DOI Heft:
Editorial
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26693#0018
16
Editorial
and a “dictator of the art policy in the Young Poland Kraków”. His desire to model local
art after Japanese art is the subject of Ewa Machotkas text entitled Orientalism or nation-
alism? - Jasieńskis Japan, which poses a fairly fundamental ąuestion about his motives
to promote Japanism in Poland. The author thrashes out the sources and naturę of Feliks
Jasieńskis artistic concepts, points to the originality of his views, and identifies his double
role of an “Orientalist” and, so to say, “Nationalist”, who strives to give shape to national
art. “Lef s learn from the Japanese how to be Poles” - this paradox Jasieński coined before
the fist exhibition of Japanese works of art drawn from his collection in 1901, was hardly
understood by the Warsaw public. Janusz S. Nowak shows in his article Kraków meets
Japan and its culture at the turn of the 19th and 20th centuries. The role of the press in the
reception of the Japanese art and culture that the process getting to know and appreciate
Japanese art took a completely different course in Kraków, where viewers had already been
well prepared to accept it. Feliks Jasieński appears as a maturę and subtle connoisseur of
the art of the Far East in Michał Dziewulskis article on Japanese tsubas: basie decorating
techniąues and terminology. Surveying an area that was apparently peripheral to the collec-
tor's Oriental interests, the author proves that even “minor” items he acquired (compared
to, say, woodblock prints) represent top historical and artistic value. Bożena Kostuch in
her communication Franciszek Necels Kashubian ceramicsfrom Feliks Jasieńskis collection
draws attention to one of the collectors last passions: a budding collection of vernacular
ceramics from the region of Kashubia, the initial traces of which are found in a few objects
he obtained, as well as in his correspondence with Franciszek Necels manufactory, which
was interrupted by Jasieńskis death on April 6, 1929.
The two anniversaries relating to Feliks Manggha Jasieński have provided an opportu-
nity for recalling both his valueless gift - a gem in the collection of the National Museum
in Kraków, and the benefactor himself, with his distinguished and distinct personality,
without whom the artistic life of the Young Poland Kraków would be hard to imagine. One
of the events the National Museum in Kraków wishes to celebrate the memory of him is
this volume, a token of our appreciation and gratitude for the legacy he handed down to us.
Editors
Editorial
and a “dictator of the art policy in the Young Poland Kraków”. His desire to model local
art after Japanese art is the subject of Ewa Machotkas text entitled Orientalism or nation-
alism? - Jasieńskis Japan, which poses a fairly fundamental ąuestion about his motives
to promote Japanism in Poland. The author thrashes out the sources and naturę of Feliks
Jasieńskis artistic concepts, points to the originality of his views, and identifies his double
role of an “Orientalist” and, so to say, “Nationalist”, who strives to give shape to national
art. “Lef s learn from the Japanese how to be Poles” - this paradox Jasieński coined before
the fist exhibition of Japanese works of art drawn from his collection in 1901, was hardly
understood by the Warsaw public. Janusz S. Nowak shows in his article Kraków meets
Japan and its culture at the turn of the 19th and 20th centuries. The role of the press in the
reception of the Japanese art and culture that the process getting to know and appreciate
Japanese art took a completely different course in Kraków, where viewers had already been
well prepared to accept it. Feliks Jasieński appears as a maturę and subtle connoisseur of
the art of the Far East in Michał Dziewulskis article on Japanese tsubas: basie decorating
techniąues and terminology. Surveying an area that was apparently peripheral to the collec-
tor's Oriental interests, the author proves that even “minor” items he acquired (compared
to, say, woodblock prints) represent top historical and artistic value. Bożena Kostuch in
her communication Franciszek Necels Kashubian ceramicsfrom Feliks Jasieńskis collection
draws attention to one of the collectors last passions: a budding collection of vernacular
ceramics from the region of Kashubia, the initial traces of which are found in a few objects
he obtained, as well as in his correspondence with Franciszek Necels manufactory, which
was interrupted by Jasieńskis death on April 6, 1929.
The two anniversaries relating to Feliks Manggha Jasieński have provided an opportu-
nity for recalling both his valueless gift - a gem in the collection of the National Museum
in Kraków, and the benefactor himself, with his distinguished and distinct personality,
without whom the artistic life of the Young Poland Kraków would be hard to imagine. One
of the events the National Museum in Kraków wishes to celebrate the memory of him is
this volume, a token of our appreciation and gratitude for the legacy he handed down to us.
Editors