Kontušo juostos Lietuvoje:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Lithuanian |
| Veröffentlicht: |
Vilnius
Kulturos, Filosofijos ir Meno Inst.
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T: Kontush sashes in Lithuania |
| Beschreibung: | 403 S. zahlr. Ill., Kt. |
| ISBN: | 9789986638827 |
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| 245 | 1 | 0 | |a Kontušo juostos Lietuvoje |c Gražina Marija Martinaitienė |
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| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Zsfassung in engl. Sprache u.d.T: Kontush sashes in Lithuania | ||
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| 650 | 7 | |a Noblesse - Costume - Lituanie |2 ram | |
| 650 | 7 | |a Textiles et tissus - Lituanie - Histoire |2 ram | |
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Datensatz im Suchindex
| _version_ | 1820595782690013184 |
|---|---|
| adam_text |
TURINYS
ţVADAS
/ 11
I
skyrius
КАЇР
ŠI
JUOSTA
VADINTMA
Ж КАЇР Д
ATRODO?
/ 15
Π
skyrius
IŠ
ORIENTO
VAKARU
LINK
/ 19
niskyrius
KONTUŠO JUOSTU AUDYBOS PRADŽIA ABIEJU
ТА1ЈТЏ
RESPUBLIKOJE.
„PERSAI"
Ш
PERSINÉS. NESVYŽIAUS
PERSINE
/ 35
IV
skyrius
„TAIP
SLUCKO MEISTERIAIGARSIĄSIAS JUOSTAS
AUDŽIA"
/ 43
V
skyrius
ANTANAS TYZENHAUZAS
IR VINCENTAS
DU PINEY, arba
GARDINO KARALISKASIS
ŠILKMU
AUDINIU FABRIKAS
IR JO
JUOSTOS
/ 91
VI
-
mažytís
-
skyrelis
APIE
VIENA
MAŽAI
ZINOMĄ AUDYKLĄ
IR
JOS
JUOSTĄ
/113
VII
skyrius
KOBYLKOS,
LIPKUVO
IR
KROKUVOS
DIRBTUVnjJUOSTV
PAVELDAS
LIETUVOJE / 117
Vul
skyrius
SIGNATÜROS
„F S" MtSLÉ
/ 147
IX
skyrius
RUSIŠKOS
JUOSTOS
-íOJSiMI-LIETUVOJE
/ 169
X
skyrius
„BAJORU
MIRÉ
LIETUVA"?
/ 181
DOKUMENTA! /
199
LIETUVOJE
ESANČIU KONTUŠO JUOSTU
IR
DIRBINIUIŠ
ЈЏ
KATALOGAS
/ 217
I. Biržtj. krasto muziejus
„Séla"
/ 218
II.
Deltuvos
(Ukmergés
r.) Švč. Trejybés bažnyčia
/ 219
III.
M. K. Čiurlionio dailés
muziejus
/ 220
IV.
Kun.
A. M. Dobrovolskio Ofm. Cap. (tévo
Stanislovo)
liturgini
-ц
тЪц
kolekcija
/ 241
V
Keimes
Švč. Mergelés
Marijos
Émimo \ dangq bažnyčia
/ 243
VI.
Kédainŕa krašto muziejus
/ 244
VII.
Lavoriškiq Šv.
Joño
Krikštytojo bažnyčia
/ 245
VIII.
Lietuvos dailés muziejus
/ 248
IX.
Lietuvos nacionalinis muziejus
/ 304
X. Panevéžio
Kristaus Karaliaus
katedra
/ 343
XI.
Rokiškio Šv.
Mato
bažnyčia
/ 349
XII.
Šiauliq „Aušros" muziejus
/ 351
XIII.
Šiluvos (Raseinňt r.) Švč. Mergelés Marijos Gimimo bazilika
/ 355
XIV
Švenčionéliq (Švenčioniu. r.) Šv. Edvardo bažnyčia
/ 357
XV.
Тгакц.
istorijos muziejus
/ 358
XVI.
Trakq Švč. Mergelés Marijos Apsilankymo bažnyčia
/ 359
XVII.
Várnia
(Telšiq r.) Šv.
Apástala
Petro
ir
Pauliaus
bažnyčia
(buvusi
katedra)
/ 361
XVIII.
Vilkaviškio
vyskupijos istorijos muziejus Marijampoléje
/ 363
XIX. Vilniaus arkivyskupijos
bažnytinio paveldo
muziejus
/ 367
XX.
Gintauto
Žaléno
kolekcija /
369
XXI.
