DOI Artikel:
Luxová, Viera: K problematike slovenskej tkanej tapisérie
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.51759#0292
96
ktoré viedla E. Lehotská. Od školského roku 1982/83
je na čele tejto špeciálky E. Antalová. Od roku 1980
pracuje na škole I. Ledererová, absolventka VSUP v Pra-
he (prof. B. Felcman, doc. M. Kuchyňková-Vaň-
ková). Posledně dva roky tu externe pôsobi M. Boše-
lová, absolventka VSUP v Prahe (prof. Felcman).
7 Po P. Mesterovi ukončil štúdium na Maďarskej vy-
sokej škole umeleckopriemyselnej v Budapešti aj K. Pi-
chler (1985, prof. K. Plesnivý, G. Solti, M. Szilvitzky).
8 Z generačne mladších výtvarníčok sa u nás od po-
lovice sedemdesiatych rokov zaoberá realizáciou čip-
kárskych závesov (macramé) aj v súvislosti s archi-
tekturou napr. D. Hollánová-Lichnerová.
9 Išlo najma o výstavy Textilní výtvarníci súčasnos-
ti (Slovenské národné múzeum), Výběr z tvorby brati-
slavských textilných výtvarníkův (Galéria SFVU), Dře-
vo a tapiséria v službách člověka (Filmový klub).
K npoßjieiviaTMKe cjiOBapKoň TKanoň Taniicepmi
TpaflMIÍMM CJIOBaiJKOM TK3H0M TanMCCpMM CymeCTByWT
noica tojibko ncTBipe flecxTMJie™«. B ee nanajie ctoíit
TKaHM uiTopw, peajiM30BaHHBie Sjiaro^apa MHMijMaTMBe
M. TeMHMTi\epoBOM b ropo^e I4MHflp>KnxyB rpagep no
KapTMHaM JI. cPyjuiBr. B hciuckmx ManycbaKTypax Sbiji 3a-
tcm M3rOTOBJieH ijcjibim pajj TanncepiiM na ochobc oSpaa-
IJOB CJIOBaifKMX XyflOJKHMKOB (KpOMC JI. OyjIJIBI TaiOKC H.
Ajickcm, JT. Mpa3OBa m ,gp.) Baucnyio pojiB b cjiOBaijKO.’i
TKaHoň TaniicepuM cBirpaji M. Kpen, kotopbim bo B-ropox
nojioBMne inecTMflccjiTBix roflOB npn peajiMsagnn cbomx
npocKTOB æoSmjicji Sojiee SecnepeSonnoro corpy/piune-
CTBa c MacTepcKoň m, KpoMe Toro, cran nponaran^ncTOM
TKaHCM b apxMTeKType.
nepeJiOMOM b oSmenpnHJiTBie oSbikhobchmh tckctmjib-
hom paSoTBi cTajio BBiCTynjienne yucHMKOB npocjjeccopa n.
MaTCMKH (BbICOKaSI lUKOJia M3OSpa3MTeHbHbIX MCKyCCTB B
BpaTMCJiaBC), KOTOPBIC C TKaueCTBOM 03H3K0MMJIMCB «UC
bo BpeMa yueSbi. Ohm CTaJiM npcjicraBUTCJiííMii aBTop-
CKOro TKanecTBa Kai< npopreccMBHoro MOMCHTa b nanieM
pa3BMTMM. Ohm oßHOBpeivieiiHo yTBepjK^ajiM TanncepMio
b KanecTBe ajiCMenra MHTcpbcpoB c oSmecTBeHHOÜ Ha-
npaBJieHHOCTBK). Okojio 1970 ro.ua m3 mx mřena Bbinuia
b nepe^nne pajibi pa3BMTMa K. IIIyaHOBa, KOTOpaa c 1974
ro.ua paSorajia pyicoBO^MTeaeM hobom TKauecKoň MacTep-
ckom b BpaTMCJiase. PaflOM c Hen BbigeaajiMCb npejKfle
Bcero JI. EpryiuoBa-BbiflapeHa m 3. IJncapoBa-MMHapM-
KOBa. HeciwoTpa na pasjiiiaita BiapaaitTejibitbix miaHOB, b
mx TBopnecTBe oSnapyjKMBaiOTCH raioKe pogCTBeHHbie npn-
3HaKM, oôycjiOBjieHHbie cnepnaaBHOM yneSoň. M3 uncjia
Sojiee MOJiogbix yueHMKOB MareČKii npoSncMaTMKOň TKa-
Hbix tuTop saHMMaiOTca rJiaBHBíM oSpasoM K. 3aBapcKa
m 3. TaBepjiOBa.
