DOI Page / Citation link:
https://doi.org/10.11588/diglit.23631#0107
crowns and mitres, sceptres and crosiers, royal and episcopal rings, ceremonial robes, and coronation
swords — all carried a symbolic meaning of the highest order and were identified with those values which
ranked supreme for the country and nation.
In the Baroque and Sarmatian period, works of craftsmanship, while preserving their previous
role, contributed primarily to the shaping of Polish national identity, gave expression to local tastes, style
and the specific spirit of — first and foremost — the community of the gentry. This spirit was most fully
manifested in attire, arms and armour, horse trappings, the furnishing of homes, the splendour of banqueting
tables, and the pomp and ceremony of funeral rites.
The close of the 18th and the 19th century brought another change in products of craftsmanship
(with the exception of those serving religious worship) losing what symbolic significance they may have
possessed and helping instead to make daily life more pleasing and attractive. Old objects became museum
pieces serving social, aesthetic and educational needs and evoking patriotic emotions.
The unprecedented artistic upsurge at the threshold of the 20th century, known as Young Poland, led
to a revival of craftsmanship inspired as much by Art Nouveau as by folklore. Despite growing
interest in industrial production on the one hand and in pure forms on the other, attachment to local
traditions continued throughout the interwar period. This traditional style was continued after the Second
World War when no effort was spared to develop artistic industry among peasants and in towns in order
to meet the needs of broad masses of society and export demands. Thus Polish art and craftsmanship
became known abroad. This large-scale action, however, had an adverse effect on ihe quality of wares
produced. Fortunately, thanks to talented artists, in the 1960s new opportunities opened up before
craftsmanship, particularly weaving, ceramics and glassware, which resulted in an unprecedented turn
toward pure art.
swords — all carried a symbolic meaning of the highest order and were identified with those values which
ranked supreme for the country and nation.
In the Baroque and Sarmatian period, works of craftsmanship, while preserving their previous
role, contributed primarily to the shaping of Polish national identity, gave expression to local tastes, style
and the specific spirit of — first and foremost — the community of the gentry. This spirit was most fully
manifested in attire, arms and armour, horse trappings, the furnishing of homes, the splendour of banqueting
tables, and the pomp and ceremony of funeral rites.
The close of the 18th and the 19th century brought another change in products of craftsmanship
(with the exception of those serving religious worship) losing what symbolic significance they may have
possessed and helping instead to make daily life more pleasing and attractive. Old objects became museum
pieces serving social, aesthetic and educational needs and evoking patriotic emotions.
The unprecedented artistic upsurge at the threshold of the 20th century, known as Young Poland, led
to a revival of craftsmanship inspired as much by Art Nouveau as by folklore. Despite growing
interest in industrial production on the one hand and in pure forms on the other, attachment to local
traditions continued throughout the interwar period. This traditional style was continued after the Second
World War when no effort was spared to develop artistic industry among peasants and in towns in order
to meet the needs of broad masses of society and export demands. Thus Polish art and craftsmanship
became known abroad. This large-scale action, however, had an adverse effect on ihe quality of wares
produced. Fortunately, thanks to talented artists, in the 1960s new opportunities opened up before
craftsmanship, particularly weaving, ceramics and glassware, which resulted in an unprecedented turn
toward pure art.