scholarly journals Inspiracje sztuką i kulturą Podhala w powojennej galanterii i biżuterii polskiej

Artifex Novus ◽  
2021 ◽  
pp. 66-77
Author(s):  
Michał Myśliński
Keyword(s):  
Material Culture ◽  
Folk Art ◽  
Bovine Bone ◽  
Everyday Objects ◽  
Decorative Art ◽  
Artistic Value ◽  
Native Art ◽  
Local Tradition ◽  
Polish Culture ◽  
Tourist Region

Abstrakt: Zainteresowanie sztuką ludową Podhala wśród polskich artystów i badaczy sięga lat osiemdziesiątych XIX wieku. Wynikało ono z dostrzeżenia artystycznej wartości tworzonych tam dzieł oraz poszukiwań tzw. sztuki narodowej i rodzimej, tak bardzo ważnych dla polskiej kultury i tożsamości. Inspiracje kulturą materialną i artystyczną Podhala przyczyniły się m.in. do wielkiego sukcesu polskiej ekspozycji na Wystawie Sztuki Dekoracyjnej w Paryżu w 1925 roku. Zainteresowanie to nie zmniejszyło się po 1945 r., ale przybrało inne formy. W tym czasie powstawały w Polsce liczne spółdzielnie, których zadaniem było tworzenie przedmiotów codziennego użytku i dzieł sztuki ludowej, zgodnie z lokalną tradycją rękodzielniczą, ikonograficzną, zdobniczą itp. Pewną część produkcji stanowiła tzw. metaloplastyka – sprzączki do pasków, spinki do koszul, zatrzaski do torebek, noże, okucia fajek i in., których forma była inspiracją dla artystów tworzących dzieła biżuterii – bransoletki, broszki, wisiory itp. Asortyment ten uzupełniony został także o inne elementy – wykonywane z blachy, kości bydlęcej, galalitu i drewna broszki, wisiorki i breloki, które były przede wszystkim pamiątkami przywożonymi z tego bardzo popularnego regionu turystycznego. Summary: The interest in the folk art of the Podhale region among Polish artists and researchers dates back to the 1880s. It resulted from the perception of the artistic value of the works created here, as well as the search for the so-called national and native art, very important for Polish culture and national identity. Inspiration with the material culture of Podhale came from, among others a great effect in the form of the success of Polish art at the Exhibition of Decorative Art in Paris in 1925. This interest did not diminish after 1945, but took other forms. At that time, numerous cooperatives were established in Poland, whose task was to create everyday objects and works of folk art, in line with the local tradition in terms of technology, iconography, ornaments, etc. In Podhale, among many produced works, a certain part was the so-called metalwork – belt buckles, shirt clips, purse fasteners, knives, etc., the shape of which was an inspiration for artists creating bracelets, brooches, pendants, etc. This assortment was supplemented with other items – made of sheet metal, bovine bone, galalite and wood, brooches, pendants, and key rings, which were primarily souvenirs brought from this very popular tourist region.

scholarly journals Mycelium-Based Composites in Art, Architecture, and Interior Design: A Review

Polymers ◽  
2021 ◽  
Vol 14 (1) ◽  
pp. 145
Author(s):  
Maciej Sydor ◽  
Agata Bonenberg ◽  
Beata Doczekalska ◽  
Grzegorz Cofta
Keyword(s):  
Internal Structure ◽  
Interior Design ◽  
Load Capacity ◽  
Feasibility Studies ◽  
Scientific Publications ◽  
Everyday Objects ◽  
Artistic Value ◽  
Sources Of Knowledge ◽  
Current Design ◽  
Patent Documents

Mycelium-based composites (MBCs) have attracted growing attention due to their role in the development of eco-design methods. We concurrently analysed scientific publications, patent documents, and results of our own feasibility studies to identify the current design issues and technologies used. A literature inquiry in scientific and patent databases (WoS, Scopus, The Lens, Google Patents) pointed to 92 scientific publications and 212 patent documents. As a part of our own technological experiments, we have created several prototype products used in architectural interior design. Following the synthesis, these sources of knowledge can be concluded: 1. MBCs are inexpensive in production, ecological, and offer a high artistic value. Their weaknesses are insufficient load capacity, unfavourable water affinity, and unknown reliability. 2. The scientific literature shows that the material parameters of MBCs can be adjusted to certain needs, but there are almost infinite combinations: properties of the input biomaterials, characteristics of the fungi species, and possible parameters during the growth and subsequent processing of the MBCs. 3. The patent documents show the need for development: an effective method to increase the density and the search for technologies to obtain a more homogeneous internal structure of the composite material. 4. Our own experiments with the production of various everyday objects indicate that some disadvantages of MBCs can be considered advantages. Such an unexpected advantage is the interesting surface texture resulting from the natural inhomogeneity of the internal structure of MBCs, which can be controlled to some extent.