Hapxgy c yncHMKaMM n. MareiiKM Haute pasBUTiie npo-
cjiMJiMpoBajia TaKJKe C. OegopoBa, nepsaa BbinycKHnpa
npa>KCKOM uiKOJisi npocbeccopa KnSaaa. B nocaegyioiuMe
rogbi CTaji Sojiee mouîbbim noroK BbinycKHMKOB bhccjio-
BaijKMx uiKOJi (BapiuaBa, JIo«3b, By«aneuiT m npexcue bcc-
ro Ilpara). B xo^e ynoMMHaBineroca pasBirnia cjiosaijKaa
Tanncepna coapejia b caiwoSbiTHOe xygojKCCTBeHHoe npo-
xbjichmc.
Siovak woven tapestry
Slovák woven tapestry enjoys a short tradition of
some four décades. At its origin are woven hangings
made thanks to the initiative of M. Teinitzerovà at
Jindřichův Hradec according to E. Fulla’s pictures.
Subsequently, several tapestries were made in Czech
manufactories according to models of Slovák painters
(J. Alexy’s, L. Mrázová’s, etc., besides E. Fulla’s).
A significant role in Slovák tapestries was played by
J. Krén who, in the mid-sixties, while realizing his
own designs, achieved a smoother coopération with
the workshop and in addition, became a propagátor
of tapestry in architecture.
A breakthrough in the existing practices in textile
work came to be the achievements of Prof. M. Matej-
ka’s pupils (VSVU in Bratislava) who had become
familiar with weaving already during their studies.
They became the représentatives of authorial weaving
as a progressive moment in our development. Simul-
taneously, they successfully introduced tapestry as an
element of soeially highly exposed interiors. About the
year 1970, K. Sujanová achieved priority among them
and in 1974 worked as head of a newly founded
weaving workshop in Bratislava. Besides her, also L.
Jergušová-Vydarená and E. Cisárová-Mináriková beca-
me prominent. Despite a différence in planes of ex-
pressions, their work reveals also related signs, con-
ditioned by their Professional training. Among Ma-
tejka’s pupils of a younger génération, the process of
woven hanging is being pursued particularly by K.
Zavarská and E. Haverlovâ.
Besides Matejka’s pupils, our development has also
been profiled by S. Fedorová, the first graduate of
Prof. Kybal’s Prague school. The subséquent years saw
a strengthening of the stream of graduâtes from extra-
-Slovak schools (Warsaw, Lodz, Budapest, but above
ail Prague). During the course of the development
spoken of here, Slovák woven tapestry has matured
to an independent, autochthonous artistic expression.
ktoré viedla E. Lehotská. Od školského roku 1982/83
je na čele tejto špeciálky E. Antalová. Od roku 1980
pracuje na škole I. Ledererová, absolventka VSUP v Pra-
he (prof. B. Felcman, doc. M. Kuchyňková-Vaň-
ková). Posledně dva roky tu externe pôsobi M. Boše-
lová, absolventka VSUP v Prahe (prof. Felcman).
7 Po P. Mesterovi ukončil štúdium na Maďarskej vy-
sokej škole umeleckopriemyselnej v Budapešti aj K. Pi-
chler (1985, prof. K. Plesnivý, G. Solti, M. Szilvitzky).
8 Z generačne mladších výtvarníčok sa u nás od po-
lovice sedemdesiatych rokov zaoberá realizáciou čip-
kárskych závesov (macramé) aj v súvislosti s archi-
tekturou napr. D. Hollánová-Lichnerová.
9 Išlo najma o výstavy Textilní výtvarníci súčasnos-
ti (Slovenské národné múzeum), Výběr z tvorby brati-
slavských textilných výtvarníkův (Galéria SFVU), Dře-
vo a tapiséria v službách člověka (Filmový klub).
K npoßjieiviaTMKe cjiOBapKoň TKanoň Taniicepmi
TpaflMIÍMM CJIOBaiJKOM TK3H0M TanMCCpMM CymeCTByWT
noica tojibko ncTBipe flecxTMJie™«. B ee nanajie ctoíit
TKaHM uiTopw, peajiM30BaHHBie Sjiaro^apa MHMijMaTMBe
M. TeMHMTi\epoBOM b ropo^e I4MHflp>KnxyB rpagep no
KapTMHaM JI. cPyjuiBr. B hciuckmx ManycbaKTypax Sbiji 3a-
tcm M3rOTOBJieH ijcjibim pajj TanncepiiM na ochobc oSpaa-
IJOB CJIOBaifKMX XyflOJKHMKOB (KpOMC JI. OyjIJIBI TaiOKC H.
