List of all exhibits. Click on one of them to go to the exhibit page. The topics allow exhibits to be selected by their concept categories. On the right, you can choose the settings of the list view.
The list below shows links between exhibits in a non-standard way. The points denote the exhibits and the connecting lines are connections between them, according to the selected categories.
Enter the end dates in the windows in order to set the period you are interested in on the timeline.
- Date of production early 20th century
- Place of creation village of Wola Łużańska, Pogórze region, Poland
- Dimensions height: 150 cm, width: 170 cm
- ID no. MDKG/OBL/E 1267
- Branch The Open Air Ethnographic Museum of the Pogórze Region in Szymbark
- Object copyright The Karwacjan and Gładysz Family Manors Museum
- Digital images copyright public domain
- Digitalisation RDW MIC, Małopolska's Virtual Museums project
In the past wedded women were not supposed to show themselves with an uncovered head. They usually wore small percale scarves or flowery scarves made of tybet fabric (Polish fabric made of Tibetan sheep wool); while on holidays and during various ceremonies, they made a wedding headscarf from a tulle scarf. Such a wedding scarf was worn by a bride during the unveiling and capping ceremony, which was an important moment at every wedding.more
In the past wedded women were not supposed to show themselves with an uncovered head. They usually wore small percale scarves or flowery scarves made of tybet fabric (Polish fabric made of Tibetan sheep wool); while on holidays and during various ceremonies, they made a wedding headscarf from a tulle scarf. Such a wedding scarf was worn by a bride during the unveiling and capping ceremony, which was an important moment at every wedding. During this ceremony, a bride was incorporated into the group of wedded women. The wedding forewoman (starościna or drużbina), together with the other women, placed a stool or a trough in the middle of the room and the bride had to sit on it. The woman took off her maidenhead and put on the wedding scarf. The ceremony was accompanied with various joyful songs. For example, this song was popular in Kobylanka:
Uwijojcie się, gosposie, a zgrabnie,
Bo ocepić pannę młodóm wypadnie.
Uwijomy się jakby w błocie żaby,
Bo nie chcymy z panny młody mieć baby.
Otwórzcie nom komórecke, otwórzcie,
Wypuście nom pannę młodóm, wypuście.
Odbierzymy pannie młody wionecek,
Założymy stary baby cepecek.
After their wedding, women wore wedding scarves at other weddings if they acted as forewomen.
Wedding scarves (called czepce, czuby or kotki) differed in every village. They were short, flattened or in the shape of a saddle. Putting on the wedding scarf was not easy and was performed by experienced women. The scarf was folded diagonally in half, the longer side of a triangle made in this way was rolled up and laid on the head, then the corners were crossed on the neck and once again laid on the front part of the head, where they finally formed a kind of cap, often on a paper base while the scarf’s corners were tied around the neck. Then it was fastened with pins, thus it was easy to take off and put on again, if necessary. The wedding scarf was often tied with another scarf under the chin.
Such scarves were used until ca. 1900.
The presented wedding scarf was manually embroidered with white cotton thread. The edge of the scarf was hemmed with serrated finishing stitch. The corner of the scarf was especially embroidered with a chain stitch of plant motifs (flowers and leaves). The scarf was laid on the head in a manner so that the richly ornamented corner was visible.
The scarf described here was manually embroidered by one of the women of the village of Wola Łużanska in the late 19th century and that is where it was purchased.
Elaborated by Anna Niemczyńska-Szurek (The Karwacjan and Gładysz Family Manors Museum), © all rights reserved