Od lidového umění k výtvarnému folklorismu
| Title in English | From Folk Art to Artistic Folklorism |
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| Authors | |
| Year of publication | 2025 |
| Type | Monograph |
| MU Faculty or unit | |
| Citation | |
| Description | Folk art has been an integral part of ethnographic interest and study since the 19th century. Artifacts that had aesthetic value from a contemporary perspective were considered folk art, regardless of their original function in the rural environment, the material, or the method of production. These tangible artifacts became the first items to be included in museum collections and were perceived as examples of national art, which was supposed to be a counterpart to the international character of academic art. Up until the second half of the 20th century, the term folk art was in no way defined, and its meaning changed somewhat intuitively based on the conceptions of individual researchers. Prior to this, professional interest was focused almost exclusively on the past, specifically the 19th and early 20th centuries. In the 1970s, however, ethnology found itself at a crossroads and asked the question: what should now be the subject of contemporary study? Unlike social culture, which followed the natural development and changes in the form and practice of customs, music, and dance, or unlike the documentation of the transformation of traditional costumes, scientific research into folk art was almost exclusively confined to historical topics. It was necessary to shift away from the existing stereotypical view of folk art and turn attention to expressions of mass culture and visual folklorism. This was also linked to a re-evaluation of terminology and the adoption of a broader concept of folk art culture, which, unlike the concept of folk art, does not explicitly include the condition of aesthetic value. |
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