Vaidoto ir Auksés
Žuku. kolekcija
/ 370
SANTRUMPOS
/ 373
ILIUSTRACIJU
SARASAS
/ 374
ŠALTIMAI
/ 378
LITERATURA
/ 380
ASMENVARDŽIURODYKLÉ
/ 387
VIETOVARDŽIURODYKLÉ
/ 393
SANTRAUKA/
SUMMARY
/ 396
Kontush Sashes in Lithuania
Summary
Among the entire applied decorative art treasures created in the Grand Duchy of Lithuania and the
IGngdom of Poland, it is specific sashes, more widely known in literature on art history under the name
Sluck sashes, that have deserved the greatest attention. They are so highly appreciated for many reasons.
Primarily for their artistic peculiarities
-
they stand out for their original ornamentation, its particular
composition, a subtle colour scheme based on the harmony of the mixed and multicolour yarn. On the
other hand, it is a miracle of weaving technique which could be hardly repeated by today's textile artist.
One can seldom find textile articles speaking of such symbolic significance that had been and is today
attached to these sashes, serving in the years of their manufacture and wear not only as the symbol of a
person or a certain estate but as that of the whole state. It is also of great interest that sashes as pieces of
art and treasures are practically the result of the interaction of several different artistic cultures.
These unique textile articles are important to us, the Lithuanians, because they make part of Lithua¬
nian artistic heritage which tells the story of our forefathers' life and a sense of beauty. It is common knowl¬
edge that the main centres for weaving kontush sashes were established and operated nowhere else but in
the Grand Duchy of Lithuania; the authors, who attribute Sluck and Grodno to the Kingdom of Poland,
make an unpardonable to historians mistake which does no honour to them. The initiators of the centres at
those localities were the noblemen and high-ranking officials of the GDL, above all the Radvilas
(Radziwiłł),
virtually the rulers of the Duchy.
This monograph concerns itself with the mentioned issues, and it is the first attempt to tell the history
of the origin, production and wear of kontush sashes in Lithuania.
Section I of the monograph opens with the discussion of the name of this specific waist girdle. In the
course of history it is known by several names. The prototypes of the sashes woven in the Republic
-
the
Oriental fabrics imported from the
16
с
for the same purpose
-
in inventories were simply called sashes,
often adding they are Persian, Chinese or Turkish. The earliest Oriental-pattern sashes were also called
"Persian", which came to be woven by the newcomers weavers called "Persians" at the established local
"Persian" weaving workshops. Shortly afterwards the appearance of those sashes acquired some new
features, which distanced them from their prototypes
-
authentic Oriental fabrics. In order to satisfy the
needs and taste of the local consumer, a new type of a waist girdle was created which over the years came
to be called Sluck, later
-
"Polish" and finally
-
a kontush sash. The first two names are not quite exact.
The Oriental-style sashes were woven not only at this but also at many other weaving workshops, there¬
fore, a question can arise, for example, whether it is proper to call an article produced in Grodno by the
names of two towns
-
a Grodno Sluck sash. The name "a Polish sash" is incorrect from an historical point
of view, and it even annoys the Lithuanians, the Belarusians and the Ukrainians: kontush sashes were
also worn by the gentry and townsfolk of these nations, and they were woven, as mentioned before,
primarily on the lands of the Grand Duchy of Lithuania and the possessed domains of Lithuanian mag¬
nates beyond them. The most exact, therefore, and void of any monopolistic implications
-
a kontush or
a kontush-type sash which accentuates the function of this peculiar article, indirectly indicating the time
and place both of its production and use.
A typical kontush sash
-
a patterned cloth of 33(M80 cm in length and about
28-45
cm in width made
of silk, semi-silk, often silver-gilt, and silver thread. Both of its ends are decorated with fringes and the
entire plain is covered with plant and geometrical ornamentation. It is characteristic that they are grouped
in a highly peculiar order which makes possible to recognize this type of sashes at once. The whole
ornamental composition of a typical kontush sash consists of three autonomous parts whose form also
determines the order of the
décor
motifs placed in them.
396
The most sumptuous are the ends of sashes called tiny heads. Their rectangular areas boast the
main adornments of the sash which distinguish themselves by larger dimensions, colouring, motifs and
their plastic solution. The tiny heads mainly feature plant motifs: trees, bushes, bunches of flowers tied
with ribbons and dipped in vases, often oval wavy-edged medallions with flower spring rosettes inside.
Each of the sash heads most often has two identical, sometimes even three or only one
décor
element.
Another part of the sash
-
a long and narrow stretching space which in the past and now is referred to
by different names: a sash length, middle, longitudinal part, sometimes a shelf or a ladder, because it is
often split into transverse stripes. Some of the stripes can be plain, single-colour, others ornamented. The
most acceptable name for our usage to call this cross-striped part of a kontush sash
-
a ladder. Such a name
has already taken root in the index of folk cloth names, besides, it clearly defines the appearance of this part
of the sash. The name "the middle part of the sash" should be also not rejected because in some cases it is
adorned not with stripes but the patterns of carpet-type composition arranged in the entire space.
The third characteristic and obligatory composition
décor
element
-
a bordure
or edging which
"closes" it like a frame
-
a picture also decorated with plant or other kind of motifs.
