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VII. Neopogaństwo in Poland (part 2)

Strain The Horned Heart

The most well-known pre-war makers referring to the fact comes from Slavic mythology, it should, undoubtedly, Stanislav Szukalski. This born to Guard the circle Sieradz in 1893, a remarkable sculptor, founded in 1929, a group of “HORNED STRAIN HEART,” she directed artists seeking inspiration in the culture of ancient slovenscini. The group operated until 1936, organizing numerous exhibitions throughout Poland, publishing articles in magazines, spending cards with pictures of their work, and their own on a formal letter “O”.

The artists gathered in “the Strain” changed the names chrzestne, the so-called “Titles” that came up with Szukalski, these were the names sound more Slavic. And so, for example: Yuri Baranovsky became Ładomirem from Krakow Baranowskim, wacław Boratyński it Pracowit with Ryglic Boratyński, Francis, Froncek it Słońcesław with Żołyni, Fronczek, Stanislaw Gliwa is Kurhanin with Słociny Gliwa, Czeslaw Kiełbiński it Cieszek Of Zamość Kiełbiński, Marian Konarski is Marzyn with Krzeszowic Konorski and Stefan Żechowski it Ziemin with Książa Żechowski. The master himself took the name Stach with Guard Szukalski.

Szukalski in addition to many sculptures, monuments and projects of the several albums that document his creative work, developed the concepts of art and beauty of the Polish state, and concepts regarding pagan, nationalist and right-wing. His ideas contained, inter alia, the creation of “Twórcowni”, ie, something like Academy of Cosmetic surgery under his leadership in organizing this was to download science young talented artists, creating works, a theme tied to the Slavic past of Poland. Szukalski proposed to create a Russian II, on the contrary, it continues to Poland And that the leader should be the head of Pilsudski, the emblem should be a new symbol, the so-called “Toporzeł” arising from the connection of the eagle with ciesielsko – military axe. Wawel should be “Duchtynia”, a place of worship of the ancient heroes, gods, and Slavic past. Szukalski was also suggested that the uprising “Neuropy”, where a cultural and artistic center of Poland will be II, and the territory of modern Europe, except England, France, Germany and Italy. Activities and Szukalskiego “Strain of the Horned Heart” was associated with the group of Polish nationalists called “Zadruga”. Szukalski after the war he emigrated to the United States, where she continued creative activity, and theoretical, until the death: 19 may 1987.

http://www.szturm.com.pl/index.php/miesiecznik/item/815-mieclaw-bialy-stanislaw-szukalski-i-szczep-rogate-serce

National Art

Being nationalists, we are aware of the great impact on the creation of culture, its expression and the values ​​that art brings with it. Although today is pushed to the side of interest of the average Kowalski, I think that it is worth trying to change this trend.

From the point of view of a nationalist, and therefore a man for whom the greatest strength and size of a nation is the greatest longing, it is impossible not to mention the Tribe of the Horned Heart. The following text is to be used as an incentive to look at the activity of the Tribe, in particular to Szukalski. The actions of both mentioned were multidimensional and multifaceted, therefore I will try to bring the subject closer.

Rebels

The Horned Heart strain arose gradually. Stanisław Szukalski, with his extraordinary and controversial behavior, focused the attention of young adepts of the Academy around him. Both his works and views were the subject of both academic talks and, often, articles from the first pages of newspapers. Stach from Warta strongly attacked art critics as well as the teaching model of the Academy of Fine Arts. He claimed that he was killing individuality and the creative spirit dormant in Slavic blood. The most characteristic aspect of his activity during the period of the Strain was the speeches he gave during the exhibitions of his works. This was followed by storms, in which the press, critics and the Academy were very spontaneous about the steps taken by Stach of Warta and his ideas.

” So I turn to you Citizens as to what they understand in Poland for further values ​​- because of the impulse says race, and culture (as we have today) – the foreignness of acquired culture – and cowardice of theoretic insecurities – to get you out of yourself Society of living people and replaced these intellectual mannequins. Each of Publica becomes a Society, who will break free from the passivity of the consumers and forward. Everyone who turns an initiative becomes an activist, and whoever acts belongs to the Society.

Do not wait for the book authorities, the academy, the ministries, become aggressive yourself and in relation to the things to be. Do not be afraid of mistakes, because only those who theorize, and not those who live, are wrong. Begin with small things to put in a new role. The size of the nation lies in the initiative of individuals – and they constitute Society. ”

This text, sent from California to Chłopalski’s pupils, opened the I List of Works by Szukalski.

