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FROM THE RELIGIOUS OBJECT TO THE PART OF DECORATION. CONTEMPORARY CONTEXT OF CARVED CRUCIFIXES IN KURPIE REGION (Od przedmiotu religijnego do elementu dekoracji. Wspólczesny kontekst rzezbionych krucyfiksów na Kurpiowszczyznie)

100%
Madej T.
Etnografia Polska
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2009
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vol. 53
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issue 1-2
199-211
EN
This articles focuses on carved crucifixes, works of travelling folk artists, which have survived throughout the years until the modern times in the privacy of Kurpie homes. This subject of figurative sculpture in the Kurpie region was very popular in the early twentieth century. In many houses families kept two crosses in the main room. One was small and metal while the other one large, wooden, usually made by the local artist, was set in the corner of the room. Jacek Oledzki wrote about a 'special adoration' with which crucifix was venerated. It was a testimony of establishing a house, family cross or memento of their ancestors. Nowadays this wooden sculpture is preserved only by a few families. The author focuses his attention on describing the contemporary context in which they operate and the their importance for the owners. Above all, he is interested in the role and the place of a crucifix in contemporary reality of Kurpie region. The work consists of materials 'collected' during research conducted in the framework of Ethnographic Laboratory 'Contemporary Religion: from ritual to performance' at Warsaw University in 2006 and 2007.
2

ĽUDOVÉ UMENIE BANÍKOV V ZBIERKE SLOVENSKÉHO BANSKÉHO MÚZEA

100%
Denková Z.
Muzeológia a kultúrne dedičstvo
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2019
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vol. 7
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issue 2
137 – 151
EN
The article presents artefacts of folk mining art in the collections of Slovak Mining Museum in Banská Štiavnica, such as sculptures of miners in home altars and nativity scenes, models of mines hidden in bottles, or models of the town’s architectural landmarks. We can further find there sacral folk oil paintings with mining motifs, or utility objects decorated with mining motifs like wall clocks, plates, jugs, walking sticks. The article also describes the most famous creators of folk mining art, the most used materials and basic production techniques.
3

PRÍCESTNÉ STĹPY NA ORAVE OD ZAČIATKU 18. PO ZAČIATOK 20. STOROČIA

100%
Čajka M.
Studia Historica Nitriensia
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2019
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vol. 23
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issue 1
67 – 90
EN
The contribution deals with the columns by the roads with religious figural compositions in Orava region. We assess the preconditions for the origin and development of their creation, especially the strong counter-reform process in the area. The basis of the study is the extensive mapping of objects in the field, the determination of their basic formal, structural and stylistic features, more accurate localization as well as the processing of their iconographic program. From the time point of view, we focus on the period starting 1705, when the oldest column in Trstená was built, until 1917, when the newest column in Horná Zubrica is dated. We have divided this framework definition into three shorter stages, in which we describe individual realizations and evaluate their characteristic features.
4

THE IMPACT OF CHRISTIAN RELIGIOUS MOVEMENTS ON THE FOLK ART AND CULTURE OF ESTONIANS AND ESTONIAN SWEDES (Kristlike usuliikumiste moju eestlaste ja eestirootslaste rahvakunstile ja kultuurile)

88%
Plaat J.
Mäetagused
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2009
|
vol. 42
7-32
EN
In the 18th-19th century, several Protestant religious movements spread in Estonia. These movements were partly active within the so far predominant Lutheran Church, though mostly outside it, and were sometimes followed by members of the Orthodox Church. The most influential of the movements were the Brethren movement and that of 'Heaven-goers', and also the religious movements of awakening which spread mostly in the final quarter of the 19th century in western Estonia and which led to the establishment of the first Free Congregations in Estonia (Baptists, Irvingites, Free Believers' congregations, Methodists). These religious movements have often contested several phenomena of folk culture of Estonians and Estonian Swedes, among these the phenomena of folk religion and folk art that some members of the movement have regarded as 'pagan' or sinful. As a result, fancier clothes, jewellery and musical instruments were destroyed in the heyday and the core areas of the movement (mostly in West Estonia); also, certain folk songs and dances of the agrarian community were abandoned and the narrative tradition underwent significant changes. The conflict with folk religion (with elements of prehistoric and Catholic beliefs) led to the destruction of prehistoric sacred sites and a dramatic change in the worldview of a part of the local peasantry. The 18th- to 19th-century Brethren movement was particularly successful in these activities. A characteristic feature of the Brethren congregation, the 'Heaven-goers', and other religious movements in the late 19th century was certain asceticism and requirement of high morals. The impact of these religious movements on folk culture, however, was limited only to the faithful and did not affect the entire village community. A more dramatic change in the beliefs and lifestyle of the people took place on the West-Estonian islands of Saaremaa and Hiiumaa, in Laane County in West Estonia and, most noticeably, in the parish inhabited by Estonian Swedes. Even so, the sometimes hostile attitudes of the mentioned religious movements towards folk culture give no reason to underrate their significance and positive influence for the Estonian and Estonian-Swedish agrarian population of the time.
5

