Search

Šio straipsnio tikslas – atsakyti į Mažosios Lietuvos tautinio kostiumo tekstilinio krepšelio raidos tyrime iškilusius klausimus, susijusius su krepšelio gaminimo ir dėvėjimo motyvacija, dekoro charakteristikų pasirinkimu, ornamentikos ir spalvinių derinių simbolika. Atliktų lauko tyrimų analizė atskleidžia etnokultūrinės tapatybės raiškos per tekstilinių krepšelių gaminimą ir dėvėjimą apraiškas. Pasirenkamiems krepšelio dekoravimo elementams tradiciškai priskiriamų ir naujai suteikiamų simbolinių prasmių analizė parodo simbolio tęstinumo bei kaitos atvejus. Krepšelio dėvėjimas ne tik su Mažosios Lietuvos tautiniu kostiumu atskleidžia asmens tapatybės raišką per pasirinktų aprangos detalių dėvėjimą. Tekstilinių krepšelių gaminimas aktyvėja augant paklausai. Tyrime analizuojama pagal autorės sudarytus klausimynus iš gerai informuotų pateikėjų (tekstilinių krepšelių gamintojų ir dėvėtojų) surinkta medžiaga. The purpose of this article is to answer the questions raised in the course of the research on the development of textile pocket of the national costume of Lithuania Minor in relation to the motivation for production and wearing of pockets, the choice in decoration characteristics, the symbolism of ornamentation and colour combinations. The analysis of the accomplished field research reveals the manifestations of the expression of the ethnocultural identity through production and wearing of textile pockets. The analysis of the symbolic meanings traditionally attributed and newly assigned to the chosen decorative elements of pockets reveals the cases of the continuity and change of a symbol. The act of wearing a pocket not only with the national costume of Lithuania Minor demonstrates the expression of one’s identity through wearing the chosen parts of clothing. The growing demand stimulates the production of textile pockets. The research analyses the material collected from the well-informed presenters (makers and wearers of textile pockets) based on the questionnaires compiled by the author of the present article.

The historical attire of women from the Lithuania Minor (Klaipėda Region) has a characteristic practical detail: a textile pocket tied at the waist, which functionally corresponds to the modern handbag or pocket. Such textile pockets are called delmonai (pl.) and are usually decorated with colorful ornaments. The purpose of this article is introducing the prototypes of the ornamental motifs in terms of intercultural comparison, employing the visual materials collected by the author and historically formed intercultural contacts. While introducing her hypothesis of possible long-term influences, the author presents décor samples from identical or related textile pockets (from the 17th century until the middle of the 20th century), discussing the possibilities of their finding way to the Lithuania Minor. Researching the change occurring in the décor motifs, the author employs comparative analysis of the traditional (from the beginning of the 19th century until 1930s) and modern (from the beginning of the 21st century) textile pockets, still used as part of the national costume of the Lithuania Minor. The origins of several decorative motifs, e.g. the wreath, the crowned musical instrument, and the flower bouquet, are analyzed in more detail. The vegetal ornaments predominate in the décor of the textile pockets from the Lithuania Minor, including blossoms, branches, bouquets, leafs, wreaths and stylized trees. Certain modes of representation have been appropriated by the folk art from professional art or textiles. The most important centers of high fashion emerging in France, Italy, and Germany, exercised certain impact on tendencies occurring in the folk handicraft. Examples of textile pockets worn by the nobility were widely promoted by the periodicals. The surviving samples of embroidery patterns indicate one of the possible sources for the textile pockets’ décor in the Lithuania Minor: namely, the printed sheets with ornamental patterns, used by the nobility and lower social classes alike. Another likely source would be functionally similar needlework by women from the neighboring countries, since textile pockets make part of the national costume there as well. Sea trade created favorable conditions for commercial and cultural interchange between neighbors. The motif of wreath, rather frequently used in the Lithuania Minor, and the occasional motif of the flower bouquet also occur on textile pockets from Pomerania (the border region between Poland and Germany). Ornamentation of the pockets from Bavaria (in Germany) is also rather close in character to the décor of the Lithuania Minor. Such congruities may be determined by several reasons. Firstly, the producers of these textile works could have had interconnections (after the onslaught of devastating plague in Europe, numerous people from Salzburg moved to the fertile but rather wasted out territories of the Lithuania Minor). Secondly, the producers could have used the same original pattern, e.g. the printed sheet. However, although the mutual influence in the needlework décor of the neighboring countries determined by their economic and cultural connections is obvious, the décor of the textile pockets from the Lithuania Minor stands out in terms of its peculiar features (particular colors, modes of décor, etc.).In terms of spreading the regional ethnic culture, the problem of preserving the regional character of the folk art acquires special significance. Although separate parts of the national costumes inevitably change as result of the technical innovations increasingly applied to their production, these costumes should still remain recognizable as a continuation of the folk attire characteristic to the particular region. The patterns of décor used while making the textile pockets nowadays follow to some extent the traditional motifs of floral compositions. Although individual authors tend to create their original compositions, the majority of the textile pockets produced as part of the national costume of the Lithuania Minor still are easily recognizable as belonging to this particular region. The ornamental motifs are not especially distanced from the original ones as well, with embroidered flower bouquets and wreaths still making the majority. However, the motifs of the bouquet placed in a bag and the crowned musical instrument have lost their popularity. Rather than just making part of the national costume of the Lithuania Minor, the textile pockets increasingly appear as part of the modern clothing characterizing its regional peculiarity.

