Sarmatism

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Sarmatism

Sarmatism
Joanna Daranowska-Łukaszewska
Phenomenon
Sarmatism is a concept from the history of culture used to define the ideology and lifestyle of
the Polish nobility in the modern era. The term was developed as late as in the second half of
the 18th century, even though it was based on the old myth of the descent of Poles and other
Slavic nations from the warrior tribe of the Sarmatians, who inhabited the lands of today’s Ukraine
already in ancient times. The words “Sarmatia” and “Sarmatian” were already used in the 15th
century by Jan Długosz, but they became established thanks to Maciej Miechowita, author of
Traktat o dwóch Sarmacjach (Treatise on the Two Sarmatias), the first printed scientific elaboration
on the geography and ethnography of eastern Europe, published in Poland six times in the years
1517–1582 (in Latin and in Polish translation) and issued also abroad in German and Italian translations. Other authors, including Filip Melanchton, Konrad Celtes, Maciej Stryjkowski, Stanisław
Sarnicki and Aleksander Gwagnin, also wrote about Sarmatia and the Sarmatians. According to
the myth on Sarmatian origins, the nobility were to be the descendants of the Sarmatians. The
awareness of this descent united not only enlightened magnates and medium nobility, but also
burghers. In the times of the Polish-Lithuanian Commonwealth, Polish and Lithuanian families
considered themselves to be of Sarmatian origin.
Idea
The ideology of Sarmatism professed the nobles’ democracy according to the principles of
which the nobility were equal and this was manifested, among others, in the obligation of common participation in military action (mass levy, Polish: pospolite ruszenie) and the rule of personal inviolability. In this ideology, the most important state institutions were the Sejm (parliament)
and free elections. It was also characterised by tolerance to different outlooks on life. Family and
social bonds were cherished, and extended ceremonials of festival celebrations, weddings and
funerals were cultivated. People entertained themselves at pompous hunting parties and sleighing parties where long orations and toasts played an immense role. The traditional outfits of the
nobility (żupan outer garment, kontusz garments, Słuck sashes) and arms, decorative horse tacks
(in the Sarmatian era, the nobility loved purebred horses) strongly emphasised the distinctness
of this group. The Commonwealth located on the edge of the European and Asian cultures was
multi-cultural itself. Thanks to the elements of many cultures syncretically combined in the Sarmatian lifestyle, it produced an attractive model on vast areas lying outside the Commonwealth. It is
assumed that the Sarmatian influences reached Moldavia and Wallachia, partly Transylvania, as
well as Muscovy, Livonia, Courland, East Prussia, Central Pomerania and Silesia.
Transformations
The double threat from the Turks and the Swedish deluge of the 17th century caused a gradual
identification of the Sarmatians with Catholicism and the concept of the Commonwealth as the
bulwark of Christianity became established in the Sarmatian ideology for good. At the end of the
century, King John III Sobieski, the winner at Vienna, became the personification of the Sarmatian understood as a Catholic knight. Over time, the Sarmatian ethos transformed from the initial
knightly one emanated in a colourful way by the famous cavalry called the Polish hussars into the
gentry one having its foundation in a nobleman’s manor. This formula of Sarmatism flourished
in the first half of the 18th century, and in the second half of the century, accused of backwardness, it became the subject of attacks for the ideology of the Enlightenment. The fall of the state
and partitions actually caused increased xenophobia that was intensified in the 19th century
proportionately to the repressions occurring after successive national uprisings. Sarmatism lasted
until the mid-century, especially in the countryside, finding a convenient place between stories
www.muzea.malopolska.pl
about ancestors and old Polish traditions. In the 19th century, it found a prominent place among
national sentiments and in the era of the Kingdom of Poland, even a neo-Sarmatian trend was
born. And to a large extent it was thanks to this that a national bond allowed for a restitution of
statehood to survive.
