Collection of Ethnographic Drawings

Kajetan Wincenty Kielisiński created numerous etchings and drawings devoted to folklore, life in Polish villages and towns, historical monuments, and landscapes. He was one of the first to develop bookplates in Poland. During his travels to various locations, he collected graphic materials for the publications "Polish Antiquities" and "Folk Costumes". In 1855, Poznań publisher Jan Konstanty Żupanski published "Kielisiński's Album", which collected the artist's scattered works. Kielisiński's graphic works, drawings, sketchbooks, and correspondence were kept in the Kórnik Library of the Polish Academy of Sciences, as well as in national museums (Kraków, Poznań, Warsaw) and renowned libraries (Jagiellonian University, Ossolineum, Warsaw University). The picture shows two figures against the backdrop of a tent camp. Several tents and small figures are visible in the background. One figure is significantly taller, an adult man standing in profile to the left; the second is shorter and younger, a boy or young man standing next to him on the right, also looking to the left. The figure on the left is wearing a headdress resembling a voluminous, folded turban with several swirls around the head; it is tightly fitted and features soft pleats. The shoulders and part of the back are covered by a cape or cloak – a short cape with "fluffy" trim at the top and small dark dots resembling spotted fur. The outer garment is a long cloak or ceremonial robe that falls to the ground, featuring ample vertical folds and hatching that convey the material's shine and heaviness. Thin vertical stripes are visible on the lower part, resembling a longitudinal ornament or fabric shades. The cloak covers most of the figure and looks heavy and rich. Underneath it, the lower edges of the clothing and flat shoes with a slightly pointed toe are visible. At the bottom, on the side opposite the viewer, long weapon sheaths are visible. The arms are held at the sides, and the posture is balanced and proud. The younger figure is holding a headdress – a round felt/soft hat or cap – in his right hand. The outer garment is a short tunic, a double-breasted jacket, or an elongated waistcoat, belted at the waist; it reaches to the middle of the thighs. In his left hand, he holds a long sabre, drawn from its sheath and almost touching the ground, making the figure resemble a young squire or warrior apprentice. On the young man's legs, he wears short trousers, stockings, or narrow socks, all emphasised by folds at the knees; his shoes are more down-to-earth, with pronounced folds. In general, the clothing is simpler and more functional than that of the taller figure. The fur of the cape is rendered with small dots, while the cloak's smoothness and vertical folds are shown with long strokes; small cross-hatching conveys the fabric's shadows. The sabre's metal and the belt's rigid elements are highlighted with cleaner contours and shiny reflections through minimal hatching. The scene resembles a military camp – the older figure may be a higher-ranking officer, a nobleman, or a senior commander, while the younger one may be an escort, a servant, or a young squire. The composition is static, with both figures shown in complete profile, which gives the scene a solemn and formal feel; the scale emphasises the difference in height and status. In the background, elements of the landscape and tents are smoothed and executed in miniature so as not to distract attention from the main figures. Thus, this is clearly the artist's variation on a historical theme, which at the same time carefully conveys the details of the characters' clothing. The artistic significance lies in the accurate and detailed reproduction of historical costume, making it a valuable source for researching and studying traditional culture. From an aesthetic point of view, we are dealing with a realistic drawing, with a special emphasis on its documentary nature.

Borys Voznytskyi Lviv National Art Gallery