazimierz Saysse-Tobiczyk „Pod w i e r c h a m i T a t r " s. 62—63.
Rss. Przemysł l u d o w y i artystyczny s. 60—61
Rss. Slovensky ludovy odev w m i n u l o s i s. 61—62
Tippenhauer
Wanda Józef Bigos s. 25—33
Tippenhauer
Wanda Stanisław Szymoszek-Gąsienica s. 174—180.
.
.
Tippenhauer
Wanda Wanda Kossecka (1893—1955) s. 191—192.
.
.
Seweryn
Tadeusz Z a b a w k i ludowe jako odbicie zwyczajów, obyczajów,
baśni i legend s. 3—21
Żywirska Maria Rzeźbione formy piernikarskie s. 67—107
.
.
.
Wystawa sztuki ludowej Mazowsza Płockiego s. 187
Wystawa litewskiej sztuki ludowej s. 137
.
.
.
.
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CZASOPISMA PAŃSTWOWEGO I N S T Y T U T U
W A R S Z A W A , U L . DŁUGA 26
SZTUKI
S Z T U K A I K R Y T Y K A , k w a r t a l n i k , ponad 200 str. d r u k u , w t y m k i l ­
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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
formatu, około 100 ilustracji. Cena 24 zł, prenumerata półroczna 48 zł,
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bogaty materiał ilustracyjny. Cena 18 zł, prenumerata półroczna 36 zł,
roczna — 72 zł.
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K W A R T A L N I K F I L M O W Y , ponad 90 str. d r u k u , kilkanaście ilustracji.
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PRENUMERATA
Zamówienia i przedpłaty na prenumeratę przyjmowane są w terminie
do dnia 15-go miesiąca poprzedzającego okres prenumeraty — przez:
Urzędy Pocztowe, listonoszy oraz Oddziały i Delegatury ,,Ruchu".
Można również zamówić prenumeratę dokonując wpłaty na konto
P K O n r 1-6-100020 — Centrala Kolportażu Prasy i W y d a w n i c t w
„Ruch" — Warszawa, u l . Srebrna 12.
Cena prenumeraty za granicę jest o 40°/o droższa od ceny podanej w y ­
żej. Przedpłaty na tę prenumeratę przyjmuje na okresy półroczne
i roczne Przedsiębiorstwo Kolportażu W y d a w n i c t w Zagranicznych
„Ruch" w Warszawie, Wilcza 46 za pośrednictwem P K O Warszawa
konto Nr. 1-6-100024.
SPRZEDAŻ
Aktualne n u m e r y czasopism Państwowego I n s t y t u t u Sztuki są - do na­
bycia:
w kioskach „Ruchu",
w większych księgarniach miast wojewódzkich.
Egzemplarze zdezaktualizowane można nabyć w sklepie przy u l . W i e j ­
skiej 14 w Warszawie. Zamówienia spoza Warszawy należy kierować
do Centrali Kolportażu Prasy i W y d a w n i c t w „Ruch", Warszawa,
ul. Srebrna 12.
Stołeczne Z a k ł a d y G r a f i c z n e . Zlakład W y d a w n i c z y .
W - w a , Podchorążych 39.
Z a m . 653. P a p . i l u s t r . k l . I I I , 100 g A l + k a r t o n b i a ł y k l . I I I , 220 g B I .
N a k ł a d 2.000 egz. W-72. D r u k ukończono w k w i e t n i u 1959.