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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
Introduction In the context of material folk art, contemporary debates on originality associated with the creative community and the individual lead to the question of authenticity, that is, the issue of fidelity to tradition that underlies identity
Introduction In Hungary, the emergence of the concept of folk art was accompanied by definitions like cottage industry or artistic cottage industry , and from the late 19th century until the 1990s, the process was closely linked with the
stipends, as well as social benefits and pensions for rural inhabitants who qualified as folk artists . The qualification procedures, presided over by folk art experts with degrees in the fine arts and/or ethnography, encompassed both the makers and their
The Austrian Museum of Folk Life and Folk Art in Vienna was founded in 1895. From the beginning, ceramics were collected. Today, the ceramic collections include about 15,000 objects, of which more than 300 are faiences most probably originating from the west of Slovakia. About 70 of these are from the 17th century and about 80 from the 18th century. Many of the objects entered the collections in the early years of the museum through donations and purchases. An important patron was the art historian Alfred Ritter Walcher von Molthein (1867–1928). He was one of the 19th century researchers and collectors who started the Haban myth about the Hutterites.
Between 1974 and 2008, the Austrian Museum of Folk Life and Folk Art had a branch museum in Burgenland, the Ethnographic Museum in Kittsee Castle. During restoration work on the castle, shards were found that are known as the Kittseer Kellerfund (Kittsee cellar find)
). Several studies in the volume focus on Hungarian dance and music folklorism and the revival in material folk art. The authors are unanimous in their view that folklorism, tradition preservation, and heritagization are extremely important areas of applied
, modern crafts in Latvia have not been the subject of broader theoretical study, although some articles, encyclopedia entries and books on the development of folk art have been published ( Stepermanis 1961-1967 ; Alsupe ‒ Kargane 1988 ; Sirica
is Krassimir Dechev, born in 1953 in Plovdiv. I visited him in 2019 at his baroque shop, located on a backstreet away from the central part of Kapana. Krassimir is a folk art master with woodworking skills, certified in 1986 by the Association of
public interest in the production of folk art objects and the cooperative forms of employment and distribution date back to the 19th century, the 1953 establishment of the National Alliance of Cottage Industry Cooperatives (Háziipari Szövetkezetek
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.
