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Der Bildteppich in Der DDR Dissertation

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Der Bildteppich in Der DDR Dissertation Politik und gewebte Lebensfreude Der Bildteppich in der DDR Dissertation zur Erlangung des Doktorgrades der Kunstgeschichte der Universität Paderborn Fakultät für Kulturwissenschaften der Universität Paderborn vorgelegt von: Björn Raupach Paderborn 2015 1 1. Gutachter: Prof. Dr. Eva_Maria Seng 2. Gutachter: Prof. Ulrich Müller-Reimkasten Tag der mündlichen Prüfung: 16. September 2015 2 Inhalt VORWORT......................................................................................................................5 1 EINFÜHRUNG IN DIE THEMATIK......................................................................6 2 FORSCHUNGSSTAND.............................................................................................8 3 DIE BEDEUTUNG DER TEXTILKUNST IN DER DDR...................................10 3.1 GESELLSCHAFTLICHER AUFTRAG UND KULTURFÖRDERUNG...................................................16 3.2 KULTURFONDS....................................................................................................................19 3.3 GOBELINS IM PALAST DER REPUBLIK...................................................................................20 3.3.1 Zur Geschichte.........................................................................................................20 3.4 GOBELINS IM KLOSTER UNSERER LIEBEN FRAUEN MAGDEBURG...........................................21 3.4.1 Zur Geschichte.........................................................................................................22 3.5 DER BILDTEPPICH UND DER KUNSTDIENST DER EVANGELISCHEN KIRCHE..............................23 4 STANDORTE TEXTILER KÜNSTE....................................................................25 4.1 HOCHSCHULE FÜR INDUSTRIELLE FORMGESTALTUNG............................................................26 4.1.1 Erste Phase..............................................................................................................28 4.1.2 Zweite Phase............................................................................................................34 4.2 DER VEB(K) HAWEBA – DIE STAATLICHE TEXTILMANUFAKTUR HALLE (SAALE).............36 4.2.1 Zur Geschichte.........................................................................................................37 4.2.2 Produktionsablauf....................................................................................................47 4.2.3 Innerbetriebliche Struktur der Textilmanufaktur......................................................48 4.2.4 In der Manufaktur gefertigte Arbeiten......................................................................49 4.2.4.1 Der Gobelin...........................................................................................................................................49 4.2.4.2 Die Rya – der Knüpfteppich.................................................................................................................51 4.2.4.3 Die Applikationsstickerei.....................................................................................................................51 4.3 SCHNEEBERG......................................................................................................................54 4.3.1 Fachschule für Angewandte Kunst Schneeberg........................................................56 4.3.1.1 Zur Vorgeschichte.................................................................................................................................56 4.3.1.2 Die Zeit nach der Statusänderung 1962...............................................................................................57 4.3.2 Die Schneeberger Werkstatt-Tage für Textilgestaltung............................................58 4.4 HOCHSCHULE FÜR ANGEWANDTE KUNST – BERLIN...............................................................62 4.5 VEB HALBMONDTEPPICHE OELSNITZ..................................................................................63 4.6 VEB TEXTILKOMBINAT COTTBUS.......................................................................................65 4.7 DIE WERKSTATT VON MARGARETHA REICHARDT IN ERFURT-BISCHLEBEN............................66 5 BILDTEPPICHGESTALTER ALS KÜNSTLER IN DER DDR........................70 6 PGH „VOLKSKUNST AN DER OSTSEE“..........................................................79 6.1 ZUR VORGESCHICHTE.........................................................................................................79 6.2 RUDOLF STUNDL IN DER DDR............................................................................................83 7 DER BILDTEPPICH IM KÜNSTLERISCHEN VOLKSSCHAFFEN..............87 7.1 ZENTRALHAUS FÜR KULTURARBEIT.....................................................................................87 3 7.1.1 Zur Arbeitsweise des Zentralhauses.........................................................................89 7.2 ZENTRALE ARBEITSGRUPPE „BILDNERISCHES VOLKSSCHAFFEN“ IM VBK..............................90 7.2.1 Aufgaben der ZAG...................................................................................................91 7.2.2 Die Zusammenarbeit mit dem FDGB.......................................................................92 7.2.3 Qualitätssteigerung der Volkskunstausstellungen....................................................92 7.3 ZIRKELTÄTIGKEIT...............................................................................................................94 7.3.1 Auftragsarbeiten an Beispielen................................................................................95 7.3.2 Ausstellungen...........................................................................................................96 7.3.3 Auszeichnungen........................................................................................................97 8 DIE BEDEUTUNG DER MUSEEN UND AUSSTELLUNGEN.........................98 8.1 MUSEEN.............................................................................................................................98 8.1.1 Museum des Kunsthandwerks – Grassimuseum für Angewandte Kunst Leipzig.......98 8.1.2 Kunstgewerbemuseum Berlin-Köpenick...................................................................99 8.2 AUSSTELLUNGEN..............................................................................................................101 8.2.1 Textil ´76, Textil ´80, Textil ´85, Textil ´90.............................................................101 8.2.2 Quadriennale des Kunsthandwerks der sozialistischen Länder..............................104 8.2.3 Dresdner Kunstausstellungen.................................................................................105 8.2.4 Deutsche Akademie der Künste..............................................................................106 8.2.5 Miniatur-Textil.......................................................................................................106 8.2.6 Galerien und der staatliche Kunsthandel...............................................................108 9 FAZIT.....................................................................................................................110 10 ANHANG.................................................................................................................1 Verzeichnis des Anhangs Interviewpartner.................................................................................................................1 Verzeichnis der Abkürzungen...........................................................................................1 Abbildungsverzeichnis 1...................................................................................................2 Abbildungsverzeichnis 2...................................................................................................4 Katalogteil.......................................................................................................................10 Tabellenverzeichnis.......................................................................................................101 Gobelins im Palast der Republik „Spreerestaurant“......................................................101 Gobelins im Palast der Republik „Lindenrestaurant“....................................................101 Gobelins für das Kloster Unserer Lieben Frauen..........................................................102 In der Staatlichen Textilmanufaktur Halle produzierte Gobelins 1961–1989...............103 In der Staatlichen Gobelin- und Textilmanufaktur Halle produzierte Teppiche...........114 In der Staatlichen Gobelin- und Textilmanufaktur Halle produzierte Stickereien........116 Literaturverzeichnis.......................................................................................................119 Internetquellen...............................................................................................................129 Personenverzeichnis......................................................................................................130 4 Vorwort Er kitzelt ganz leicht auf der Haut, kratzt vielleicht hier und da. Er strahlt eine angenehme Wärme aus und sorgt für mein Wohlbefinden. Ich bin überrascht von seiner Pracht und Erhabenheit. Der Gobelin, der aus dem Fokus der Kunstdokumentation,1 aus der öffentlichen Aufmerksamkeit geraten ist. Neuerdings bemühen sich Museen, davon etwas zu ändern. Es gab Ausstellungen zur deutschen Textilkunst in Bielefeld und Wolfsburg. Eine zweibändige Publikation2 erwähnt, allerdings
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