FOLK ART AND ETNODESIGN TO SEARCH FOR CULTURAL IDENTITY. POLISH EXAMPLES

88%
Czerwińska K.
Etnologické rozpravy (Ethnological Disputes)
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2013
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vol. 20
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issue 1-2
26 – 37
EN
In the Polish culture the contemporary folk art is important phenomenon in the process of preservation of traditional values and kind of life. At the same time it is changed and developed dynamically according to amount of aspects of contemporary global culture. At the same time the folk art is developed not only in its nature environment, but also in the space of contemporary mass culture. The variety forms of folk art are forceful: on one hand we can perceive it as a sight, unique monument and on other hand it is authentic and live expression of regional and national identity. The contemporary folk art becomes inseparable part of local development strategy and presentation of regions, too. The folk creation becomes a never ending source of designer ś and architect ś inspiration in birth of etnodesign. This cultural phenomenon is not only popular trend in creation of interiors and dress. The art activities (exhibitions, workshops) focused on cultural heritage, supply continuity of preservation of traditional elements of Polish folk art. They broaden out and popularise traditional art values also in modern form, which is attractive esp. for young generation. This generation has determining importance in the process of formation of identity.
6

FARBENÉ DO MODRA – PRÍBEH MODROTLAČE

75%
Jaďuďová L.
Muzeológia a kultúrne dedičstvo
|
2016
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vol. 4
|
issue 2
107 – 116
EN
The Museum of Folk Art Production in Stupava was founded in 2008 as an organizational unit and a dedicated worksite of the Centre of Folk Art Production (ÚĽUV). In 2014 - in accordance with its mission statement to explore, document, preserve and make available to the public all artefacts related to Slovak art - the Museum focused its activities on blue print items from its own collections. This collection continues and builds on the work begun by the Centre of Folk Art Production in 1948 with the establishment of the Kroj cooperative which aimed to study and concentrate blue print item production in Slovakia.
7

FOLK AESTHETICS - IDEAS AND EXPERIENCE MADE TANGIBLE (Rahvaesteetika - nahtavaks kujustatud mote ja kogemus)

63%
Summatavet K.
Mäetagused
|
2010
|
vol. 44
7-28
EN
The article raises a question as to how to implement the imagination of a researcher in the study of tangible cultural heritage, using the example of Kristjan Raud and Ants Laikmaa, artists who worked at the beginning of the 20th century, and their art theory related and pedagogical standpoints. The observation focuses on how the texts, written by these artists a hundred years ago, attempt to understand folk aesthetics, folk art practice, oral and tangible folklore, and identify these with the experience of creative process of professional art. The article highlights the viewpoints and opinions which affected the creative work of K. Raud, and were used by the artist to learn and study the mindset of the authors of tangible heritage. A closer look is taken at the specific problems encountered by the artist upon the interpretation of cultural heritage. Folk aesthetics comprises individual fantasy and creativity, expressed by way of oral and visual poetry, which is based on the creative process taking place as an outcome of the synthesis of the hierarchical stratifications of shared experience within the surrounding environment and the community. When attempting to treat folk aesthetics in the light of the professional knowledge and skills of an artist, we can investigate the creative process launched by individual fantasy and creativity, expressed by way of oral and visual poetry; as an outcome of such creative process, new ideas and artefacts with idiosyncratic details may be generated within the traditional community, upon the individual interpretation of shared knowledge and experience.
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