Heritage
In the 20th century, especially after World War II, the vision of Sarmatism of the Enlightenment
era was eagerly adopted. Emphasis was placed on conservatism, rowdiness and excessive bigotry; and the noble Sarmatian was presented as a drunk troublemaker abusing the right of liberum
veto. In recent years, this stereotypical evaluation has been revalued. It has been observed that
Sarmatism changed throughout the years. From the very beginning, it developed the characteristics of a civil society and patriotism as well as was marked by tolerance and cherished personal
liberty, which over time became a cause of anarchy in social life. This transformation is reflected
well in the essay by Tadeusz Chrzanowski, Od klejnotu swobodnego sumienia do złotej wolności
(From the Gem of a Free Conscience to Golden Liberty).
In contemporary society, the Sarmatism era is perceived as a period in the history of the state
and nation that we are most inclined to refer to. And this surely is not due to the then power of
the Commonwealth or ostentatious and colourful life of the Sarmatians at that time. This is mainly
due to the fact that the source and mainstay of our national pride is found in the Sarmatian epoch.
Additional links:
http://staropolska.pl/barok/opracowania/sarmatyzm.html (main ideas of Polish Sarmatism elaborated by
R. Mazurkiewicz)
http://wielkisobieski.pl/index.php?option=com_content&task=view&id=169&Itemid=1
http://archiwum.wiz.pl/1996/96053700.asp (Sarmatyzm – Łukasz Kądziela, article from WiŻ)
Bibliography:
T. Chrzanowski, Wędrówki po Sarmacji Europejskiej, Krakow 1988.
J. Tazbir, Polska XVII wieku, Warsaw 1974.
J. Tazbir, Kultura szlachecka w Polsce, Warsaw 1983.
J. S. Bystroń, Dzieje obyczajów w dawnej Polsce, Warsaw 1960.
Z. Gloger, Encyklopedia staropolska, Warsaw 1972.
Cz. Hernas, Barok, Warsaw 1980.
Słownik sarmatyzmu, A. Borowski (ed.), Krakow 2001.
Hussar sitting on a horse
National Museum in Krakow (Muzeum Narodowe w Krakowie)
The choice of this form of statue dictated by the historiosophical vision of the history of the nation shown in Matejko’s paintings is also an expression of the Neo-Sarmatian trend in the national
culture. It distinctly emphasises the longing for the bygone splendour and glory of the Polish
arms. By showing Matejko as a hussar blowing a horn, Wyczółkowski knighted him as a national
leader.
Additional links:
www.wawel.krakow.pl/pl/index.php?op=8 (Crown Treasury and Armoury)
www.muzeum.krakow.pl/Galerie.222.0.html (Arms and Uniforms in Poland – National Museum in Krakow)
www.muzeum.tarnow.pl/ (W kontuszu i przy szabli [In Kontush and with Sabre] – Old Art Gallery from the
collection of the Sanguszko Princes)
http://www.muzeum.krakow.pl/Dom-Jana-Matejki.62.0.html
http://www.muzeum.krakow.pl/Sukiennice.56.0.html
http://www.muzeum.tarnow.pl/oddzialy.php?id=8 (Museum of Jan Matejko’s Mementos – Koryznówka)
Polish hussar’s sabre
The type of melee weapon most popular in Poland since the 16th century, the only cutting
weapon with a bent blade. Throughout centuries, various varieties of the sabre were used in the
Commonwealth, e.g., the very popular batorówka (sometimes decorated with the image of King
Stephen Bathory) and zygmuntówka (sometimes decorated with the image of King Sigismund
III). Other names of sabres coming from the names of kings also appeared during the reign of
King John III (janówka) and Stanislaus Augustus Poniatowski (augustówka). Hussar sabres were
made in the 1630s and in the last quarter of the century the most famous Polish sabre was called
the karabela. This kind appeared as a decorative parade sabre or as a combat sabre, but the
difference between them mainly lay in the execution of the handle and scabbard (in the parade
version they were richly decorated). There is no explanation for the name of this sabre. According
to one version, it was formed by combining two Italian words: cara (dear) and bella (beautiful).
