Kunt Ernő szerk.: Kép-hagyomány – Nép-hagyomány (Miskolc, 1990)
III. RÉSZ: A KONFERENCIA SAJTÓVISSZHANGJA
the desire for the past; romance and poetry compensated for the banality of everyday life. From this viewpoint, their communicativeness was greater than that of professional art, as shown by experimental research carried out by Danglova in this region during the seventies.. Another group of papers included presentations oriented towards determination of images intended for worship. The aim of "The Apothropical Printed Sheet in Spain" by J. Marti i Perez (Spain), offered an analysis of the printed sheets with apothropical function from a cultural and an anthropological viewpoint. The sheets were mainly printed from the eighteenth through the early twentieth centuries. With them, people sought protection from diseases, natural calamities, and evil spirits. The prints have always been of a religious character and were addressed to one or more celestial beings. From a formal viewpoint, this kind of popular print does not shape a clear unity, although the influence of the goigs —religious hymns of great importance in Catalonian and Spanish popular prints —was really remarkable. Marti i Perez's paper supplements the analysis of the most important elements of these sheets with research into other sources, turning these popular sheets into real "objects of power." In essence, they are comparable to Russian apocryphal pictures which were widespread, primarily in the old believers' strata of that time. Romanian scholar L. Marcu demonstrated a series of images on cult edifices in "Some Aspects of Visual Anthropology in the Funeral Painting from Sapinta (Maramuresh)." Known by the name "Merry Cemetery," due to the picturesque images and the versified biographies, that ensemble in northwest Romania also offers a first opportunity to get acquainted with an aspect of popular mentally, namelv the way to graphically represent the main characteristics of human beings. A burial monument has not only the purpose to immortalize the deceased, but also to perpetuate the deceased's reputation in the community. The presentation by L. Mikov (Bulgaria), "Anthropomorphic Ritual Plastic Art: Signs, Symbols, Masters," dedicated to ritual attributes in Slavic cultural traditions of the late Middle Ages, is also included in this group of papers. Using vast material, including religious symbols of Russian, Ukrainian, Polish, Bulgarian and other folk rites, Mikov convincingly demonstrated the social universality of these anthropomorphic images. Pictures dating back to the nineteenth century documented the traits of peasants' material culture in Saxony, Bavaria, and Switzerland in the presentation by G. Benker (FRG). Swedish pictures depicting traditional farmsteads served not merely as part of the picturesque interior of peasants' homes from the first decades of the twentieth century through the beginning of the Second World War noted K. Hemmingsson (Sweden), in "A Farmstead Painter from Uppland: His Paintings and the Oral Tradition About Him." They provide us with information about buildings of older times, the color of the houses, gardens, and even a flagstaff that expresses a patriotic feeling —nationalism —which at that time in Sweden glorified the "home and the Swedish farmstead." Very often Swedish emigrants in America ordered such paintings from home. They liked to have a picture as a reminder of their homeland. In the paper by M. Peltzer (Belgium), "The Reading of the Russian Picture