scholarly journals From Competition to Cooperation

2020 ◽  
pp. 120-149
Author(s):  
Katrin Schreiter
Keyword(s):  
Cold War ◽  
Material Culture ◽  
Industrial Design ◽  
Competitive Situation ◽  
Everyday Objects ◽  
German States ◽  
Cultural Exchanges ◽  
Economic Culture ◽  
History Of ◽  
The Cold War

This chapter looks at the influence of Cold War diplomacy on German design. Within the bipolarity of the Cold War, the political significance of aesthetics in everyday objects was well established. Taking the focus of the superpowers to interrogate the specifically German cultural politics behind the aestheticization of separate identities—proletarian in the East and cosmopolitan in the West—highlights German interests in the global Cold War. It is in the operationalization of industrial design for diplomatic purposes, in which economic culture and foreign policy directly connect. In order to show how material culture emerged as a recognizable language in the intra-German relationship and what functions it served, this chapter integrates the material with the diplomatic ambitions of the two German states. In this way, East and West German cultural-political strategies that sought to negotiate a German-German modus vivendi through the medium of domestic culture can be connected to the complex history of Cold War German diplomacy within the framework of international industrial design exhibitions, international design organizations, and direct German-German cultural exchanges. At the center stands the question of how both Germanys turned a competitive situation, the aestheticization of their respective political orders, into a diplomatic tool for rapprochement.

scholarly journals SYMBOLISM IN TRADITIONAL MALAY BOAT CRAFTING IN THE EAST COAST

2018 ◽  
Vol 16 ◽  
Author(s):  
Mohd Rohaizat Abdul Wahab ◽  
Zuliskandar Ramli ◽  
Nurul Norain Akhemal Ismail ◽  
Nuratikah Abu Bakar ◽  
Wan Nor Shamimi Wan Azhar
Keyword(s):  
Visual Arts ◽  
Performing Arts ◽  
East Coast ◽  
Decorative Art ◽  
Artistic Value ◽  
Marine Products ◽  
Over Time

The culture in the East Coast are rich in visual arts and performing arts inherited over time immemorial. The art is also found to have similarities in three different states, despite their geographical gap. The similarities are shared in dialects, languages, presentations, builds, and past legacy artefacts. The Malay craftsmanship is also dominated by the Malay community in the East Coast and it is also produced in the form of art and fashion. Artefacts such as boats, houses, and furniture are still visible until now and they have high artistic value. This research is aimed at displaying symbols produced by the Malay community on the craft of the boat. This art can be seen in the carvings and paintings produced on traditional Malay boats in the East Coast. This art does not only serve as an ornament and for its aesthetics, but also has its own symbolism. The decorative art produced shows that the three main aspects necessary in Malay art are function, aesthetics, and ethics. The belief in the existence of supernatural powers - which preserve and safeguard their safety at sea and their ability to get income from marine products - underpins the craft of this decoration art.

scholarly journals ICONS, SMUGGLING AND MCDONALDIZATION OF CULTURE

Muzealnictwo ◽  
2017 ◽  
Vol 58 (0) ◽  
pp. 0-0
Author(s):  
Joanna Tomalska-Więcek
Keyword(s):  
Western Europe ◽  
Capital City ◽  
Eastern Orthodox ◽  
Orthodox Church ◽  
Multicultural Society ◽  
Artistic Value ◽  
The World ◽  
Grand Duchy Of Lithuania ◽  
Polish Culture ◽  
The Church

Culture undergoes constant changes. Although today, Poland is an almost ethnically homogenous country, ages ago, the dialogue of cultures took place not only on the borderlines of the First Polish Republic but also in the then capital city of Cracow. In 1390, Slavic Benedictine monks who used Old Church Slavic language settled in the church of the Holy Cross in Krakow. Francis Skaryna (Francysk Skaryna), a pioneer of Belarusian printing and later the founder of the first printing house in Eastern Europe in Vilnius, published the first Cyrillic prints in the world in Cracow and in the early 16th c. also studied there. Poland was a great example of a multicultural society. In the early 16th c. the Catholics and the Protestants, the Jews and the Armenians, the Tatars and the Karaims lived in Poland. After the Union of Lublin, the Crown of the Kingdom of Poland and the Grand Duchy of Lithuania formed one of the biggest countries in Europe at the time; it was inhabited by the Poles, the Lithuanians, the Ukrainians and the Belarusians. In the mid-16th c. Poland became a shelter for multitudes of religious dissenters in Western Europe, such as the Lutherans, the Calvinists, and other Protestants. Today it is useless to seek traces of such multiculturality in many museums. In museums which collect paintings related to the Eastern Orthodox Church, places of monuments connected with Polish culture are frequently occupied by late icons of mediocre artistic value smuggled from Russia. The article attempts to explain this phenomenon in the context of the transformation of modern museology.