One more important and typical peculiarity of the kontush sash
-
it is seldom single-sided,
i.e.
deco¬
rated only on the right side, or double-sided when the patterns are equally distinct both on the right and
left side. Most often each of its sides is separated into two different colouring sides, therefore, the sash
becomes four-sided and can be worn in four different colour variants. This kind of its shape, absolutely
atypical of its Oriental prototype, emerged due to the peculiarities of the local dress wear. It was required
that the garments and particularly their waist girdle should not only show man's public status, wealth but
also an occasion of the wear, even the season of the year. The trouble was that not each nobleman could
afford to purchase many and various expensive sashes. Inventive weavers, therefore, created their version
which satisfied all the most important needs of a nobleman. The light, turned outward side of the sash was
suitable for marriage dress, the black funerals, and the red
-
official events.
Section II deals with a period which can be called the prehistory of the kontush sash. The late
16
с
saw not only the abundance of Oriental articles to reach Lithuania and Poland in various ways but also the
growth of their demand. Beside western-fashion garments more and more often appeared others, which
were authentic Oriental or their modifications. The monograph discusses the reasons for such changes in
the public taste. Among them of great importance were not only trade, military or other contacts with
Oriental countries but also certain ideological convictions known under the name of Sarmatian ideology.
The mentioned ideology was based on a legend about a direct link of the elite (the
nobility
and gentry) with
a mythical tribe of courageous Oriental warriors Sarmatians of an Oriental descent. This old but glorious
origin as if grants the gentry an exceptional right to be a nation which is the only to manage and determine
the life of the country. Therefore, everything what is or seems to be Oriental symbolizes the origin and
exclusive status of the gentry, including men's clothing with the features of Oriental garments.
In the late
16*-
the early
18*
с
an original gentry's suit called a kontush took its shape. It differed
from the western attire in length, richness, intensive colours and a distinctly visible likeness to Oriental
garments. Its main accessory was a wide, long, motley-patterned, Oriental in style sash, which could girdle
man's waist several times, imported from the Orient or woven by local weavers. Some examples of such
imported, most likely Turkish sashes have survived in Lithuania. One of them in the
Kédainiai Area
Mu¬
seum, the other
-
the National Museum of Lithuania. The presented photo reproductions of the portraits
show how a Lithuanian nobleman's kontush outer garment looked and how it was girdled.
Section III addresses the initial stage of the production of local kontush sashes.
In the
ť'
half of the
18*
с
kontush garments were already universally worn and provoked a great
demand for waist girdles. The articles brought from Oriental countries, first of all, from Turkey, could not
satisfy the wearers' demand, therefore, some magnates came to establish small weaving workshops on
397
their domains. The first to be opened on the domains of the
Potocki
family was in
Bučačas,
Brodai
and
Stanislavov.
We know about them only from some mentions made in archival sources. The sashes pro¬
duced by those weaving workshops have not reached us, but it is reasonable to suppose that they were in
all probability the same or very similar to those imported from Turkey.
More data can be found about a weaving workshop at
Nesvyžius.
It seems to have started function¬
ing about
1740
and its founder was Mykolas Kazimieras Radvila
(1702-1762),
a representative of one of
the most famous families in the Grand Duchy of Lithuania. He invited the master Jan
Madžarski,
well-
known from the "Persian" weaver's shop at
Stanislavov,
to head the new manufactory. He was destined
to play a decisive role in the history of the kontush sashes. He is supposed to have created a type of
kontush sashes which satisfied the needs of the local consumer. It is unfortunately unknown whether it
happened at
Nesvyžius,
or on the Radvilas' other domain in Sluck, where from around
1767
the second
weaver's shop was established by these Lithuanian magnates. The surviving documents bear witness
that Karolis Stanislovas
(1734-1790),
the son of Mykolas Kazimieras Radvila, called "kind lord" should be
considered its founder.
A big enough Section IV is devoted to the largest and the most important in the history of the produc¬
tion of kontush sashes manufactory in Sluck. On the grounds of the surviving documents, the monograph
discusses the establishment cirtcumstances of the weaver's shop, its activities and the life of its managers as
well as the head masters
-
the father and son
Madžarski.
Jan
Madžarski
(? -1800/1801)
was a master of an
Armenian
-
Hungarian descent who had mastered a weaver's craft in Turkey. With a view of finding better
possibilities to make a living from his craft, he arrived in the Republic before
1757.
The documents witness
that at first he worked at
Stanislavov,
later Duke Mykolas Kazimieras Radvila invited him to
Nesvyžius
to
work at his established weaver's shop. No examples of the articles produced at this manufactory have
survived, however, there are some grounds for thinking that its articles were similar to Turkish sashes. A
local type of the kontush sash is supposed to have taken its shape at the weaver's shop established on the
Radvilas' another domain in Sluck. Karolis Stanislovas, the son of Mykolas Kazimieras Radvila, should be
considered its patron. Around
1767
Jan
Madžarski
also moved to Sluck. There he worked as a technical and
artistic manager, most likely also as a textile pattern designer. He was a talented, shifty and enterprising
man, distinguished for his irreproachable taste, a sense of style, and with an undoubted organizer's talent.
