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1

O potrzebie znawstwa ciesielskiego rzemiosła w badaniu zabytkowych budowli murowanych

100%
Jankowski A.
Kwartalnik Historii Kultury Materialnej
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2011
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vol. 59
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issue 2
149-166
EN
Traces of outstanding carpentry skills in historic buildings have been of marginal interest for art historians. But in fact wooden elements are often important parts of brick structures and influence their artistic value. The roof, with the wooden structure that shapes it, creates the architectonic form of the building. Various kinds of roof framing determine the quality of architectural space and the aesthetics of the interiors. Roof framing reveals a lot about the architectural transformations of the building, whose proper interpretation crucially depends on the dating and historical stratification of the elements of the construction. A highly useful method in this respect is dendrochronology, which can determine the age of wooden elements even within an accuracy of one year. The conclusions from dendrochronological dating, however, have to take into consideration the whole construction of the building. This, in turn, requires a good knowledge of old carpentry and of the history of architecture. The knowledge of the working methods, carpentry solutions and tools, as well as of old building rules helps to establish whether the structure under scrutiny is the original or a re-worked roof framing. The original framing can date the whole building, a re-worked framing is a crucial clue in its chronology. A reconstruction of the history of an old building can also be facilitated by the analysis of the way the tie-beam is set, the relationship between the outermost trusses and the brick gables and the traces of treatment on the wooden elements of the structure. Valuable data can be obtained from carpentry joints, assembly marks, trade marks and floating marks on wood. Carpentry joints in old buildings were usually made without nails. Nails were sometimes used in joining elements of secondary importance, which could not be accurately measured and shaped before the trial assembly of the framing. Joints that are not typical of the given construction, the presence of nails and other metal elements call for an explanation. All the disruptions in the numbering marks indicate that the framing must have been disassembled or supplemented. Trade marks and floating marks help in verifying dendrochronological dating. A thorough analysis of the wooden structures in monumental buildings is indispensable in the history of art. It guarantees the factual completeness of research that conditions its progress.
2

REMESELNÁ VÝROBA AKO KULTÚRNOIDENTIFIKAČNÝ PRVOK LOKÁLNEHO SPOLOČENSTVA A JEJ SPROSTREDKOVANIE V SÚČASNÝCH PODMIENKACH

100%
Krišková Z.
Etnologické rozpravy (Ethnological Disputes)
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2011
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vol. 18
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issue 1-2
108 – 121
EN
The intention of author ś thesis is to monitor musealization possibilities of blueprint handicraft through the reconstruction of manufactory on the basis of deep blueprint tradition in the monitored locality (and also in Spiš) and on the basis of existing objects from the manufactory (Hranovnica ś ownership today) – well-preserved blueprint mangle as a unique technical monument and other production-technological mobiliari in the regional museum ś ownership. Simultaneously, the dual alternative of revitalization (in the sense of the traditional handicraft production renovation) is marginally monitored.
3
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Lidový houslař Martin Kuča ze Strážnice (1888–1967)

88%
Höhn J.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 3
205-211
EN
The essay, which speaks about folk violin-makers, tries to create a certain model for the approach to that specific part of Czech music culture. Such a model is based on the thorough organological analysis of maintained instruments made by one of the producers. Martin Kuca from Straznice, a farmer and wine-grower, who made his music instruments just for laughs, has been chosen as an example. Three of the safeguarded instruments made by him are a part of collections at the National Institute of Folk Culture in Straznice (violin, viola and baset/violoncello); the other instruments are owned by his family. Purity in workmanship of his string instruments and their carefully worked construction bear witness to quite high level of folk violin making in Moravia and hopefully refute deep-routed theses on imperfection of musical instruments made by folk producers. The instruments themselves as well as the condition of aids (moulds) and tools used by violin maker Martin Kuca show, inter alia, the carefully worked-out technological procedures.
4

DOBOVÁ REFLEXE RUKODĚLNÉ VÝROBY NA MORAVĚ NA PŘELOMU 19. A 20. STOLETÍ

88%
Drápala D.
Etnologické rozpravy (Ethnological Disputes)
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2013
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vol. 20
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issue 1-2
55 – 75
EN
Traditional handmade manufacturing is perceived generally today as one of the characteristics of the local and regional tradition. It is used to present not only a differently defined society compared to the outer world, but it also shows potential in the creation and transformations of identities of these societies. In additional to the purely descriptive approach identifying the existing or previous conditions of individual kinds and forms of manufacturing activities, reflections on the future of crafts and home manufacturing were more often applied in the time related social discussion. At the turn of the 20th century, steps oriented towards the search for efficient support and specific tools contributing to the development of some handicraft industries became the applied side of these trends. Therefore, from the last third of the 19th century, tradesmen circles in the Austrian empire were developing efforts to explore homemade craft industry or subject it to control. One of the tools acquiring information about these little known manufacturing activities was the preparation of an exhibition in 1909. A stepping stone for organizing the exhibition was a questionnaire project that was supposed to collect relevant information about the article range, territorial representation, production organizations, sales and social and economic conditions of so called homemade craft industry from the entire Moravia. These responses are not only an insight into the current situation in handicraft manufacturing in Moravia, but also a proof of a view of local communities of the importance of individual manufacturing kinds for the local or regional economy and identity.
5
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Řemenářský fenomén v Metylovicích v druhé polovině 20. století

75%
Michalicka V.
Národopisná revue (Journal of Ethnology)
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2011
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vol. 21
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issue 2
115-123
EN
Metylovice used to be a village in which the leather handicraft prevailed since the 17th century, changing the location's nature at all. The sudden and in fact unexpected decline of leather belt production and group of belt producers meant a great change in the appearance and structure of the village. Metylovice lost its regional exclusiveness and it blended with the nature of surrounding villages to a certain extent. Based on the extinct phenomenon of local leather belt production the process of the village community self-identification began gradually. It resulted in a strong relation to the past reality within a complicated process of forgetting and remembering in the course of the past fifty to sixty years. The specific extinct phenomenon of leather handicraft with whip production gained new qualities in the constructive process of collective memory strengthening. In the above case, the transformed ideal of leather-belts producing Metylovice plays a significant role in the development of strong local identification of the inhabitants with their village and its history.
6

EKOLOGICKO-KULTÚRNE ASPEKTY TRADIČNEJ VÝROBY A IDENTITA

75%
Krišková Z.
Etnologické rozpravy (Ethnological Disputes)
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2013
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vol. 20
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issue 1-2
155 – 164
EN
The aim of this paper is to highlight the ecological basis of traditional culture and handicraft production, based on the relationship man environment. The natural environment as a source of raw materials for the production of the material belongs to the basic determinant of the way of life. In the theoretical part we start from the ecologically based scientific theories. The empirical part emphasize applied plane of the handicraft production in the culture creating connections. In this context it can be considered as one of the elements of the social cultural identification. In this paper the current revitalization process of the traditional manufacturing forms is based on relationship changes of the man to the nature. Revitalization of the traditional manufacturing elements itself is considered by societies as one of the significant forms of cultural identification in contemporary multi-ethnical and multicultural society.
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