The cavalry sabre marked with the symbol S.wz.34, produced in the Ludwik Steelworks in Kielce
since 1934, was the last Polish combat sabre. The sabre is still used as a parade weapon by the
Polish Army. It is also a favourite element of interior design in circles referring to noble traditions,
and it is most frequently displayed as a pair of crossed sabres hanging against the background
of a carpet.
Additional links:
Hussar half-armour
An older type of classic hussar half-armour with a very characteristic golden decoration against a
silvery background. This type of armour is often encountered as the noblemen’s attire in representative portraits. The Hussars were considered the most beautiful cavalry in Europe, as noted
by the French courtier of John III, Dalerac (Dallerac, Allayrac, Franciszek Paulin, pseudonym Beaujeu), in his book Les Anecdotes de Pologne, Ou Mémoires secrets du Regne de Jean Sobieski
III du nom., published in 1699 in Amsterdam and Paris. He wrote that the hussars were the most
splendid cavalry in Europe as a result of the selection of people, beautiful horses, spectacular attires, and the bravery of horses. They did not select people to stay in guard or serve as advanceguards, but people were only intended for striking in battles. They sat on the best horses available in the country and had bridles decorated with metal plates as well as silver, or gilded buttons.
Embroidered saddles with gilded saddle bows, huge Turkish-style shabracks were usually used
in Poland, broadly embroidered with silver and gold, a richly decorated koncerz sword attached
to the saddle under the left thigh. Hussars were armed with a cuirass, a capeline, forearm guards
protecting the arms from the back and from the sides up to the elbow. They did not use gloves.
On their shoulders, they wore leopard or tiger skins, held lances with sharp heads of light wood,
flexible and hollow inside, with a 3-4 ell long banner, painted and gilded all along, carried in
casing and attached to the saddle. Up until today, the hussars have stayed in the imagination of
history fans of the Polish arms, who create reconstruction groups and examine the history of this
beautiful formation.
Additional links:
http://vivathusaria.pl/
Horse tack
A complete set of accessories used to ride a horse called horse tack consisted of the bridle, saddle with stirrups and girth, shabrack, breastplate and crupper. Tacks were sometimes very richly
decorated, with shabracks giving particular space for display. In the Commonwealth of the 17th
and 18th century, horse tacks of Eastern type were very eagerly used, with the richest belonging
to magnates. They were so costly and decorative that a horse was a favourite and indispensable
animal of the Polish Sarmatian and already in the early 17th century became a character of the
treatise by Krzysztof Dorohostajski, Hippica to iest o koniach xięgi (Hippica, these are books on
horses) devoted to horses and horse-riding. The first issue of the treatise appeared in 1603 in
Krakow and was richly illustrated, then reprinted many times. The common knowledge of horses
and probably the common knowledge of Dorohostajski’s book resulted in the word “horse” having a very brief description: “Horse is as everyone can see” (Polish: Koń, jaki jest, każdy widzi) in
the first Polish universal encyclopaedia published in the middle of the next century by Benedykt
Chmielowski under the title, Nowe Ateny albo Akademiię wszelkiej sciencyi pełną, na różne tytuły
jak na classes podzieloną, mądrym dla memoryału, idiotom dla nauki, politykom dla praktyki,
melankolikom dla rozrywki erygowaną… (New Athens or the Academy full of all science, divided
into subjects and classes, for the wise ones to record, for the idiots to learn, for the politicians to
practice, for the melancholics to entertain issued…) (Lviv, 1745).
Additional links:
http://pl.wikipedia.org/wiki/Nowe_Ateny
Kontusz garment
The Polish national costume that developed throughout the centuries took its final shape in the
mid-18th century. It was commonly called the kontusz. According to the traditional belief of the
eastern descent of the Sarmatians, the cut of this attire referred to Persian and Turkish costumes,
and was often sewn of costly fabrics. On representative Sarmatian portraits, noblemen were usually depicted in kontusz garments. As a national costume, the kontusz was also popular during
the partition period. After the fall of the November Uprising, it was forbidden to wear a kontusz
in the areas under Tsarist occupation, while in the Austrian partition areas it was obligatory for
participants of the Sejm of the Land (Sejm Krajowy) in Lviv and sessions of parliament in Vienna.
