What rooms were there in a Cracovian hut? What furnishings and fittings did it contain? The colourful descriptions by Seweryn Udziela provide the best guide on the imaginative wanderings of the inhabitants of villages in the vicinity of Kraków. With regard to the inhabitants themselves, he wrote as follows: „A Cracovian is a man of medium height, broad-shouldered, muscular, stocky, with a beautiful, shapely head, an oval face with beautiful, gentle features, his eyes are blue and his nose prominent. The hair, which is always bright among children, becomes dimmer later on, hence, people here are mostly dark-haired (...). Their facial features are handsome; sometimes men are prettier than women”...
A heligonka is a folk variation of the accordion. The instrument was first mentioned in the eighteenth century, when—in 1829—the organ and piano master, Cyril Demain, was granted a patent for the manufacture of heligonkas in Vienna. Soon, their serial production had begun...
The sculpture Man's Figure was made from wood, on which residually preserved polychrome is visible, was made about 1850 by Jan Wnęk (1828–1869) from Odporyszów. He was a carpenter, a self-taught sculptor and a genius designer (of a flying machine, among other things).
The custom of blessing food and eggs, belonging to the Easter tradition, has always been its main component. They were eaten, given as gifts, and used for magical treatments to ensure a good harvest and the success in husbandry as well as in games. In Lithuania, apart from the Easter period, a common custom was making Easter eggs on St. George’s Day (April 23), the traditionally adopted date of the first cattle grazing in spring.
The tradition of manufacturing toys in the region of Myślenice started between World War I and World War II. An important place for manufacturing toys — even if it was for a short time — was Poręba and then the villages of Trzemeśnia, Łęki and Osieczany. Production was started by the three Witas brothers from Poręba...
In the past wood was the basic material used to manufacture toys, just like plastic is nowadays. Children were able to acquire toys in one of three ways: they could make them by themselves (among the exhibits from Małopolska’s Virtual Museums there is a bicycle made by a 12-year-old...
Pottery products, which have accompanied people from the dawn of history, are associated mainly with folk mementos these days, while the function of pottery was successfully taken over by industrial products, not limited by fragile material.
A painted wooden chest in a Skawina style. It is made of coniferous wood and placed on wheels cut of a wooden plank. A cuboid box is supported on a frame of wood in which there are wheels and a small rectangular drawer. The lid is attached to the rear wall with hinges. The chest has a lock and a signboard with an opening for a key in the front wall made of iron. On the signboard is a date: 12.09.1893.
The author of the sculpture, Karol Wójciak, also known as Heródek (1892–1971), is considered to be one of the most original amateur artists. The angel is represented in a primitive way. Its head and torso are made up of a block of wood with a round section, truncated flat on both sides. The wings nailed to the back are made of triangular pieces of wood with a non-planed surface.
This Easter egg might illustrate the roads by which the objects (including Easter eggs) arrived there in the first years of existence of the Ethnographic Museum of Seweryn Udziela in Kraków . Sometimes, entire collections gathered over the years, and sometimes only individual items were donated here—the result of social sacrifice, fascination and exploration of folklore, and sometimes accidental encounters.
Hurdy-gurdy was an instrument known across Europe whose history dates back to the Medieval period. In the Polish territories, as early as the beginning of the 20th century, the tradition of playing this instrument was in decline. A hurdy-gurdy was one of the instruments used to perform church, court and folk music. Hurdy-gurdy performances accompanied dances and songs.
We buy, receive and collect... items of everyday use – the faithful companions of our reality. We try to surround ourselves with those objects that make us happy, those which make our hearts beat faster, and those to which we feel sympathy at first sight.
On the rectangular base, a rectangular wall was placed vertically. To the rear part of the wall, artists attached a transverse board, creating a king of a bench on which three figures sit: a woman, a man and a boy between them. This is the family of Józef Marek, portrayed by the artist. The artist is holding a brush and a palette — the attributes of his profession, as he is not only a sculptor, but also a painter and this is what he wants to accentuate.
The chest was part of the dowry of a bride. The girl held in it her dowry – festive shirts, petticoats, skirts, aprons, scarves, true coral beads, homemade linen, and sometimes embroidered tablecloths. When it was “moved” to her husband's house, the lid of the chest was opened so that the neighbours could see the gathered dowry.
This shrine comes from Łącko; it was donated to the Museum in 1959. It represents a type of a columnar shrine with a wooden box mounted on a debarked trunk.
Kraków’s bed made from soft wood has signature 1 in the collection of the Seweryn Udziela Ethnographic Museum in Kraków. It was the first object, which started museum’s collection.
This puppet nativity scene made by the carpenter Franciszek Zięba in 1935 is the first exhibit donated to the Museum – the Vistula Ethnographic Park in Wygiełzów and the Lipowiec Castle. The base of the nativity scene is adapted to the needs of puppet theatre.
The presented object is a high, dark green chest, resting on four profiled legs with a drawer at the bottom. The front wall is decorated with a painted pattern of vertical rectangles with concavely incised corners, separated from the background by a honey colour and a narrow burgundy red frame.
Wayside wooden crosses were usually several metres high. With time, the wood decayed and had to be dug in again; this was usually done after All Souls’ Day. This action was repeated until the cross became quite small. Chapels and crosses, which were an expression of...
This painting represents the Zalipie culture which is closely connected with the Dąbrowa district. The fact that it was painted by Felicja Curyłowa, one of the most talented artists from Zalipie, makes this exhibit even more valuable. Enjoying great authority and endowed with organisational skills, being conscious of the value of local decorative traditions, Curyłowa made Powiśle famous not only in Poland but also outside the borders of the country.