Straipsnio tikslas – nustatyti Klaipėdos krašto lietuvininkių tradicinės (XIX a. – XX a. pradžios) aprangos delmonų lokalizacijos vietas, jose dėvėtų delmonų kiekybinę kaitą ir galimus delmonų gaminimo, dėvėjimo bei platinimo centrus. Šiame straipsnyje aptariami Lietuvos muziejuose ir privačiose kolekcijose saugomi delmonai (eksponatai), jų nuotraukos, piešiniai. Analizuojami autorės per pastaruosius trejetą metų surinkti 82 delmonų duomenys ir delmonų dėvėjimo vienuolikoje vietovių faktinė informacija. Lokalizacijos svarba išryškėja tiriant delmonų raidą: formų, ornamentikos, spalvinių derinių kitimą. Ištyrus šių rankdarbių paplitimą, įmanoma kiek tiksliau nustatyti konkrečioje teritorijoje dėvėtų (gamintų) rankdarbių požymius. Lokalizacija tiriama norint pagrįsti delmonų paplitimo visame Klaipėdos krašte arba tik atskirose jo teritorijose hipotezę. Tyrimas leido nustatyti galimus delmonų gaminimo bei platinimo centrus. The purpose of this research is to determine the sites, quantity changes and possible centres of production, use and distribution of delmonas, a detail of Lithuania Minor traditional costume of the 19th and early 20th centuries. The paper contains an examination of examples of extant delmonas, as well as depictions in drawings and photographs kept in Lithuania’s museums and private collections. The analysis covers the data of 82 delmonas and 11 centres of their usage collected during the last 3 years of research. The significance of localization becomes evident in studying the development of delmonas: the change in shape, ornamentation and colors. Examination of the spread of these handiworks helps to determine the traits of delmonas worn (made) in specific areas of Lithuania. Localization is examined in order to establish which hypothesis a usage of delmonas is to be accepted: a limited territory or a wider Klaipėda region spread. As a result of the research some probable production and usage centers were concluded.

Straipsnio tikslas – nustatyti lietuvininkių delmonų bei kaimyninių tautų kišenių dekoro tipologines charakteristikas: ornamentų elementų komponavimo būdus, ornamentų motyvus, jų tarpusavio koreliaciją ir paplitimą. Šiame straipsnyje aptariami Klaipėdos krašto lietuvininkių ornamentais dekoruoti delmonai, esčių, suomių, švedžių ir norvegių tautinio kostiumo kišenės bei muziejuose išsaugoti įvairių tautų aukštuomenės aksesuarai (parišamos kišenės, reticules). Kišenių dekoras tiriamas norint pagrįsti arba paneigti aukštuomenės madų ir tarptautinių ryšių įtaką liaudies kostiumo dekoro formavimuisi ir kaitai. Tyrimas leido nustatyti kišenių dekoravimo būdus, siužetinio ornamento derinimo ypatumus. The purpose of the article is to determine the typological characteristics of decoration of the delmonas of Lithuania Minor and of the national costume pockets of neighbouring nations. This article discusses Klaipėda region delmonas, the pockets of Estonian, Finnish, Swedish and Norwegian costume, and the attachable pockets of noble class’s attire of various nations preserved in museums. The decorations of the pockets were studied to support or refute the influence of the fashion of nobility and of international relations on folk costume decor formation and change. The research allowed to identify the decorating techniques, pattern variation and matching features of the pockets.