A similar fact was recorded by Tadeusz Żeleński-Boy in his cabaret song, Pobudka (Reveille), written in 1908 for the procession of historical groups at the Vienna jubilee of the 60 years of rule by
Emperor Franz Joseph. Based on the melody of a popular folk ditty, Bartoszu, Bartoszu (Bartosz,
Bartosz), Żeleński mocked primarily the deceased painter Wojciech Kossak, who took part in this
historical parade:
Wojciech, Wojciech,
Don’t lose spirit,
The Sobieski’s kontusz
suits you well!
The Sobieski’s kontusz
suits you well!
(translator’s note: free translation)
Bibliography:
B. Biedrońska-Słotowa, Polski ubiór narodowy zwany kontuszowym, Krakow 2005.
I. Turnau, Ubiór narodowy w dawnej Rzeczypospolitej, Warsaw 1991.
Kontusz Sash
Just like kontusz garments, sashes are of eastern provenience. Initially, they were brought from
abroad, from Turkey and Persia. In time, they were made in the lands of the Commonwealth by
the manual workshops producing sashes, also known as persjarnia in Polish. The most famous
of such plants was located in Słuck, yet beautiful sashes were also produced by workshops in
Kobyłka, Lipków, Grodno, Sokołów, Korzec, Krakow, and Gdańsk. The kontusz sash was long (4–
4.5 m) and, depending on the pattern, it could be one-sided, double-sided or four-sided. Its end
decorated with a large, usually vegetable pattern, was called a head while the central part with a
small ornament – wciąż. Sashes were usually woven from silk, and they were richly decorated with
an addition of silver and golden threads (the prices of sashes from the Słuck workshop oscillated
from 5 to 500 ducats, proportionately to the number of metal threads used).
Crimson sashes were worn during the war. Although they are no longer used as an element of
clothing, kontusz sashes still function as a frequent decorative element in many Polish houses in
Poland and abroad.
Additional link:
www.wawel.krakow.pl/pl/index.php?op=22 (Fabrics | Wawel Royal Castle | Wawel Krakow)
Coffin portrait
A coffin portrait placed at the head of a coffin for the ritual of the funeral and then hung in a
church or incorporated into an epitaph or a gravestone was an inseparable element of the Sarmatian funeral. This tradition cultivated in modern times is considered specifically Polish. One of
the oldest known coffin portraits is the image of King Stephen Bathory. Regarding its intended
use, a coffin portrait was usually the shape of the shorter side of the coffin. It was painted predominantly on a metal sheet, without flattery, but with great attention to similarity, often exaggerating the image of the model. Such portraits are usually images full of expression, of average
artistic value, yet there are also some outstanding works among them, with a deep psychological
analysis of the model. There are a lot of coffin portraits preserved, but the greatest collections
can be found in the Museum in Międzyrzecz Wielkopolski, National Museums in Warsaw, Poznań
and Krakow, Wawel Royal Castle, the Lviv National Art Gallery, and the Lviv Historical Museum.
Additional links:
http://www.mnp.art.pl/muzeum/oddzialy/galeria-malarstwa-i-rzezby/galerie/galeria-sztuki-polskiej-odxvi-do-xviii-wieku/
http://polskie-cmentarze.pl/polskie-cmentarze.pl/ Czy-wiesz-ze/Portret-trumienny
Bibliography:
M. Karpowicz, Polski portret trumienny, [in:] ibidem, Sztuki polskiej drogi dziwne, Bydgoszcz 1994, pp.
107–126. Vanitas . Portret trumienny na tle sarmackich obyczajów pogrzebowych, J. Dziubkowa (ed.),
exhibition catalogue, Muzeum Narodowe w Poznaniu, Poznań 1996.