Ajickcm, JT. Mpa3OBa m ,gp.) Baucnyio pojiB b cjiOBaijKO.’i
TKaHoň TaniicepuM cBirpaji M. Kpen, kotopbim bo B-ropox
nojioBMne inecTMflccjiTBix roflOB npn peajiMsagnn cbomx
npocKTOB æoSmjicji Sojiee SecnepeSonnoro corpy/piune-
CTBa c MacTepcKoň m, KpoMe Toro, cran nponaran^ncTOM
TKaHCM b apxMTeKType.
nepeJiOMOM b oSmenpnHJiTBie oSbikhobchmh tckctmjib-
hom paSoTBi cTajio BBiCTynjienne yucHMKOB npocjjeccopa n.
MaTCMKH (BbICOKaSI lUKOJia M3OSpa3MTeHbHbIX MCKyCCTB B
BpaTMCJiaBC), KOTOPBIC C TKaueCTBOM 03H3K0MMJIMCB «UC
bo BpeMa yueSbi. Ohm CTaJiM npcjicraBUTCJiííMii aBTop-
CKOro TKanecTBa Kai< npopreccMBHoro MOMCHTa b nanieM
pa3BMTMM. Ohm oßHOBpeivieiiHo yTBepjK^ajiM TanncepMio
b KanecTBe ajiCMenra MHTcpbcpoB c oSmecTBeHHOÜ Ha-
npaBJieHHOCTBK). Okojio 1970 ro.ua m3 mx mřena Bbinuia
b nepe^nne pajibi pa3BMTMa K. IIIyaHOBa, KOTOpaa c 1974
ro.ua paSorajia pyicoBO^MTeaeM hobom TKauecKoň MacTep-
ckom b BpaTMCJiase. PaflOM c Hen BbigeaajiMCb npejKfle
Bcero JI. EpryiuoBa-BbiflapeHa m 3. IJncapoBa-MMHapM-
KOBa. HeciwoTpa na pasjiiiaita BiapaaitTejibitbix miaHOB, b
mx TBopnecTBe oSnapyjKMBaiOTCH raioKe pogCTBeHHbie npn-
3HaKM, oôycjiOBjieHHbie cnepnaaBHOM yneSoň. M3 uncjia
Sojiee MOJiogbix yueHMKOB MareČKii npoSncMaTMKOň TKa-
Hbix tuTop saHMMaiOTca rJiaBHBíM oSpasoM K. 3aBapcKa
m 3. TaBepjiOBa.
Hapxgy c yncHMKaMM n. MareiiKM Haute pasBUTiie npo-
cjiMJiMpoBajia TaKJKe C. OegopoBa, nepsaa BbinycKHnpa
npa>KCKOM uiKOJisi npocbeccopa KnSaaa. B nocaegyioiuMe
rogbi CTaji Sojiee mouîbbim noroK BbinycKHMKOB bhccjio-
BaijKMx uiKOJi (BapiuaBa, JIo«3b, By«aneuiT m npexcue bcc-
ro Ilpara). B xo^e ynoMMHaBineroca pasBirnia cjiosaijKaa
Tanncepna coapejia b caiwoSbiTHOe xygojKCCTBeHHoe npo-
xbjichmc.
Siovak woven tapestry
Slovák woven tapestry enjoys a short tradition of
some four décades. At its origin are woven hangings
made thanks to the initiative of M. Teinitzerovà at
Jindřichův Hradec according to E. Fulla’s pictures.
Subsequently, several tapestries were made in Czech
manufactories according to models of Slovák painters
(J. Alexy’s, L. Mrázová’s, etc., besides E. Fulla’s).
A significant role in Slovák tapestries was played by
J. Krén who, in the mid-sixties, while realizing his
own designs, achieved a smoother coopération with
the workshop and in addition, became a propagátor
of tapestry in architecture.
A breakthrough in the existing practices in textile
work came to be the achievements of Prof. M. Matej-
ka’s pupils (VSVU in Bratislava) who had become
familiar with weaving already during their studies.
They became the représentatives of authorial weaving
as a progressive moment in our development. Simul-
taneously, they successfully introduced tapestry as an
element of soeially highly exposed interiors. About the
year 1970, K. Sujanová achieved priority among them
and in 1974 worked as head of a newly founded
weaving workshop in Bratislava. Besides her, also L.
Jergušová-Vydarená and E. Cisárová-Mináriková beca-
me prominent. Despite a différence in planes of ex-
pressions, their work reveals also related signs, con-
ditioned by their Professional training. Among Ma-
tejka’s pupils of a younger génération, the process of
woven hanging is being pursued particularly by K.
Zavarská and E. Haverlovâ.
Besides Matejka’s pupils, our development has also
been profiled by S. Fedorová, the first graduate of
Prof. Kybal’s Prague school. The subséquent years saw
a strengthening of the stream of graduâtes from extra-
-Slovak schools (Warsaw, Lodz, Budapest, but above
ail Prague). During the course of the development
spoken of here, Slovák woven tapestry has matured
to an independent, autochthonous artistic expression.