DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.23631#0011
FOREWORD
In comprehensive works on the history of art, the applied arts, or minor arts, are often viewed as of only
marginal importance, secondary to 'great art' — architecture, sculpture and painting. In lact some books
omit this subject altogether, which does not mean however that this branch of art arouses no interest. On
the contrary, a vast amount of literature, both strictly professional and popular, has been written on the
subject. By its very nature applied art, occasionally called artistic crafts or decorative arts, carries
a mark of utility unbefitting 'great art'; but though serving practical ends, it also has its specific merit.
This duality tends to relegate it to the bottom of the order of priority, both as regards professional experts
who arrange museum exhibitions, and in the eyes of the general public.
The above opinion does not seem fully justified. In the first place, the question of utility' is a relative
matter. Architecture, the Queen of Arts, serves practical purposes, whereas applied art produces many
objects exclusively for the satisfaction of aesthetic needs. Of the many fields of art, applied art has the
longest history^ which goes back to the very beginnings of civilization. Ever since man first began to make
tools, pots and pans, weapons, clothes and furniture many thousands of years ago, he has embellished
such objects, thereby giving expression to his feelings, emotions and beliefs, venting his need of magic or
simply giving rein to his aesthetic needs, imitating the forms of surrounding nature in their intrinsic beauty
and colour. Objects made of bone, horn and antler, stone, wood and finally metal, later also fabrics and
jewelry, were first to display artistic characteristics. It was on them that man learned the difficult art
of drawing and sculpture, as well as that of applying colours. In later ages the differences between various
branches of art tended to vanish. For example, weaving and embroidery, mosaic work and stained glass
were often merged in the sphere of painting, though in fact they were closer to craftsmanship. Painters
and sculptors have dabbled in ceramics ever since Hellenic times. Unquestionably, the most exquisite
examples of Greek drawing and painting have come down to us on ancient Greek pottery. In present-day
museums small carvings in wood and ivory, as well as metal sculptures are included in the domain of
decorative arts. Division of art into 'great art' and 'minor arts' was first adopted in Europe during the
Renaissance as a result of the great development of easel painting. It should be noted, however, that
throughout long periods of time and vast areas applied art was the only known form of art, tor example
the art of the Asiatic nomads, or of various tribes in the period of migrations in Europe. In more recent
times, crafts have been elevated to the rank of art by the Austrian art historian, Alois Riegl. He extended
his field of studies to the art of non-classical cultures, previously considered primitive, hardly deserving of
any special attention. He proved that the load of expression this art carries is by no means of lesser quality
than that which emanates from works of 'great art'. Though the standards of valuation rejected by Riegl
are still applied to this day, research on the history of art now extends to vast domains of culture which
include all periods of time and all peoples; this research is conducted in close collaboration with archaeology,
ethnography, sociology and semeiology.
In Polish culture, applied art has always played an important role. One of the reasons for this
was the specific nature of Polish taste, which escapes exact definition. A love of gorgeous apparel, sump-
tuous weapons, jewelry and ornamental tapestries was deeply embedded in the Polish national character.
The i 6th century writer Mikolaj Rej wrote many colourful epigrams on the subject. Two hundred years
later, Jedrzej Kitowicz provided a comprehensive outline of Polish customs and habits, in which he display-
ed an extraordinary knowledge and understanding of the attributes of national culture, and proved that
love of rich and beautiful apparel found its counterpart in the style of the old Polish language. The first
monumental work on the history of art in Poland, W%pry sij-uki sredmomenjiej i \ epokj Odrod^enia pod
In comprehensive works on the history of art, the applied arts, or minor arts, are often viewed as of only
marginal importance, secondary to 'great art' — architecture, sculpture and painting. In lact some books
omit this subject altogether, which does not mean however that this branch of art arouses no interest. On
the contrary, a vast amount of literature, both strictly professional and popular, has been written on the
subject. By its very nature applied art, occasionally called artistic crafts or decorative arts, carries
a mark of utility unbefitting 'great art'; but though serving practical ends, it also has its specific merit.
This duality tends to relegate it to the bottom of the order of priority, both as regards professional experts
who arrange museum exhibitions, and in the eyes of the general public.
The above opinion does not seem fully justified. In the first place, the question of utility' is a relative
matter. Architecture, the Queen of Arts, serves practical purposes, whereas applied art produces many
objects exclusively for the satisfaction of aesthetic needs. Of the many fields of art, applied art has the
longest history^ which goes back to the very beginnings of civilization. Ever since man first began to make
tools, pots and pans, weapons, clothes and furniture many thousands of years ago, he has embellished
such objects, thereby giving expression to his feelings, emotions and beliefs, venting his need of magic or
simply giving rein to his aesthetic needs, imitating the forms of surrounding nature in their intrinsic beauty
and colour. Objects made of bone, horn and antler, stone, wood and finally metal, later also fabrics and
jewelry, were first to display artistic characteristics. It was on them that man learned the difficult art
of drawing and sculpture, as well as that of applying colours. In later ages the differences between various
branches of art tended to vanish. For example, weaving and embroidery, mosaic work and stained glass
were often merged in the sphere of painting, though in fact they were closer to craftsmanship. Painters
and sculptors have dabbled in ceramics ever since Hellenic times. Unquestionably, the most exquisite
examples of Greek drawing and painting have come down to us on ancient Greek pottery. In present-day
museums small carvings in wood and ivory, as well as metal sculptures are included in the domain of
decorative arts. Division of art into 'great art' and 'minor arts' was first adopted in Europe during the
Renaissance as a result of the great development of easel painting. It should be noted, however, that
throughout long periods of time and vast areas applied art was the only known form of art, tor example
the art of the Asiatic nomads, or of various tribes in the period of migrations in Europe. In more recent
times, crafts have been elevated to the rank of art by the Austrian art historian, Alois Riegl. He extended
his field of studies to the art of non-classical cultures, previously considered primitive, hardly deserving of
any special attention. He proved that the load of expression this art carries is by no means of lesser quality
than that which emanates from works of 'great art'. Though the standards of valuation rejected by Riegl
are still applied to this day, research on the history of art now extends to vast domains of culture which
include all periods of time and all peoples; this research is conducted in close collaboration with archaeology,
ethnography, sociology and semeiology.
In Polish culture, applied art has always played an important role. One of the reasons for this
was the specific nature of Polish taste, which escapes exact definition. A love of gorgeous apparel, sump-
tuous weapons, jewelry and ornamental tapestries was deeply embedded in the Polish national character.
The i 6th century writer Mikolaj Rej wrote many colourful epigrams on the subject. Two hundred years
later, Jedrzej Kitowicz provided a comprehensive outline of Polish customs and habits, in which he display-
ed an extraordinary knowledge and understanding of the attributes of national culture, and proved that
love of rich and beautiful apparel found its counterpart in the style of the old Polish language. The first
monumental work on the history of art in Poland, W%pry sij-uki sredmomenjiej i \ epokj Odrod^enia pod