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Wczesnośredniowieczna biżuteria zachodniosłowiańska

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Kóćka-Krenz H.

Studia Lednickie

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2014

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vol. 13

27-38

EN

Ornaments worn in the Middle Ages by inhabitants of the West Slavonic territory were basically not utilitarian in their nature. They Brst of all served to satisfy aesthetic needs. Usually, they were made from non-ferrous metals, mostly from silver, but also from bronze, bronze plated with silver, or even from tin and lead. Sporadically, such ornaments were made from gold, sometimes with additions of decorative stones or organic raw materials. Finds from Ostrów Tumski and Ostrów Lednicki point out that within the main strongholds there were workshops manufacturing artefacts of artistic craftsmanship upon the order of the rulers. Ornaments which survived in archaeological materials allow for saying that their manufacturers made use of various methods, from very simple ones, consisting in cutting shapes from metal sheets, to those requiring special skills, such as Bligree and granulation techniques. Manufacturers developed some of these techniques on the basis of their own manufacturing traditions, while others were developed as a result of the adaptation of the skills of West European craftsmen in the 10GH and 11GH c. This was expressed in a wide use of high quality ornamental techniques, which were perhaps learned from the centers of European artistic craftsmanship of those days. The forms of ornaments and the way of their deposition in burials, demonstrate that particular stress was put on the decoration of the women’s heads and necks, with less attention to the hands. On the other hand, men only sporadically wore rings and necklaces or chains, which underlined their social status. A particular variety of forms can be seen in the ornaments of women’s temples. Such ornaments were attached to headgear—maidens’ headbands or veils in the case of married women. Some ornaments are typical for the entire West Slavonic territory and they are remarkable for their long time of use, with special reference to temple rings. Others were manufactured for a relatively short period of time and their use was limited to certain areas. Jewellery worn in the territory of Central-Eastern Europe fulfilled numerous aesthetic, social and symbolic functions. It completed the dress of that time; it not only decorated clothing but also requested its local nature. Furthermore, it underlined the pertinence to a given social group and one’s position in it. It also demonstrated one’s age and personal attitudes concerning the sphere of beliefs. As to its artistic level, this jewellery was only slightly inferior to the ornaments manufactured in the main cultural centres of Early Medieval Europe. This especially concerns jewellery made and worn in the 10GH and 11GH c.

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A Pole in the Country of Boxers. On the Donation of Col. Jagniątkowski to the National Museum in Warsaw

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Pinker M., Popkowska J.

Muzealnictwo

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2023

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vol. 64

98-105

EN

The paper presents the results of provenance studies related to the donation of Władysław Jagniątkowski (1856–1930) and his wife to the National Museum in Warsaw. Presented to the Museum in 1930, the collection of heritage pieces contains objects from China and Vietnam where the donor was based as a soldier of France’s colonial troops fighting to suppress the Boxer Rebellion. Based on untypical sources: texts written by Jagniątkowski, the Authors analyse the circumstances under which the collection was amassed. The many-sided contextualization of the donation grounded in the investigated texts yields the hypotheses on the impact of the donor’s personal experiences and colonial conditioning on the provenance of the historic pieces. The research into the provenance of the Jagniątkowskis’ donation serves as a good example of potential challenges faced by individuals aiming at conducting investigation to present a full provenance of museum objects. It also forms part of the increasingly more popular research into and verification of Western collections of Chinese art amassed during the Boxer Rebellion.

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Inskrypcja poetycka na contrasigillum Leszka Czarnego

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Okniński P.

Studia Źródłoznawcze. Commentationes

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2022

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vol. 60

125-132

EN

The article is a new attempt to reconstruct and interpret the poetic inscription around the rim of the counterseal of Duke Leszek the Black from the period of his reign in the Duchy of Cracow (1279–1288). The seal epigram has been analysed against a broad comparative background, with the use of numerous Polish and West European mediaeval seals.

PL

W artykule przedstawiono nową próbę rekonstrukcji i interpretacji inskrypcji poetyckiej w otoku pieczęci odwrocia księcia Leszka Czarnego z okresu jego rządów w księstwie krakowskim (1279–1288). Epigram napieczętny został poddany analizie na szerokim tle porównawczym, z wykorzystaniem licznych zabytków polskiej i zachodnioeuropejskiej sfragistyki średniowiecznej.

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1 Muzealnictwo

1 Studia Lednickie

1 Studia Źródłoznawcze. Commentationes

1 Kóćka-Krenz H.

1 Okniński P.

1 Pinker M.

1 Popkowska J.

1 2023

1 2022

1 2014

Wczesnośredniowieczna biżuteria zachodniosłowiańska

A Pole in the Country of Boxers. On the Donation of Col. Jagniątkowski to the National Museum in Warsaw

Inskrypcja poetycka na contrasigillum Leszka Czarnego