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INTRODUCTION The official interest of the government was preoccupied with the issue of folk art and cottage industry in the second half of the 19 th century in Hungary. The Parliament discussed the support of cottage industry in 1877 for the

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Sale of Ceramics at Present Time. Profile of a potter from Pezinok]. Bakkalaureatsarbeit der Univerzita sv . Cyrila a Metoda in Trnava 2010. H ABERLANDT , Michael 1911 : Haberlandt: Österreichische Volkskunst [Austrian Folk Art] . Textband und

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The Slovene ballad Animals Bury the Hunter is an animal narrative song of jocular character. It tells of the burial of a hunter and of a funeral procession not composed of humans but wild animals (a bear, foxes, hares, a wolf, cranes and partridges, song birds, etc.) who seem to derive great joy from the event. The analysis of the song's 31 variants reveals the changes made to the song over the course of time, as it survived through different historical periods and spread throughout Slovenia. I attempt to show that the ballad was used as a model for painted beehive panels featuring the same motif. In addition to the analysis, I am concerned with the sociological and ethical elements of the ballad. The paper proposes at least three possible theses: 1. The song is part of the conception of a topsy-turvy world, where the roles and mutual relationships of people and animals are reversed in an ironic sociological view of the world.  2. The song is a critique of one class by another: peasants mocking hunters who belong to a different social stratum. 3. The song is a representation of “pre-Cartesian” times, when animals were not “mere machines” without feelings, to be treated by man as objects with no ethical significance. It points to the ethical aspects of the human treatment of animals.

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, 58–61. Kresz , Mária 1974 Viski Károly népművészeti kutatásainak eredményei (különös tekintettel a kerámia-kutatásra) [The Findings of Károly Viski’s Research on Folk Art (with Special Regard to Ceramics)]. Ethnographia LXXXV

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The amazing adventures of Ambrus Járom

Dilemmas faced by artists of peasant origin in the Sixties

Acta Historiae Artium Academiae Scientiarum Hungaricae
Author: Gábor Pataki

In the first half of the 60s a conflict between modern art and traditional folk art culture can be detected. The resolution of this conflict could be imagined in the form of a synthesis of the two (following the model of Béla Bartók in music). This study offers some examples of this conflict and attempts at its consolidation in the art of János Orosz (folk surrealism), Mihály Schéner (individual transformation of folk art), Miklós Halmy (search for ‘archetypal roots’), etc. The paper finally deals with the fading possibility of the reconciliation of the neo-avant-garde and folkish/rural tendencies, as well as the negative connotations of the failed attempts to achieve it.

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did not suppress these – mainly aesthetic and identity building – ambitions but converted them into a means of the socialist ideology. New directions of folk art for the creative people have been drawn up by the applied folk art and cottage industry co

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Summary

The importance of the decorated artefacts of folk culture was first emphasized by positivitic theories of the mid 19thcentury. Gottfried Semper stated a straight connection between the genesis of arts and the evolution of civilisation. Due to his impact, ornaments were often considered as a medium of a peculiar „language“or „grammar“for ethnic contents, the primary forms of which were supposed to be stable and not subject to temporary changes. According to this theory, Folk art keeps this primary state of ornaments and evolution means a process towards individualisation in the sense of national styles. This theory has been influential in the raising of taste for ethnographic objects. Following the 1851 World Exhibition in London the institutions of decorative arts were created first in England and than on the continent. The Museums for Arts and Crafts collected among others models and patterns for embroidery and other arts. In the course of this process separate museums were founded for collecting popular artefacts. In the first ethnographic museums the dychotomy of urban and rural civilization was first expressed. The present essay analizes on the exemple of Hungarian decorative art the process of collecting national ornaments, beginning with the first publication by Károly Pulszky (1878) conceived in Semper's terms. The following discussion was determinated by an early influence of the theory of Alois Riegl, represented by the drawing teacher József Huszka, who elaborated an approach to Hungarian folk ornaments as a genuine prehistoric tradition not influenced by historical styles and interpreted as symbols. The artistic interpretation of the folk culture was widespread by the volumes on Hungarian Ethnography edited by Dezsõ Malonyay. In the same time, the system of Gottfried Semper also determinated the foundation of the Hungarian Museum of Applied Arts and the separation of an ethnographic collection in the Department of Antiquities of the Hungarian National Museum. Plans for an autonomous Museum of Ethnography during the 1870–1880-s were realized in 1898 as the collection of the Ethnographic Museum comprising universal ethnologic and Hugarian materials as well were located in a separate building. Since the early 20thcentury ethnographers began to interpret folk artefacts not as objects of aesthetic value but on the basis of their systematic situation in scholarly ethnography.

