DOI Heft:
Nr. 335 (April 1925)
DOI Artikel:van Gleef, Eugene: A Finnish national art
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19985#0032
mceRnAcionAL
the date. The oldest dated^rug
now in existence is one made in
1705, but this, however, is not
the oldest piece known. It is
probable that Ryas were made
several hundreds of years prior
to the eighteenth century; they
are still woven in the Finnish
homes but do not possess the
same beauty of color as those of
centuries ago. The early art of
dye making has been lost in
Finland just as in other coun-
tries of Europe, and with it have
gone the rich tones which are
cherished so highly in the older
specimens.
As suggested, the origin of
the Rya has not been deter-
mined. The word itself is de-
rived from the Swedish ryijy.
Some suppose accordingly a
Swedish origin for the tapestry,
but more than likely this merely
expresses the Swedish domi-
nance of early times. Ryas
occur in Sweden no doubt as the
consequence of their introduc-
tion to that country by order
a rya dating from 1785 of King Wasa (1523-1560) of
Reproduced by permission of Galerie Horbammer, Helsingfors Sweden who reigned during a
portion of the period of the
quently provided specifically for a Rya or two, Swedish domination in Finland. A Siberian source
and in the inventories of the peasant's belongings has also been mentioned and then again theory
the number served as an index to his wealth. places the Balkans and Poland as the avenue along
Attempts have been made to classify Ryas, which the art moved northward, finally reaching
but without much success. They are strikingly Finland. Horhammer, one of Finland's two lead-
individualistic. "Styles" apparently never ex- ing experts, has recently located Ryas in Lithu-
erted an influence. Every peasant wove his Rya ania, which gives some support to the last men-
to satisfy his own desires and tastes. Even pro- tioned suggestion. On the other hand, it has not
fessional weavers who wandered from village to been established whether these latter Ryas came
village taking orders for Ryas wove them accord- from Finland or from Poland or possibly were
ing to specifications set by the purchaser, rarely made within the confines of Lithuania. It seems
introducing their own ideas. In a few parishes to the writer, however, in view of the similarity
there appears a similarity in the border design, of the Rya to the "oriental" rug of southeastern
but never in the center field motif. The colors are Europe and southwestern Asia, that this art might
individualistic too, being influenced only by the well have been carried into Finland by the early
local environment. One can notice, for example, immigrants either along the Volga River or by
the preponderance of warm combinations of the those who moved toward the northern slopes of
reds and yellows in the weaves of the southwest the Carpathians and northward from that region,
coastal regions, and the colder blues and yellows Connoisseurs of Ryas hold their color as their
in those from the interior. greatest asset. The harmony in many instances is
Characteristic of most of the better Ryas are almost perfect. The colors are pure, soft, fresh,
the dates and the harmony in color composition, recalling the warm bright tones of an autumn
An illustration shows one with the date and name of landscape such as one may witness in a far
theowner;thenamedoesnotappearascommonlyas northern country.
thirty-two
april 1925
the date. The oldest dated^rug
now in existence is one made in
1705, but this, however, is not
the oldest piece known. It is
probable that Ryas were made
several hundreds of years prior
to the eighteenth century; they
are still woven in the Finnish
homes but do not possess the
same beauty of color as those of
centuries ago. The early art of
dye making has been lost in
Finland just as in other coun-
tries of Europe, and with it have
gone the rich tones which are
cherished so highly in the older
specimens.
As suggested, the origin of
the Rya has not been deter-
mined. The word itself is de-
rived from the Swedish ryijy.
Some suppose accordingly a
Swedish origin for the tapestry,
but more than likely this merely
expresses the Swedish domi-
nance of early times. Ryas
occur in Sweden no doubt as the
consequence of their introduc-
tion to that country by order
a rya dating from 1785 of King Wasa (1523-1560) of
Reproduced by permission of Galerie Horbammer, Helsingfors Sweden who reigned during a
portion of the period of the
quently provided specifically for a Rya or two, Swedish domination in Finland. A Siberian source
and in the inventories of the peasant's belongings has also been mentioned and then again theory
the number served as an index to his wealth. places the Balkans and Poland as the avenue along
Attempts have been made to classify Ryas, which the art moved northward, finally reaching
but without much success. They are strikingly Finland. Horhammer, one of Finland's two lead-
individualistic. "Styles" apparently never ex- ing experts, has recently located Ryas in Lithu-
erted an influence. Every peasant wove his Rya ania, which gives some support to the last men-
to satisfy his own desires and tastes. Even pro- tioned suggestion. On the other hand, it has not
fessional weavers who wandered from village to been established whether these latter Ryas came
village taking orders for Ryas wove them accord- from Finland or from Poland or possibly were
ing to specifications set by the purchaser, rarely made within the confines of Lithuania. It seems
introducing their own ideas. In a few parishes to the writer, however, in view of the similarity
there appears a similarity in the border design, of the Rya to the "oriental" rug of southeastern
but never in the center field motif. The colors are Europe and southwestern Asia, that this art might
individualistic too, being influenced only by the well have been carried into Finland by the early
local environment. One can notice, for example, immigrants either along the Volga River or by
the preponderance of warm combinations of the those who moved toward the northern slopes of
reds and yellows in the weaves of the southwest the Carpathians and northward from that region,
coastal regions, and the colder blues and yellows Connoisseurs of Ryas hold their color as their
in those from the interior. greatest asset. The harmony in many instances is
Characteristic of most of the better Ryas are almost perfect. The colors are pure, soft, fresh,
the dates and the harmony in color composition, recalling the warm bright tones of an autumn
An illustration shows one with the date and name of landscape such as one may witness in a far
theowner;thenamedoesnotappearascommonlyas northern country.
thirty-two
april 1925