Twórcownia Szukalski named the school of artists he created. The creation of the universal Creation was the flagship postulate of the Szczepowców family. The principal difference between the Creation and the universal teaching of art were the norms and canons imposed. Szukalski, putting his pupils in front of the workplace (regardless of whether a sculpture, painting or drawing was to be created) gave them only brief guidelines, namely, he ordered them to create what they feel, which gives them their own spirit. Twórcownia was to create a new type of culture warriors. The core of the entire idea of ​​the Strain was to create a truly national art, drawing from the symbolism of pagan Slavdom, because, as the author himself stated, we had art in Poland, but there was no Polish art yet. Szukalski radically opposed the adoption of foreign patterns. In one of the texts of the magazine “Krak” we read:

“From the beginning of our well-known history, from the baptism of Christianity, our nation took on all kinds of fashion with a light heart. Lizusosko helped the invaders, sneaking up on our flat feet, murdering the gods of our fathers’ lands in the grove of saints (…) As in the times of Krak, we have special commissions of licks, who choose the most-praised boys and girls, as scholarship recipients devouring the dragon – called the culture of the west ”

The tribe had its own press organ, which was the magazine Krak published by them. The interpretations of his works were published there. Due to the radical nationalistic and anti-clerical views of Szukalski, the editorial office of the Polish Nationalists’ Zadruga magazine quickly became interested in it, which resulted in the appearance in April of the first issue of the master’s title in the April issue of “Slavism and Our Jews.” Szukalski was a very radical opponent of mixing races. He claimed that mixing the famous blood with others deprives the Slavs of the Creative Will, while the nomadic races, deprived of the creative element, gain in the Slavic admixture.

The work of Szczep, especially its founder, was often characterized by monumentalism and modern incarnation of historical characters or phenomena as a kind of archetypes. The work of Szukalski himself was also unimaginably an exact representation of human anatomy. The time spent by the master at work in the slaughterhouse has left his mark here, which gives an amazing impression while watching his works. However, the most notable projects that can not be underestimated were the Duchtynia, Toporła and modern Światowid projects.

Duchtynia and Światowid

Duchtynia was to be a necropolis in Wawel, a kind of pantheon of national heroes, national saints. A place of pilgrimage for every Pole, swearing in to rulers or even marriages. The vows were to take place in front of the “Saint Martin”, which was to become the “Symbol of the Polish Second”.

In Duchtynia, a contemporary Światowid was to be presented as a great horse, on whose saddle / throne they would sit facing the four sides of the world: Piłsudski, Kazimierz Wielki, Mickiewicz and Copernicus. The most important is Piłsudski. It was to symbolize “Morning, Spring, Awakening of the political sense, Blood (revolution), War for freedom, Liberation”. Copernicus looking – in the words of Szukalski – towards the West, symbolizing the Evening, the West, harvest, Culture, Knowledge Cry, Disappearance of the State Sense, Pacifism and Overlook of Physical Life , measuring the space from the heart – the Earth to the brain – the Sun.

Toporzeł

 

The ax was to become the new emblem of Poland. This symbol is successfully used today by both nationalists referring to the philosophy of culturalism and the Slavic origin of the Polish nation as well as by the nationalists. The author described it in a wonderful way:

“Therefore, I am bringing you a beautiful sign, a new Eagle, and even simpler than the Piast, that you, who are possessed as I am, intent on the mission of the country; with an open heart they adopted on their banners, a sincere confession of national and racial patriotism, this is the sign of Topor, which became the Eagle. Let the Axor give to all of us, regardless of the different paths of attaining to the same Ideal, inspiration is needed today. ”

It is also worth mentioning the wonderful, timeless work of “Krak Syn Ludola”. Let us hope that it will be adapted for the theater. A few days ago, a movie about “Fight: Life and the Lost Work of Stanisław Szukalski”. The catalog of Stach’s creativity with the possibility to buy has also appeared in the network. When watching the film, however, we must take the correction that it is unfortunately politically correct production.

To the size

 

Summing up the work of both the Rogate Heart and the Stacha from the Warta, one can say that they were rebels. Rebels against foreign currents, marasmus, cultural Marxism, hedonism, mixing of races. Sam Szukalski, when he writes against whom Szczepowcy applies, states:

“Down: Communism from the World, with old people from social life! with Jews from Poland !, with political clues! ”

Their work exhorted and gave expression to greatness, monumentality, and emanated even pathos. Throughout their work, the Szczepowcy despised the smallness, and emanated from them the immense Will of Power, the will of Creation as well as the vast deposits of patriotism and nationalism. Today’s modern Assault Nationalism can draw from the creativity of the Strain with full handfuls.

 

Miecław Biały
Bibliography:

Lechosław Lameński. Stach with Warta Szukalski and the Horned Heart Strain. Lublin: KUL Publishing House, 2007.

Letter of Polish Nationalists “Zadruga”, 1938, no. 4.

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