F. Mentényi Klára szerk.: Műemlékvédelmi Szemle 1999/1-2. szám Az Országos Műemléki Felügyelőség tájékoztatója (Budapest, 1999)

KIÁLLÍTÁS - Bibó István: Klasszicista kúriák Dabason

künstlerische Niveau, sondern die Bescheidenheit im Verhalten. Diese Architektur ist nämlich nicht protzig, nicht exhibitionistisch; sie kennt sowie akzeptiert ihre eigenen Möglichkeiten und Rahmen, und sucht innerhalb dieser richtige Proportionen und das Gleichgewicht. Diese selbstverständliche Bescheidenheit ist auch dafür die Erklärung, daß die Volkskunst, die Volksarchitektur gerade diesen Stil harmonisch übernehmen und als eigenes über so lange Zeit bewahren konnte. István BIBÓ CLASSICIST MANOR HOUSES IN Dz\BAS Classicism - or as it is called in English neo classicism - as a stylistic period does not belong to those particularly known and liked, and according to general view it is not really considered a s part of the so called general education like for example antique or medieval art. Inevitably even architecture - as the most attractive part of this period influences public only with its most monumental examples, mainly cases when whole cities or their parts were planned like Paris, Karlsruhe, St.Petersburg, etc. Why do we still organise an exhibition of the comparatively late and provincial neo classical 19th century buildings of a village situated near Budapest. The answer is -admitting that we are biased - is that they are ours and are beautiful. The more provincial and clumsy they are, the better we love them. In fact it is worth collecting and investigating them because - like in more fortunate rich countries with more peaceful history and grandiose monuments - these humble buildings tell us much about their age. So if our past is important for us, then not the value of the monuments is the only point for us. The majority of the manor houses were built among 1820-1825, 25 buildings showing a characteristic type of Hungarian architecture concentrated on a certain place. Most probably many of their owners were rising into the gentry in the second half of the 19

th century and found the purpose of their life in preserving their privileges, but the buildings remind us to their predecessors, the builders and first owners of these manor houses. (It has to be mentioned as a curiosity that the Halász family owned itself nine houses at that time.) The lesser nobility did not only built verandas in the Reform Age to have a place to smoke a pipe there, but also gave the most outstanding personalities of public life and culture to Hungary to replace bourgeoisie tragically missing from its society. This attractive and positive view is reflected in the buildings and is an example of social changes. These buildings are representing a period of Hungarian nobility when spiritual freshness was prevalent. Summarising this the essence was modesty of mind and behaviour not of artistic value. This kind of architecture is not showy, it knows and accepts its own possibilities and is searching for the right proportions and balance. This is the explanation for folk art's having taken over harmonically this style as its own for a long time.