Pursuant to his contract with Radvila, he had a right to sell himself all the sashes which would remain from
the needs of the duke (in
1767-1776
as many as
758
of such sashes were woven), therefore, it did not take
him long to become rich and have a possibility to hire the manufactory and settle down on a small estate.
From the very beginning of his activities he was greatly attentive to technical and artistic quality of his
production. He brought all the necessary tools from Turkey and strictly controlled the stock-taking and
quality of materials. Sashes from Sluck spread around the entire Commonwealth of the Two Nations, fasci¬
nating one with the subtlety of their patterns and colours, a perfect composition and excellent quality. They
were very costly, and a sash with woven gilt thread into it is said to have cost as much as the whole village
with a live and dead stock. The execution of them required particularly great scrupulousness and perfect
skills
-
an experienced master was able to weave some ten centimetres of a sash a day.
In
1780
Leon
Madžarski
(ca
1740-1811)
began to head the manufactory and continued weaving
sashes after his father's and his own examples. In
1790
he was promoted to the rank of the nobility for his
merits in business and active public work. He gave up his post as manager of the manufactory in
1807.
It
was a time when the manufactory was no longer flourishing as before due to the losses suffered in the
years of the
Kościuszko
uprising and even greater caused by the confusion in connection with the loss of
the statehood and the Russian occupation. The manufactory fell into the hands of the Jews, business¬
men, passed from hands to hands and was finally closed down in
1842,
although in
1946
two last Sluck
sashes were woven there.
398
The décor
composition of the
Madžarski's
sashes was the same as that of their prototypes
-
Oriental
cloths. Still, they were longer and narrower, the number of
décor
motifs adorning the small heads de¬
creased, but they became larger and arranged in a more complex way.
Jan
Madžarski
exploited several principal motifs for the adornment of the small heads of his sashes,
namely
1)
a plant or a bunch with a vertical main stem and several branches,
2)
a wavy-edged medallion
and a bunch of flowers arranged inside, and
3)
an oval medallion with a centrifugal rosette of a flower twig
arranged inside. The middle part of his sashes used to be either ladder-shaped or mottled with the entire
pattern of "fish-scale", rollers or other fine motifs. Leon
Madžarski's
articles differed from his father's sashes
due to their more complex and abundant ornamentation. The single-stemmed plants of the heads turned
into multicolour bunches, and three kinds of stripes adorned with different ornaments were very popular
in the middle parts of the sashes.
The section dealing with the activities of the
Słuck
manufactory pays great attention to the
décor
of
the produced sashes. It also discusses the names of its motifs
-
several of them were taken over from the
components, colours and materials of the Oriental applied arts
décor.
The authoress also gives some exam¬
ples of the names for illustration. Besides, she addresses the peculiarities and originalities of the rendering
of the
décor
drawing, colour scheme and the manner of an artistic pattern.
The Sluck sashes enjoyed great popularity from the very beginning of their production. Each self-
respect having nobleman was proud of wearing a sash with the signature SLUCK or IOANNES
MADŽARSKI
(the authoress enumerates all the signature variants of the manufactory's articles).
Nevertheless, there were some among the nobility who were indignant at such exaggerated fashion of
kontush sashes and made an attempt to give a more western look to the garments and waist girdles for
men. The first efforts were made at the famous centre of political, economic and cultural life of the Grand
Duchy of Lithuania
-
in the weaver's shop established in
Gardinas
(Grodno) called by a loud-sounding
name "The Royal Factory of Silk Cloth and Sashes" (the activities of the factory, the work of the employed
masters, the artistic and technical peculiarities of the cloths are discussed in Section V).
The initiator of the opening of the factory in Grodno was Count
Antoni
Tyzenhauz
(1733-1785),
treasurer
of the GDL Court, Manager of the State Economies and
Starosta
of Grodno, a close friend and like-minded
person of
Stanisław Poniatowski,
then ruler of the Republic. He wanted to turn his domains, in the first
instance Grodno and the ethnic
Šiauliai
and Pastovys on the territory of Lithuania, into industrial, educa¬
tion and cultural centres, hoping to strengthen Lithuanian towns and to make their life more active. In the
course of several years an entire complex of manufactories, including the mentioned weaver's shop, emerged
in the suburbs of Grodno. It developed from a small weaver's shop to which a professional textile artist
Vincent
Du Piney
was invited from Lyons around
1768
or
1769.
