Rocznik Ruskiej Bursy <p>The "Ruska Bursa Annual" is a scholarly Lemko studies journal, mainly in the Lemko language. It has been published since 2005 by the Ruska Bursa Association in Gorlice, Poland. In the four main sections: Documents; Discussion; Inspiration; Reviews and Reports, there is a mix of history, literary studies, linguistics, cultural studies, political science, and other articles, about the Lemko homeland in general and the broader Carpathian Rus’. Œ The writing is of an international character, from the page publishing authors, known as Lemko and Carpatho-Rusyn studies specialists from Europe and North America, its readership, and above all, its Editorial Board.</p> en-US (Department of Scientific Journals, Ksiegarnia Akademicka Publishing) (Author’s Support) Fri, 15 Dec 2023 00:00:00 +0100 OJS 60 Front Matter Copyright (c) 2023 Fri, 15 Dec 2023 00:00:00 +0100 Back Matter Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 The Ruska Bursa Building in Gorlice – History and Architecture in the Light of Selected Archival Sources Damian Nowak Copyright (c) 2023 Fri, 15 Dec 2023 00:00:00 +0100 Eastern Lemkovyna Natalia Małecka-Nowak Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 2023 – the Year of Jerzy Nowosielski Natalia Małecka-Nowak Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Introduction Helena Duć-Fajfer Copyright (c) 2023 Fri, 15 Dec 2023 00:00:00 +0100 Introdcution Helena Duć-Fajfer Copyright (c) 2023 Fri, 15 Dec 2023 00:00:00 +0100 Art since 1900 Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin H.D Buchloh, David Joselit Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 What is Lemko/Rusyn Art and Does it Matter? <p>The article reviews and reflects on the concept of Lemko/Rusyn art, aiming to obtain a general overview of the process of integrating ethnic perceptions about one’s art/culture into the field of modernity. Said reflection is based on the author’s experience in filling the cultural heritage of the community with texts interpreted in the code of indigenous values, which are given ethnic meanings and goals and are presented as a living process of identity building based on the continuity of community memory. On the basis of answers to questions from a survey sent to opinion-makers and interviews in which questions were asked about the meaning and content of the concept of Lemko/Rusyn art, as well as about the limits of this concept, the paper develops a reflection on the dilemmas, challenges, functions, exclusions and appropriations within the identity art of smaller communities that do not have institutional security for their cultural achievements. Furthermore, the article showcases a folklore mechanism operating based on the aesthetics of identity, which replaces institutions in delineating the boundaries of self versus other, by adapting external elements to one’s own, cohesive system of values, or in going beyond community boundaries on one’s own terms, without losing the connection with the native ground. The conclusion from these considerations is the statement that the mechanism of Lemko/Rusyn culture is still alive, which allows the community to face the challenges of the present day thanks to the modernity of values and cultural goods that empower and represent it.</p> Helena Duć-Fajfer Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 From Research on Folk Stone Sculptures of the Virgin and Child in Central Lemkovyna and Their Presumed Creator <p>Research on folk stone carving in the Lemkovyna began only in the 1960s. Several researchers working on this topic, mainly ethnographers, have gathered basic knowledge about Lemko folk stonemasonry, the 19th and 20th century staff of the stonemasonry center in Bartne, Przegonina, Bodaki, and Folusz, the raw material resources for the individual workshops, as well as the basic artistic features of crosses, chapels, roadside figures, and tombstones made in the Lemkovyna. A detailed inventory of these forms along the roads within the Lemkovyna and in cemeteries resulted in interesting conclusions regarding the evolution of these sculptural works, in particular stone crosses. Until now, preserved examples of Lemkos’ stone figural sculpture were unknown. Therefore, the article attempts to stylistically analyze a compact set of sculptures of the Virgin Mary and Child, whose artistic features allow us to assume that these figures, dating from 1869–1894, were created by one Lemko artist. In the course of detailed research, while drawing significant connections between one of these figures and the stone roadside cross from Czarne (1869), it also became possible to reveal the name of this, hitherto anonymous, sculptor.</p> Tadeusz Łopatkiewicz Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Genius loci we współczesnej sztuce łemkowskiej/rusińskiej <p><strong>GENIUS LOCI IN CONTEMPORARY LEMKO/RUSYN ART</strong><br><br>In the second half of the 20th century, there was a significant change in the way art was practiced and defined. After the public presentation of Andy Warhol’s Brillo Box in 1964, the symbolic end of modernism was accepted, which meant that exploring the aesthetic language ceased to be the main goal of art. From that moment, the artists abandoned the postulate of their own separation from real life and took up non-aesthetic discourse. Areas of interest have become history, trauma, politics and memory, among others. In contemporary Lemko/Rusyn art, attempts to define genius loci have significantly become a source of inspiration in creation. Places “endowed with spirit”, “experienced”, “marked” began to act as orientation points. They have become an indicator of the culture of the region. The existence of a phenomenon called the spirit of a place obliges us to preserve it; saving both what contributes to this individual, unique quality, and the entire context. Important in this state of affairs is the concept of “relational art” created by Nicolas Bourriaud, which refers to the perception of this space in relation to the context, and Erwin Panofsky’s iconological interpretation. The article discusses the genius loci motif in contemporary Lemko/Rusyn art. The author presented the contexts of contemporary art understood as a place of meeting and relationship. It discusses the work of e.g., Julian Kolesar, Władysław Rewak, Dawid Zdobylak, Lucia Nimcova.