scholarly journals The Colonial Reinvention of the Hei Tiki: Pounamu, Knowledge and Empire, 1860s-1940s

2021 ◽  
Author(s):  
◽  
Kathryn Street
Keyword(s):  
World War Ii ◽  
Material Culture ◽  
Ways Of Knowing ◽  
Gold Rush ◽  
World War ◽  
Everyday Objects ◽  
Cultural Legacy ◽  
Colonial Culture ◽  
Client Relationships ◽  
Multiple Meanings

<p>This thesis examines the reinvention of pounamu hei tiki between the 1860s and 1940s. It asks how colonial culture was shaped by engagement with pounamu and its analogous forms greenstone, nephrite, bowenite and jade.   The study begins with the exploitation of Ngāi Tahu’s pounamu resource during the West Coast gold rush and concludes with post-World War II measures to prohibit greenstone exports. It establishes that industrially mass-produced pounamu hei tiki were available in New Zealand by 1901 and in Britain by 1903. It sheds new light on the little-known German influence on the commercial greenstone industry. The research demonstrates how Māori leaders maintained a degree of authority in the new Pākehā-dominated industry through patron-client relationships where they exercised creative control.   The history also tells a deeper story of the making of colonial culture. The transformation of the greenstone industry created a cultural legacy greater than just the tangible objects of trade. Intangible meanings are also part of the heritage. The acts of making, selling, wearing, admiring, gifting, describing and imagining pieces of greenstone pounamu were expressions of culture in practice. Everyday objects can tell some of these stories and provide accounts of relationships and ways of knowing the world.   The pounamu hei tiki speaks to this history because more than merely stone, it is a cultural object and idea. In this study, it stands for the dynamic processes of change, the colonial realities of Māori resistance and participation and Pākehā experiences of dislocation and attachment.   The research sits at an intersection of new imperial histories and studies of material culture. The power of pounamu to carry multiple meanings and to be continually reinterpreted represents the circulation of colonial knowledge, and is a central contention of the thesis.</p>

American Folk Art and Crafts

2019 ◽  
pp. 395-424
Author(s):  
C. Kurt Dewhurst ◽  
Marsha MacDowell
Keyword(s):  
Material Culture ◽  
Fine Arts ◽  
Folk Art ◽  
Expressive Culture ◽  
Governmental Agencies ◽  
Wide Range ◽  
Sexuality And Gender ◽  
Gender And Health ◽  
And Gender ◽  
Aesthetic Characteristics

This chapter addresses the wide range of folk art and crafts related to the study of those who make, use, and find meaning in the handmade object in America. The definitions of folk, popular, visionary, outsider, and fine arts have long been challenged and reassessed by scholarly and public communities, communities that sometimes but not always overlap. Debates have raged over the boundaries between art and craft, the viability of the handmade traditional object in the digital, postmodern age, and the discernible distinctive aesthetic characteristics of this body of American expressive culture. This chapter presents a flexible, interdisciplinary perspective on defining folk art and craft in America. It also offers avenues for folk art and craft scholarship such as relationships of aging, human rights, migration, sexuality and gender, and health to the study of folk artists and their communities, and encourages building on the legacy of material culture scholarship from the collections and research of museums and governmental agencies in addition to higher education institutions.

scholarly journals On Things from Sea and Shore: British Naval Heroism in Material Culture

2019 ◽  
Vol 3 (1) ◽  
pp. 508-518
Author(s):  
Ulrike Zimmermann
Keyword(s):  
Eighteenth Century ◽  
Material Culture ◽  
British Empire ◽  
Social Participation ◽  
Public Interest ◽  
Mass Production ◽  
Cultural Knowledge ◽  
Everyday Objects ◽  
Maritime Culture ◽  
Global Influence

Abstract This article examines social participation and the dissemination of cultural knowledge through artefacts, and analyses how unspectacular and mundane everyday objects manage to convey ideas of the exceptional and heroic, as, for example, in the case of Admiral Lord Nelson and the souvenir culture surrounding him and his victories. Over the course of the eighteenth century, the British Empire expanded and consolidated its global influence, relying heavily on the British Navy in the process. Public interest in the Navy—and in its prominent figures—increased and was also consciously promoted, and, as a consequence, elements of maritime culture were taken up and adapted in everyday culture. Nautically inspired artefacts became the fashion, and the new opportunities for mass production contributed to their proliferation. Thus, admiration for a naval hero found its expression in a multitude of artefacts which, taken by themselves, have nothing of the heroic about them but taken en masse demonstrate the significance of naval prowess in this period, and the forging of connections between the domestic to the foreign sphere.

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