Shortly after he became director of the
entire reformed weaving factory. A considerable number of other foreign masters were also invited. They
had to weave traditionally arranged sashes but decorated with western, first of all French textile orna¬
ments. S. Poniatowski and his like-minded people hoped that the gentry would be gradually accustomed
to another, different from Oriental, style of fabrics and their taste would tend to the West. But it did not
happen so; the gentry and townsfolk continued to look for and wear traditional Sluck type sashes. The
factory in Grodno had to ornament quite a big part of its production with traditional Oriental style motifs.
Anyway, the work by the Grodno factory masters played a great role in the history of the kontush
sashes. If a new sash type, greatly different from the Oriental one, was created in Sluck, a model western
-
in Grodno. However, it was not quite the same, strictly following the works of the Lyons or other famous
French textile designers, but remodelled and due to the touch of Oriental components speaking of its
own and original shape.
Kontush sashes were also woven in the Vilnius Region, in Pastovys, where another weaver's shop was
established by A. Tyzenhauz. Its sashes might have been similar to the articles produced in Grodno. How¬
ever, the fabrics of these two factories bore no signatures, and they can be identified only on the basis of the
399
descriptions
found in the documents. Besides these two weaver's shops at Sluck and Grodno, there were
smaller ones in the Grand Duchy of Lithuania. Some of them according to the investigators of historical
textile functioned in ethnic towns of Lithuania
-
Kaunas, Vilnius and
Šiauliai,
others
-
on the lands of
the magnates of the Grand Duchy of Lithuania possessed beyond the then boundaries of the Duchy. A brief
Section VI tells the story of one of them, functioning at
Podlaska
Sokolov
settlement belonging to Mykolas
Kleopas Oginskis
(1765-1833),
Treasurer of the GDL. The weaver's shop is worth attention not only be¬
cause its founder was a prominent public figure of the GDL, the author of the famous polonaise but also
due other reasons. According to documents, the masters invited from France worked at the
Sokolov
fac¬
tory, therefore, it gives grounds to suppose that it was a place where efforts were taken to create a western
type of fabrics. Exact dates of the functioning of the
Sokolov
weaver's shops are unknown. It should be rather
identified with the periods of the founder's life, most likely with the one but last decade of the
18
с
and
the early last decade. After the ill-fated
1794
uprising, where
Μ. Κ
Oginskis actively participated, he emi¬
grated abroad, and possibly the activities of the sash "factory" stopped.
One can judge about the original features that the
Sokolov
production acquired on the basis of only
two surviving sashes. One of them is kept in Warsaw, the other at the Lithuanian National Museum. Both
of them deserve the name of rarities and serve as one more, although a rather primitive example, bearing
witness to an European version of the kontush sash.
Section
VII
reviews the activities of the most prominent manufactories in the Kingdom of Poland, the
peculiarities of the sashes produced by them as well as their heritage in Lithuania. The review starts with
Kobyłka,
a former village near Warsaw, to which
Aleksander
Unrug,
Starosta
of Hamersztyn, moved his
weaver's shop from
Terespol
settlement in the Grand Duchy of Lithuania. The manufactory in
Kobyłka
was
expanded and reformed, provided with the equipment, which Unrug managed to acquire in
1781
from the
closed down factory in Grodno. The manufactory was administrated by the so-called "Silk Factory Com¬
pany", however, about the mid-8 decade of the
18
с
Etienne Filsjean
(7-1794)
became an absolute boss of
Kobyłka.
A considerable part of the
Kobyłka
sashes are signed by his name, although it is supposed that
during the early stage of the manufactory another Frenchman, the textile artist
François Selimand
(previ¬
ously served in
Terespol
and Grodno) was the principle textile designer.
The
Kobyłka
sashes are distinguished for their traditional, clear-cut, balanced composition and the
proportional arrangement of their parts. Quite a number of
décor
motifs were adapted from the Sluck
sashes, but in the
Kobyłka
ones they are not so diverse, besides, originally stylized with some classicist
features. Some of the main groups of the adornments for the heads of the
Kobyłka
sashes deserve men¬
tioning. These are: "uprooted plants", "medallions" and "bunches". The uprooted plants are simplified,
consist of a flexible static stalk finished with a large enough sketchy blossom. There are cases when this
simplified tiny plant is framed by a purely classicist type of palm leaves, forming oval medallions above
which, as though a climber, interlace leafy flower twigs also simplified and schematically rendered (the
best telling example of the adornment for such a sash head is in the
M. K.
Ciurlionis National Museum of
Art in Kaunas). In other cases a flower twig is set in a wavy frame which, however, does not remind of the
"Chinese clouds" but a stylized "ribbon" motif of classicist ornamentation (a sash kept in the National
Museum of Lithuania).