</p> <p>&nbsp;</p> Michał Szymko Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Memory of Place: In Search of Contemporary Lemko/Rusyn Commemorative Architecture <p>The article aims to define the concept of place and its relation to memory. It provides a definition of commemorative architecture and proposes a typology of four types of activities that aim to commemorate the displaced villages of Lemko/Rusyn origin. The case study presents a brief history of Biała Woda in Ruś Szlachtowska, along with the results of the work entitled “Biała Woda. The Pain of Oblivion”, conducted as part of a Master’s thesis at the Faculty of Architecture of the Cracow University of Technology. The typology of incomplete traces and the degree of their disappearance are provided, as well as the results of the field research, which led to a pictorial reconstruction of the pre-resettlement layout of the village. Finally, the elements included in the concept of the Cultural and Historical Path – six educational pavilions and the Doorframes of Remembrance installation – are discussed.</p> Kamil Federyga, Dominika Cieplak Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Before Warhol: Anthony Kubek and the Problem of Carpatho-Rusyn American Art <p><strong>PRZED WARHOLEM. ANTONI KUBEK I ZAGADNIENIE AMERYKAŃSKIEJ SZTUKI KARPACKORUSIŃSKIEJ</strong></p> <p>Chociaż Andy Warhol jest najbardziej znanym amerykańskim artystą o karpackorusińskim pochodzeniu, to nie był on pierwszy. Niniejszy artykuł dowodzi, że pierwszym wybitnym amerykańskim karpackorusińskim artystą był nieznany dotąd malarz – ksiądz Antoni Kubek (1885–1971), najstarszy syn pisarza Emila Kubeka. Szkolony przez mistrzów szkoły monachijskiej i węgierskiego impresjonizmu, a także w technice plenerowej kolonii artystycznej Nagybánya, Kubek ugruntował swoją estetykę w głównych ośrodkach środkowoeuropejskiego modernizmu i zyskał sławę dzięki obrazom olejnym przedstawiającym miejskie i naturalne pejzaże oraz świeckie i sakralne martwe natury. Po wyemigrowaniu do Ameryki stał się znany dzięki swojemu malarstwu ściennemu o tematyce religijnej, często wykonywanemu anonimowo, które zdobi dziesiątki cerkwi greckokatolickich w Nowym Jorku, New Jersey i Pensylwanii. Wielu karpackorusińskich Amerykanów posiada kopię jego grafiki <em>Ojcze nasz</em> (1911), która przedstawia Modlitwę Pańską. Swoje dziedzictwo w nowym świecie ugruntował także poprzez zilustrowanie wierszy, opowiadań swojego ojca oraz pierwszej powieści napisanej w języku rusińskim <em>Marko Šoltys</em> (1923). Po przejściu na emeryturę w Kalifornii, Kubek kontynuował rozwijanie swoich artystycznych zainteresowań, pomagając szerzyć „ruską wiarę” na wybrzeżu Pacyfiku oraz rozwijając swoje talenty w zakresie ikonografii i portretu. Po śmierci Kubeka jego dorobek artystyczny w dużej mierze został zapomniany, jednak w świetle odkrycia blisko 100 obrazów w czterech prywatnych kolekcjach obecnie możliwe jest napisanie zarówno interpretacyjnej historii&nbsp;jego twórczości, jak i biografii artystycznej pierwszego amerykańskiego karpackorusińskiego artysty.</p> Nick Kupensky Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Artistic Talent in the Dubay Family over Four Generations <p>This paper is devoted to the Dubay family, founded by Dezider, a Greek Catholic priest from Orjabyna in the district of Stará Ľubovňa, and Anna, née Kalynjakova, from Vyšnij Mirošiv in the district of Svidník in Slovakia. Dezider and Anna got married in 1909 and had seven children. In 1920, Dezider went to the USA, to Pennsylvania, where he served as a Greek Catholic priest for the Rusyns living there. The money he sent to his family Anna invested in the education of their seven children: Myhal, Dezider, Marta, Pavel, Ladislav, Anna and Orest. In the interwar period, all Dubay children graduated from Mukachevo or Prešov eight-year junior high school, and then four of them graduated from Charles University in Prague, two from Comenius University in Bratislava, and Orest graduated from the Slovak Technical University. With their higher education, the six children of Dezider and Anna Dubay became important social representatives of post-war Slovakia. The article describes the artistic talent in the families of three of Anna and Dezider’s seven children. The material on which the paper is based was obtained from interviews with their grandchildren, who currently live in Prague, Bratislava, Košice and Prešov. The research, which was conducted for over two years among the third generation of the Dubay family, revealed a lot of previously unpublished information about the lives of its members.</p> Ľuba Kráľová Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Myhal Čabala – Through the Eyes of His Contemporaries <p>The paper attempts to analyze the work of Myhal Čabala, a Rusyn painter from Čabyny, who lived in Prešov throughout his professional life and whose rich and significant art expressed admiration and love for the Rusyn nation, its nature and the region. He was inspired not only by the region itself. What is important in Čabala’s painting is a sensitive perception of the traditional Rusyn folk culture and its creative power of expression, as well as inspiration with landscape and figurative motifs. Myhal Čabala’s art can be described as the apotheosis of the Rusyn region and people. Already during the artist’s lifetime, his work had a significant impact not only on the identity of the Rusyns living in Slovakia but also on the entire Slovakia, to which he was willing to devote his entire life and artistic career. What distinguishes Myhal Čabala is his great contribution to Slovak art and to the art of European painting as such.</p> Jana Truščinská-Sivá, Anna Simkova Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100 Art in Interwar Subcarpathian Rus’ Paul Robert Magocsi Copyright (c) 2024 Fri, 15 Dec 2023 00:00:00 +0100