Sarmatian portrait, portrait of king augustus iii in polish attire
Not only is this portrait representative, but also propagandist. It shows the king in a Polish nobleman’s outfit, even though everyone knows that the ruler wore different clothing every day. It
presents Augustus III as a knight of the Order of White Eagle in the order attire. This decoration,
highest in the history of Poland and granted until the present day, was established in 1705 by the
father of Augustus III, Augustus II the Strong. The choice of the costume to be shown in the portrait was probably dictated by both the will to win the favour of the nobility that chose the king in
the free election and by the high rank of this decoration. The electoral monarch was presented as
primus inter pares, as would suggest the Polish saying; this meant that each nobleman, no matter
how wealthy, had the same rights. The insignia of power are put in the background.
Additional links:
collection of the Sanguszko Princes) http://mnki.pl/pl/zbiory/malarstwo_i_rzezba/najciekawsze_obrazy/
www.muzeum.sanok.pl/?p=642
Bibliography:
Za Ojczyznę i Naród. 300 lat Orderu Orła Białego, M. Męclewska, A. Szczecina-Berkan, M. Zawadzki (eds.),
Warsaw 2005.
Cabinet (piece of furniture)
It belongs to a small cabinet piece of furniture with a double-wing door (or a lowered wall) behind which there were drawers and hiding places. A cabinet was usually decorated with fittings,
intarsia or inlay, painted or covered in leather. It was used to store jewellery and other trinkets
or documents; sometimes it also served as a pulpit used to write on. It was often used during
travels. In the lands of the Commonwealth, the cabinet was very popular in the 17th century and
the first half of the 18th century.
Additional link:
http://pl.wikipedia.org/w/index.php?title=Kabinet&oldid=29418700
Set of spoons
Silver spoons, often gilded, were richly decorated and marked with coats of arms as evidence of
their owner’s affluence and symbol increasing the splendour of the house. In Europe, the custom
of placing inscriptions on handles of spoons was popular. In the Commonwealth, these were usually written in Polish. Such inscriptions were usually moralising in nature.
Additional link:
http://www.wilanow-palac.pl/historia_ewolucji_sztuccow.html
Cheer goblet
A glass factory founded in 1722 in Naliboki by Anna née Sanguszko Radziwiłł was no worse a
plant than European ones. The goblet was of the highest quality both in terms of technical and
artistic value, and was most probably given to her relative for his wedding held in 1728.
It is believed that the popularisation of glass goblets gave rise to a well-known Sarmatian custom
that said that a goblet should be broken upon toasting and drinking. This was supposed to make
toast wishes come true. The belief which is also common today, that a glass is broken in order to
bring luck, also instructed newlyweds, as well as particularly important wedding guests, to break
goblets. In the case of the former, it was supposed to guarantee happiness, in the latter, it was
to prevent someone less dignified from using an honoured dish. It was also customary to serve
large glass kulawka goblets that did not have a base. Whoever was given a kulawka had to drink
bottoms up as it was not possible to put the goblet away.
District Museum in Tarnów (Muzeum Okręgowe w Tarnowie)
The collection of works of art from the Sanguszko family palace in Gumniska is one of the best
collections representing the equipment of a rich magnate manor. Its value increases with the fact
that the collection is authentic, rather than created as a result of purchases and donations from
various sources.
In the Sanguszko collection, there is also the largest gallery of Sarmatian portraits, an outstanding
and rich example of a gallery of portraits of ancestors and prominent figures of public life. Such
galleries were common in wealthy residences of magnates and noblemen, or even in poorer
courts.
Additional links:
www.muzeum.tarnow.pl/zbiory.php?id=41&typ=7&kolekcja...
http://mnki.pl/pl/zbiory/malarstwo_i_rzezba/najciekawsze_obrazy/
Bibliography:
T. Chrzanowski, Portret staropolski, Warsaw 1995.
T. Dobrowolski, Polskie malarstwo portretowe – ze studiów nad sztuką epoki sarmatyzmu, Krakow 1948.
Portrait of john sobieski
The portrait shows John Sobieski as hetman, before he was elected king. It is a copy of Sobieski’s
image from 1674 and comes from the former gallery of portraits in the Pidhirtsi Castle. This depiction of the future King John III was popular in the Commonwealth and belongs to numerous
depictions of military dignitaries. In Pidhirtsi, this portrait of Sobieski was paired with the portrait
of hetman Adam Mikołaj Sieniawski. John III was the most frequently portrayed ruler and his
portraits could be found in almost every home.
