TY - GEN N1 - 24 cm N2 - It is now hard to imagine Podhale or its artistic centre – Zakopane, without all the glass paintings decorating its restaurants, galleries and places of religious worship. This type of art was revitalized in the 1950s by a group of scholars enamoured with highlander culture and later supported by institutions dealing with protecting and promoting so-called ‘modern folk art’ in post-war Poland. Today glass painting belongs to the artistic landmarks of Podhale, making it the largest centre of vitrochromy in Europe. Its continuing presence in the region is regarded by the public as an evidence of the vitality of highlander tradition in Podhale. Folklore scenes painted on glass, especially the highly popular images of brigands, are purchased by tourists and act as symbols of the fascinating and exotic highlander culture. Regional activists perceive glass painting as a permanent and valuable element of their native heritage, which ought to be protected and included into the curriculum of regional education. The mimetic character of this genre provides the medium for presenting an imaginary picture of the highlander, giving artists and recipients a tool for creating a kind of a stereotypical self-portrait. The associations glass painting evokes (old, permanent, unchanging) clearly point to its mythical significance and incorporate it into the broader trend of invented traditions – a phenomenon which has recently entered a stage of dynamic development in Podhale L1 - http://www.rcin.org.pl/Content/54933/PDF/WA308_75318_P368_Glass-Painting-in-Co_I.pdf M3 - Text J2 - Ethnologia Polona 35 (2014) PY - 2014 EP - 162 KW - folk art KW - art KW - regionalism KW - invented tradition KW - Podhale A1 - Golonka-Czajkowska, Monika PB - Institute of Archaeology and Ethnology Polish Academy of Sciences VL - 35 CY - Warszawa SP - 145 T1 - Glass Painting in Contemporary Podhale UR - http://www.rcin.org.pl/dlibra/publication/edition/54933 ER -