William Penn Life, 1987 (22. évfolyam, 1-12. szám)
1987-05-01 / 5. szám
May 1987, William Penn Life, Page 3 Understanding folk art Blending diverse influences and balancing aesthetics against practicality These Hungarian creations were on display during our Centennial Banquet last September. By Ruth Biro, Ph.D. Duquesne University By the end of the 19th century and the beginning of the 20th, factories were springing up all over Hungary, iron bridges spanned the Danube and a network of railways linked the different regions. At the same time, Budapest developed into a large city, and artists, painters and sculpters, drawing their original inspiration from Munich, Paris and Vienna, were creating a Hungarian national art in harmony with the prevailing artistic style of the period. The thousands living in Hungarian peasant villages at this time created a distinctive and local art world of their own. It included decorative and functional objects, many examples of which have survived. However, with the violent changes of recent years, the peasant world which both provided the framework for this type of art and gave it life has largely disappeared. In the middle of the last century, threequarters of the Hungarian nation lived on the land. Even a generation ago, about half still did. In many aspects, modern Hungarian society has its roots in the peasant world. Modern Hungarian national culture — including literature, music and art — is bound both directly and indirectly to the traditions of peasant culture. The search for national identity and character continually leads back to that world. The peasant way of life in which folk art has flourished developed in basically the same ways over large areas and over long periods of time. The shapes and techniques of folk art and the decorative motifs are mostly not the exclusive expression of Hungarian or any other peasants. They were part of the social and cultural changes experienced by much of Europe. However, certain styles are restricted to certain regions and local communities. Thus, those systems of interpersonal relations which gave rise to and nourished folk art can only be viewed from within the framework of a given village. The peasant villages which produced their local styles of folk art belonged to a complex, highly stratified national society. Within the same society, at the same time, other classes lived in different ways and produced other kinds of art. It is this situation and relationship which distinguishes peasant art from the art of a tribal society or the homogeneous art of the early empires, as well as from European "high” art. Peasant art does not exist alone. The high art of the same society exists with it. There is a constant flow in both directions between urban and court art on the one hand, and peasant art on the other. It is important not simply to trace the history of certain motifs and structures but to remember that folk art was in continuous contact with the different forms of expression of the other levels of society which were familiar to the villages themselves. In the last few centuries, the position and role of the peasants within society and their self-awareness have undergone definite changes. Obviously, it is these changes which can be seen in the differences between the styles of different periods of folk art. Peasant generations whose position and situation have changed produced a folk art whose style has changed as well. With this in mind we may be better able to understand the reasons behind the sharp differences in the folk art of European societies. Folk art is generally thought of as the art of creating and decorating useful objects. A more thorough examination of the goods and materials belonging to peasant families reveals that the relation between usefulness and artistry is not quite so simple. The majority of ordinary objects found in village homes are usually simple Beautiful shapes, such as these, reflect great care in production and varied influences. in shape. Those objects which appear more artistically crafted are not used in daily life. Decoration or a beautiful shape gives an object an additional value. If there is a choice, ornamental objects are usually chosen over plain ones. The preference, even in functional objects, tends towards the beautiful as well as function wherever possible. But there is a point at which preference for beauty and practical demands of use conflict. Rich, elaborate decoration or delicacy in construction of art*object make it fragile and thus less suited to practical use. In addition, its daily use would ruin the decoration and spoil the beauty. (In the Special Centennial Issue of the William Penn Life, Dr. Ruth Biro of Duquesne University in Pittsburgh described the exhibition of folk arts and crafts which was on display during the Centennial Banquet.) Fraternal Focus By John F. Kenawell , Executive Vice President A welcome (and necessary) service Statistics show the average American spends no less than two hours a day watching television. While this may be the average, statistics also show that young people and retired people watch a great deal more. Some people entertain themselves with television for as many as seven or more hours a day. Let’s face it — television is a big part of our lives. Although the residents of Mount St. George have a variety of activities and programs throughout the week, television is still a big source of entertainment. Unfortunately, the reception at Mount St. George has not been that great. The current antenna system is greatly affected by weather conditions, and the number of stations is limited. A cable system is badly needed, but due to our location, is also very costly to install. Therefore, a special fund has been established to raise money for this cable system. Throughout the years many branches and members have asked how they can help the Home and make the residents’ stay more comfortable. I can think of no other single project that would do so much for the residents for such a long time in the future as helping them obtain a cable television system. Branches could hold fundraising projects with the profits directed to this fund. Branch projects could be a formal project or something as easy as selling 50-50 chances at your next branch activity. Individual donations will also be greatly appreciated. Every dollar will count toward making this project a reality. If I can be of any help in planning your branch project or answer any questions, please do not hesitate to contact me. Would You Like To Earn Extra Money? We need men and women for part-time sales. The William Penn Association is one of the most respected fraternal benefit societies in the industry today. We have an excellent opportunity waiting for you. We need men and women just like you to help us continue our growth and build our membership. The William Penn Association offers some of the finest insurance products available. Join the William Penn Team! For more information, call or write: Daniel R. Wahl, CLU, FIC William Penn Association 709 Brighton Road Pittsburgh, PA 15233 (412) 231-2979