The sashes woven in the second period of the
Kobyłka
manufactory activities
(1787-1794)
seem to
have been designed by some
F. Selimanďs
pupil. They are motlier, arranged from heterogeneous, not
always organically matching motifs of a diverse origin. Their colour scheme is also motley enough, some¬
times based on colour combinations unusual in the wear of sashes of the day. There were also sashes
whose heads were adorned with bunches or rococo vases tied up with fanciful bows or rising from some
tuft, tussock of leaves. Of the greatest interest are the sashes woven at this manufactory with anthropomor¬
phic or animalistic motifs which are on the whole not characteristic of the locally produced kontush sashes.
400
Among the plants decorating the sashes woven at the
Kobyłka
manufactory one can notice the emergence
of local, European origin flowers: camomile, forget-me-nots and violets.
Lithuanian museums keep some sashes woven at another, possibly leading weaver's shop in the King¬
dom of Poland, which operated in the Warsaw suburb
Lipków
until the mid-8 decade of the
18
с
Its
founder and manager was Jakubowicz
(7-1816
or
1817),
a merchant and businessman of an Armenian de¬
scent. He arrived in the Republic in the
6
decade of the
18
с
He did not design ornaments for sashes
himself, most likely was even not a weaver. Although he took care of the organization of manufacture and
the sale of the production, the sashes woven at the
Lipków
manufactory were signed by his name Paschalis
or the silhouette of the Easter lamb and the initials PI (Paschalis Iakubovicz).The promotion to the rank of
the nobility along with the coat of arms were granted to him in
1790
for "the production of useful articles".
The production of kontush sashes both in
Kobyłka
and
Lipków
ceased in
1794
due to the ill-fated
Kościuszko
uprising, repressions by the Russian Cossacks and finally
-
the fall of the state and the Russian
occupation which disrupted all the functioning industry in the Republic.
It is difficult to group in one or another way the ornamentation motifs of the heads of the
Lipków
sashes. Some of them are decorated with an oval "medallion", some non-traditional elements in the sash
wear (for example, state emblems, woven in the heads of the sash for the ruler), but mostly
-
with the
bunches, where the variety of the plants composing them is indeed
infinite.
There are also bunches com¬
posed of the same species of flowers (for example, in the sash kept in the
Šiauliai "Aušra"
Museum), but a
great many of them comprise the whole "herbarium" of recognizable and/or fantasy-based flowers. In most
cases the basic accent of each bunch is one large, luxuriant, blossomed out chrysanthemum, carnation,
thistle, marigold, guelder-rose or some fantastic flower. Around it, dozens of tiny roses, poppies, violets or
forget-me-nots are opening their petals. Although the
décor
of the
Lipków
sashes is based on Oriental
textile ornamentation, its plastics speaks of elegance and lightness characteristic of the rococo French textile
décor.
The similarity is enhanced by the bright, "light" colours of the sash harmonized in a subtle way, these
are the features which cause suspicion that the
Lipków
sashes might have been designed by a French
designer, most likely by the above mentioned
François Selimand,
who worked at the Paschalis Jakubovicz
manufactory for several years.
The latest centre for the weaving of sashes in the Kingdom of Poland seems to have been
Kraków,
where in the
8
decade of the
18
с
functioned even seven weaver's shops. From among them the most
famous were three
-
of
Franciszek Masłowski
(functioned around
1787-1806),
Antoni Puciłowski
(func¬
tioned around
1793-1800)
and Daniel Chmielewski (most probably functioned from
1794
to the
1
decade
of the
19
a). Other, less important manufactories belonged to
Józef
Trojanowski,
Jan Kanty Sztumer,
Anrzej
Belica
and
Wojciech Goździkowski.
The weaver's workshops in
Kraków
were rather small. There were even such, where only the owner,
assisted by an apprentice or a family member, worked. The majority of them functioned in private or hired
flats where everything was taking place at the same time
-
both domestic chores and weaving. The owner
was also a weaver, most often not very well-to-do, therefore, it told on the quality of the articles. They were
woven from more simple materials and only when received commissions, because the master could not
leave reserves waiting for a purchaser to appear. It is worth mentioning that all the weavers in Krakow were
Polish who had mastered the secrets of weaving from foreigners.
The sashes produced in
Kraków
and at the manufactories in some other towns of the Kingdom of
Poland, functioning in the late
18
с
-
the early
19
c, are filled with interesting motifs of original
décor,
often reminding of the country's folk textile (from among the examples kept in Lithuania of mention are
the vestments from the Lithuanian Art Museum and the National Museum of Lithuania).
Anyway, the activities and production of the weaver's shops in Krakow should be attributed to the
last phase of this noble art of the kontush sashes which required great mastership and subtlety. The techni-
401
cal
quality of the sashes was decreasing, the
décor
witnesses the emergence and growth of the features
speaking of a town-dweller's taste. They came together with the masters and the majority of clients from
this strata of society. Still, the adornments of the sashes woven at the weaver's shops in Krakow charm one
by a great decorative character, an original interpretation of nature forms and of course their sincerity for
which each
naïve
work is most of all valued.
