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Zbornik Izza Klobuka

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Zbornik Izza Klobuka KLOBUKAIZZA FROM BEHIND THE HAT Fotogra!ja na naslovnici: Oddelek za opremljanje klobukov – šivalnica (foto: Sara Šifrar Krajnik) Izza klobuka From behind the Hat ZBORNIK COLLECTION OF PAPERS Ško"a Loka, september 2020 Kazalo 4 Klobuk se predstavi! 20 »Kdor hoče biti lep kavalir, naj nosi klobuk znamke Šešir« 34 Tovarna Šešir skozi čas v lokalnih tiskanih medijih 48 Spomini Viktorja Klobučnika 54 Ko se obrtne delavnice zapro in tovarne propadejo: Zgodbe sodobnih rokodelcev 62 Index 2 Pričujoča publikacija je nastala v sklopu projekta Zaljub- !is publication was created as part of the project In Love ljeni v ustvarjalnost, v katerem sta sodelovala Loški mu- with Creativity, a joint project of the Ško#a Loka Museum zej Ško"a Loka in Razvojna agencija Sora – Rokodelski and the Sora Development Agency – Arts & Cra$s Center of center DUO Ško"a Loka, so%nancirali pa sta ga Repu- Ško#a Loka, co-%nanced by the Republic of Slovenia and the blika Slovenija in Evropska unija iz Evropskega sklada European Union from the European Regional Development za regionalni razvoj. Cilj projekta je bila nadgradnja tra- Fund. !e aim of the project was to build on the traditional dicionalnih rokodelskih znanj in veščin, ki se bodo utr- artisanal knowledge and skills, which will be broadened in dile v sedanjosti in prek ustvarjalne turistične ponudbe the present and also revived through a range of creative tour- zaživele tudi v prihodnosti. Za ohranjanje tradicionalne- ist services in the future. In order to preserve the traditional ga rokodelskega znanja je pomembno, da se to ustrezno artisanal skills, it is important for them to be documented, dokumentira, širi in je dostopno javnosti. Loški muzej promoted and made available to the public. !is in particular je v projektu prevzel prav to nalogo, njen rezultat pa je was the task taken on by the Ško#a Loka Museum and the publikacija Izza klobuka. result is the publication titled From behind the Hat. Publikacija predstavlja pomembno vez med preteklostjo !e publication represents an important link between the in sodobno rokodelsko ustvarjalnostjo. Mojca Šifrer Bu- past and contemporary artisanal creativity. In one of the lovec v njej predstavlja klobuk kot del noše, zgodovino papers included in the publication, Mojca Šifrer Bulovec in bonton nošenja klobukov, zgodovino klobučarstva na presents hats as part of the national costume, the hats' his- Loškem in postopke izdelave klobuka. Biljana Ristić do- tory and etiquette, the history of hat-making in the area of daja kronološki pregled zgodovine tovarne Šešir, ki jo Ško#a Loka and the hat-making process. Biljana Ristić pro- umešča tudi v širše družbeno in gospodarsko dogajanje v vides a chronological historical overview of the Šešir hat fac- posameznih obdobjih. Dodatno osvetlitev tovarne dodaja tory, placing it in broader social and economic contexts in Tadej Curk, ki predstavlja njeno javno podobo v lokalnih individual periods. Tadej Curk sheds additional light on the tiskanih medijih, skozi pripoved %ktivnega lika Viktorja hat factory through a paper focused on how the hat factory Klobučnika pa še izbrane spomine nekdanjih zaposlenih was presented in the local print media over the years and v tovarni Šešir oziroma njihovih sorodnikov. Publikacijo through an account shared by the %ctional character Victor zaključuje članek študentke etnologije in kulturne antro- Hatter, which includes factory-related memories of the for- pologije Sare Šifrar Krajnik, ki znanje preteklosti poveže s mer factory employees and their relatives. !e publication sedanjostjo in nam predstavi sodobne rokodelce in roko- concludes with a paper by Sara Šifrar Krajnik, an ethnology delke ter njihove izdelke. and cultural anthropology student, who places traditional knowledge alongside present-day creativity and presents contemporary artisans and their products. 