Additional links:
http://dzieje.pl/kultura-i-sztuka/portret-jana-iii-sobieskiego-trafil-do-muzeum-narodowego-w-warszawie
http://www.wilanow-palac.pl/szukaj?a=1&b=&l=7&q=portret+sobieskiego http://www.muzeumwp.pl/
emwpaedia/portret-krola-jana-iii-sobieskiego-z-xvii-wieku.php
http://www.pinakoteka.zascianek.pl/Siemiginowski/Images/Sobieski_pod_Wiedniem.jpg
Bibliography:
Portrait of kazimierz boreyko
The portrait shows Kazimierz Boreyko, lieutenant of the armoured chorągiew (literally: banner – military unit of the Polish cavalry) of the regiment of Ostrogski fee tail, deputy in the Sejm
(parliament). Despite the static pose, the model was characterised in an expressive manner. This
portrait belongs to the Sarmatian images, in which the most important achievements of the portrayed figure were emphasised with attire.
Additional links:
Bibliography:
Portrait of łukasz węgliński
It depicts Łukasz Węgliński (d. 1784), podstoli (deputy master of the pantry), later chamberlain of
Chełm, chorąży (armoured standard-bearer) in Wacław Rzewuski’s regiment. It is a typical Sarmatian portrait in which the model was depicted emphatically, with effort taken to show similarity.
Additional links:
Bibliography:
Longcase clock
An interesting example of European imitation of Chinese products fashionable in the 1720s and
1730s in Europe. Painted decorations on the clock case are attributed to painter Józef Rogowski,
who wrote a treatise on “Chinese work” that is varnishing which imitated lacque. The clock is one
of a few pieces of furniture described today as Chinese, popular in wealthy houses of noblemen.
The rich Chinese interior design of the Wilanów palace, where the Chinese study existed as early
as in the time of King John III Sobieski, was preserved.
Additional link:
http://www.wilanow-palac.pl/prace_konserwatorskie_w_gabinecie_chinskim_krola.html
Bibliography:
S.S. Mieleszkiewicz, Ten zegar stary...: wystawa poświęcona zegarom w meblowych obudowach: 15 listopada 2001–6 stycznia 2002, Muzeum Narodowe w Warszawie, Warsaw 2001 (edited by E. Zdonkiewicz).
Food-storing cabinet
Museum – Vistula Ethnographic Park in Wygiełzów and Lipowiec Castle (Muzeum – Nadwiślański
Park Etnograficzny w Wygiełzowie i Zamek Lipowiec)
This piece of furniture of courtly origin, painted in colourful floral motifs, began to appear in
richer peasant houses over time. This style of decoration had an influence on the appearance of
peasant furniture that stayed in wealthy cottages for a long time. The traditon was popular for a
long time in the lands of Lower Silesia that remained under the impact of German culture.
Additional link:
http://www.muzeumetnograficzne.pl/index.php?lang=pl&section=zbiory_kolekcje&page=zbiory_kolekcje_6_malowane_meble
http://www.muzeumszczytno.art.pl/wystawy/meblemazurskie.htm
Wooden painted folk cupboard
Museum – Vistula Ethnographic Park in Wygiełzów and Lipowiec Castle (Muzeum – Nadwiślański
Park Etnograficzny w Wygiełzowie i Zamek Lipowiec)
This rural painted cupboard decorated with floral motifs is a good example of borrowing courtly
patterns and their long existence in the homes of peasants. The cupboard was used until the
1960s.
Joanna Daranowska-Łukaszewska – art historian specialising in modern art, especially the art
and culture of the Sarmatism era in Poland.

Sarmatism

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