The signature "FS" found in the corners of some kontush sashes had been always mysterious to
textile researchers. Some of them deciphered as "Fecit Sluciae", i. e. "made (woven) by
Słuck
people",
others were convinced that it was the monogram of
François Selimand
or
Etienne
Filsjean. It was only in
the early
20 '
c, when a careful mention was made that the sashes bearing this signature might have been
woven in France, Lyons. This idea was confirmed by the album of sash examples discovered by a manu¬
facturer from Lyons
François
Verzier in 1972
in the archive of the factory under his management. The
factory inherited the album from its distant forerunner
-
a silk manufactory functioning in the
2'
half of
the
18'
с
The weaver's shops of the Commonwealth of the Two Nations (most probably of Paschalis
Jakubovicz and
Etienne
Filsjean) sent some examples to this manufactory, commissioning to weave
some sashes after those examples, because they could not themselves satisfy their great demand. All of
those
139
examples were marked by the signature "F S". The researcher from Krakow Maria Taszycka
had a possibility to directly study the artefact from Lyons and to familiarize herself with the conclu¬
sions made by French textile historians. The insights presented in her publication are of use identify¬
ing the kontush sashes kept in Lithuania and those marked by the mentioned signature.
The first feature characteristic of the Lyons articles is material and execution technique. If, for example,
the Turkish and Sluck sashes or those produced at other leading weaver's shops in Poland are made of
natural silk, gold and silver thread, the French sashes
-
of thinner poorer-quality yarn. French masters did
not use precious metal thread at all or less, it is of a lower assay and less gilt. Only a small part of the Lyons
sashes are woven in a classical multilayered
(taqueté façonné)
technique. The Lyons weavers substituted it for
less complex taffetas,
Gros de
Tours in most cases
-
lampas
techniques. They did not use any special tools
which imbued Oriental or Sluck sashes with particular lustre.
The sashes kept in Lithuania, according to their signatures or materials and techniques attributed to
the Lyons articles, can be divided into several groups. The ornaments of one of them are created following
examples of Oriental sashes (the sash kept in the
Šiauliai "Aušra"
Museum). The sashes belonging to the
second group are decorated in a similar way as those woven at the largest manufactories of the Republic
-
in Sluck,
Kobyłka
or
Lipków.
The
décor
of the third group of the Lyons sashes is the most noteworthy. They
are really western-type textiles whose function and composition remained traditional but the repertory of
the
décor
motifs alike the manner of featuring them show great changes due to the features typical of the
18
century French textile. Such western motifs as the rococo bows, vases, draperies, canopies and park
architecture elements happily coexist in the scheme of an Oriental composition. The sash from which
Dalmatic praetextae of Varniai cathedral were made
-
an example of a highly graceful and subtle French
style
décor.
On its head
-
a bunch of flowers, whose drawing is greatly subtle and the forms fragile and
graceful, in a wicker basket cloaked from above in a festoon composed of the same fine, delicate flowers. Of
special note is
a décor
example typical of another European art style
-
classicism
-
the sash head decorated
with stylized hydrangea racemes kept in the Lithuanian Art Museum.
The unsigned, but judging from an elegant adornment form, dark blue sash kept in
M. K. Čiurlionis
National Museum of Art should be attributed to French weavers. The main details of its adornments: the
graceful fantastic plants and park architecture elements
-
a trellis-work fence, a rhombic vase and a festoon.
The final sash-weaving date at the manufactory in Lyons seems to be
1793 -
the year of the
Kościuszko
uprising against the Russian occupation authorities when the activities of a great many manufactories in the
Republic were disarranged or discontinued and remained no prospects for commissions from abroad. Lyons
402
masters, however, managed to create a western-type kontush sash, proving that a harmonious and expres¬
sive combination of Oriental and western artistic traditions had its future. In the early decades of the
19
с
some manufactories of the Republic continued weaving traditional form kontush sashes, but a demand for
them was decreasing and finally almost stopped at all.
The weaving and demand for sashes were stifled by many factors. Among them in the first instance
and as the principal should be mentioned the loss of the statehood of the Republic, because the Russian
invaders and their toadies destroyed the country's economy of centuries-long formation, annihilated its
several fields, first of all those which were for the national needs of the inhabitants. In
1831
the tsarist
authorities forbade to wear a national costume and its main component
-
a sash. It was one of the an¬
swers of the tsarist authorities to the uprising staged the same year, the first in the early
19
с
against the
tsarist occupation. It was ill-fated like the second armed resistance in
1863.
Other repressive actions taken
by the occupation authorities were by far much more brutal whose aim was to physically annihilate the
most active participants of the resistance, to demoralize others and yield to them. The first were assassi¬
nated, exiled, their estates were confiscated or given to the Russians. Others were bribed with various
privileges, awards, and profitable posts which unavoidably required a certain public behaviour and, of
course, appropriate garments, the same as worn by Russian officials.