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Lechner Ödön rajzai a szegedi városházához

Ödön Lechner’s Drawings for the Szeged Town-hall

Művészettörténeti Értesítő
Author: Váraljai Anna

The paper is about the set of drawings and documents by Ödön Lechner and Gyula Pártos for the Town-hall of Szeged dated to 1881–1883 (Hungarian National Archives, Csongrád-Csanád County Archives, Szeged [MNL CSML], Collection of Building Plans and Documents of the Municipality of Szeged, marked Lecher Ödön, Pártos Gyula: A Szegedi Városházhoz készített tervek, rajzok és iratok, [Plans, drawings and documents for the Szeged Town-hall], XV.2b. 45. d.-49.d). The elaborated theme includes ground-plans, rosette, baluster and skylight plans, detail plans of staircase and main cornice, plan of the roof of the main staircase, 37 drawings of ornamental sculpture, window pillars, window frames and rail chains, painter’s stencils signed by Ödön Lechner, two façade versions, tower detail, details of the main portal, drawings of the vault around the clock, of the ornaments of room doors and cornice elements. The building logbooks, list of submissions to the competition with code-names and the contracts signed with the building contractors are also valuable sources.

In addition to eighty drawings of diverse sizes and techniques, the collection includes the construction documents, accounts, correspondence, building logbooks, planning competition calls, and a colour plan for the tiling of the Szeged Town-hall now in the Architectural Collection of the Kiscelli Museum of the Budapest History Museum (inv.no. 117). I evaluate the drawings both within the conception of an architectural work and also as separate graphic sheets, and try to describe their background in terms of the history of architecture, art and ideas.

I am led to conclude that the Szeged Town-hall was the first project to manifest Lechner’s ambition to lay the groundworks of a national architecture based on the more abstracted and universal basic forms of folk art but keeping abreast of European tendencies. The drawings are invaluable in that they add more information to the chronology of Lechner’s artistic career and lend stress to the fact that folklore and local history researches, the intellectual approach, the synthesis of local and international achievements, a thorough knowledge of the history of ceramics, the redefinition of traditions played at least as important roles in creating the concept of a building as individual intention and creative imagination.

The paper was supported by the Ernő Kállai Art Historical Research Grant.

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lidového umení a sbírka keramiky v Moravském muzeu [Early Ethnographic Studies of Folk Art and the Ceramic Collection of the Moravian Museum] . Casopis Moravského muzea. Vedy spolecenské 69 , 231 – 238 . K ALINOVÁ , Alena 1985 : K vývoji sbírky

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The article gives data referring to the meanings and functions of mushrooms in general, and with the Hungarians respectively to edible mushrooms. The Hungarians living in the Carpathian basin, being exposed to both mycophob and mycophile (German and Slavic) influences, formed an intermediary attitude, which is reflected up to now in the medium number of mushroom names and average knowledge about mushrooms. The knowledge about mushrooms of the Hungarian people can be considered medium, in some regions above average. The frequency of consuming mushrooms varies in different Hungarian regions. The article, while describing the mushroom consumption and mythology, the functions of mushroom in the food culture, the tools and methods of mushroom-gathering, the knowledge and beliefs related to edible and poisonous mushrooms, the role of edible mushrooms in folklore and folk art, compares them with other European traditions.

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