If prior to the uprising patriotic sentiments of the Lithuanian and Polish gentry would grow stronger,
stimulating to revive such tokens of nationality as kontush garments and sashes, later it turned out that
the environment and situation had taken another turn. No old sash weaver's shops were functioning,
the skilled sash weavers passed away, the tools decayed. The amount of old sashes possessed by the
gentry markedly decreased in number. Some of them were worn out. Part of the sashes were obliterated
by the Russian soldiers in order to melt down the gold and silver contained in them, another part by the
noblemen who would cut them in half lengthwise and make two from one. Some of them were re¬
worked into cushions, wall carpets, covers but the greatest amount
—
liturgical vessels. A great number of
unique textile dispersed round the world and entered museums' or private collections.
At present Lithuania boasts some two hundred kontush sashes, their fragments or liturgical vest¬
ments made from or with them, whose entire complex leads to rather reliable conclusions on artistic
peculiarities of these unique textiles, the style of the manufactories which used to weave them and the
creative hand of their prominent masters. The greatest collection is kept in the Lithuanian Art Museum.
Some smaller
-
in the National Museum of Lithuania and
M. K. Čiurlionis
National Museum of Art.
403 |
| any_adam_object | 1 |
| author | Martinaitienė, Gražina Marija 1934- |
| author_GND | (DE-588)1123045194 |
| author_facet | Martinaitienė, Gražina Marija 1934- |
| author_role | aut |
| author_sort | Martinaitienė, Gražina Marija 1934- |
| author_variant | g m m gm gmm |
| building | Verbundindex |
| bvnumber | BV035396260 |
| ctrlnum | (OCoLC)470929054 (DE-599)BVBBV035396260 |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| geographic | Lituanie - 1230-1795 - Moeurs et coutumes ram Litauen (DE-588)4074266-0 gnd |
| geographic_facet | Lituanie - 1230-1795 - Moeurs et coutumes Litauen |
| id | DE-604.BV035396260 |
| illustrated | Illustrated |
| indexdate | 2025-01-07T13:10:37Z |
| institution | BVB |
| isbn | 9789986638827 |
| language | Lithuanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017316976 |
| oclc_num | 470929054 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 403 S. zahlr. Ill., Kt. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Kulturos, Filosofijos ir Meno Inst. |
| record_format | marc |
| spelling | Martinaitienė, Gražina Marija 1934- Verfasser (DE-588)1123045194 aut Kontušo juostos Lietuvoje Gražina Marija Martinaitienė Vilnius Kulturos, Filosofijos ir Meno Inst. 2006 403 S. zahlr. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T: Kontush sashes in Lithuania Geschichte gnd rswk-swf Ceintures - Lituanie - Ouvrages illustrés ram Chasubles - Lituanie - Ouvrages illustrés ram Noblesse - Costume - Lituanie ram Textiles et tissus - Lituanie - Histoire ram Kontusch (DE-588)4998825-6 gnd rswk-swf Lituanie - 1230-1795 - Moeurs et coutumes ram Litauen (DE-588)4074266-0 gnd rswk-swf Litauen (DE-588)4074266-0 g Kontusch (DE-588)4998825-6 s Geschichte z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017316976&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017316976&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Martinaitienė, Gražina Marija 1934- Kontušo juostos Lietuvoje Ceintures - Lituanie - Ouvrages illustrés ram Chasubles - Lituanie - Ouvrages illustrés ram Noblesse - Costume - Lituanie ram Textiles et tissus - Lituanie - Histoire ram Kontusch (DE-588)4998825-6 gnd |
| subject_GND | (DE-588)4998825-6 (DE-588)4074266-0 |
| title | Kontušo juostos Lietuvoje |
| title_auth | Kontušo juostos Lietuvoje |
| title_exact_search | Kontušo juostos Lietuvoje |
| title_full | Kontušo juostos Lietuvoje Gražina Marija Martinaitienė |
| title_fullStr | Kontušo juostos Lietuvoje Gražina Marija Martinaitienė |
| title_full_unstemmed | Kontušo juostos Lietuvoje Gražina Marija Martinaitienė |
| title_short | Kontušo juostos Lietuvoje |
| title_sort | kontuso juostos lietuvoje |
| topic | Ceintures - Lituanie - Ouvrages illustrés ram Chasubles - Lituanie - Ouvrages illustrés ram Noblesse - Costume - Lituanie ram Textiles et tissus - Lituanie - Histoire ram Kontusch (DE-588)4998825-6 gnd |
| topic_facet | Ceintures - Lituanie - Ouvrages illustrés Chasubles - Lituanie - Ouvrages illustrés Noblesse - Costume - Lituanie Textiles et tissus - Lituanie - Histoire Kontusch Lituanie - 1230-1795 - Moeurs et coutumes Litauen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017316976&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017316976&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT martinaitienegrazinamarija kontusojuostoslietuvoje |