3 Mojca Šifrer Bulovec Klobuk se predstavi! Uvod Prispevek Klobuk se predstavi! želi na kratko predstaviti, pokrivalo so čepice, z izjemo srede 15. stoletja, prevla- kaj klobuk je, zakaj se uporablja, kaj sporoča, kdo ga nosi, dovale nad klobuki vse od 15. do 18. stoletja, ko klobuki iz katerih materialov je narejen, katere obrti so povezane z postanejo prevladujoče pokrivalo fevdalcev in meščanov. njim in bonton, ki se je oblikoval v povezavi s klobukom. J. V. Valvasor (1689) poroča, da so kmetje klobuke nosili V drugem delu je podrobneje predstavljena klobučarska na Gorenjskem, Dolenjskem, Kočevskem in v delu Istre.5 obrt v Ško"i Loki, ki ji lahko sledimo od 17. stoletja naprej do sedemdesetih let 20. stoletja. V žensko oblačilno kulturo klobuk dolgo ni prodrl. Na- domeščale so ga peče (naglavne rute) in avbe (t.j. priležno Pri pisanju prispevka sem se opirala predvsem na podatke pokrivalo, ki pokriva celo glavo, razen obraza). Šele konec iz monogra%je Janje Žagar z naslovom Pokrivala. Za lokal- 16. stoletja so ženske višjih družbenih plasti pod vplivom no zgodovino pa sta zelo pomembna prispevka napisali španske mode za določene namene začele uporabljati klo- Doroteja Gorišek (Loški klobučarji) in Meta Sterle (Klobu- buke, ki so po obliki posnemali moške.6 čarska obrt v Ško#i Loki od srede 18. do srede 20. stoletja). Pri svoji raziskavi sta pregledali arhivske vire, predvsem pa sta zabeležili še žive spomine informatorjev na terenu. Zato sta njuna prispevka še toliko bolj pomembna tako za lokalno kot tudi za slovensko zgodovino obrti. Kaj je klobuk? Klobuk je pokrivalo z navadno tršim oglavjem (štulo) in krajci, ki ga nosimo na glavi. Izjema je damski klobuk, ki je lahko tudi brez krajcev. Klobuk nas ščiti pred vremenskimi neprilikami – mra- zom, dežjem, soncem idr. Zaradi svoje izpostavljene lege, saj stoji na vrhu glave, ima lahko tudi prestižen pomen in nakazuje na položaj posameznika v družbi. S klobukom lahko nosilec izraža pripadnost določeni družbeni, etnič- ni, narodni ter verski in poklicni skupini, opozarja na svo- jo ekonomsko moč in včasih tudi zakonski stan. Oblika klobuka se zaradi modnih vplivov že stoletja spreminja.1 In kaj je moda? ”Moda je produkt socialnih zahtev družbe, deluje pa na vsakega posameznika posebej; ustvarja vzorce posnemanja, ki jim posamezniki sledijo na različne načine, s tem pa razkriva njihovo pripadnost enim in nepripadnost drugim družbenim skupinam. Moda torej nudi socialno oporo: v enotnem ravnanju združuje težnjo po socialnem izenačevanju in težnjo po individualnem razločevanju in spremembi. Moda oblikuje periodične spremembe in sili k ravnanju v okviru vsakokratne mode.”2 Uporaba klobukov v moški oblačilni kulturi vse do kon- 1 Žagar, 2004, str. 115. 3 ca srednega veka ni bila splošno razširjena. Na Sloven- 2 Žagar, 2004, str. 10. skem etničnem ozemlju jih viri prvič omenjajo pri obredu 3 Žagar, 2004, str. 115. 4 Žagar, 2004, str. 118. ustoličevanja koroških vojvod v 11. in 13. stoletju. Tedaj 5 Žagar, 2004, str. 118-119. so koroški kmetje nosili sive klobuke s sivo vrvico.4 Kot 6 Žagar, 2004, str. 116. 5 Svoj razcvet je ženski klobuk doživel šele v času po franco- ski revoluciji (1789). Vse do 1. svetovne vojne je bil klobuk privilegij žensk iz višjih družbenih plasti. V omenjenem obdobju je bil edino in skoraj obvezno pokrivalo, ki ga je bilo primerno nositi izven doma. Revnejše meščanke, ura- dnice, učiteljice so ga začele nositi šele pred 2. svetovno vojno, medtem ko se na podeželju ni uveljavil.7 Predsta- vljal je ločnico med mestnimi in podeželskimi ženskami, ki so si na glavo zavezovale rute. Oblika ženskih modnih klobukov v 19. in prvi polovici 20. stoletja je poudarjala ali celo dopolnjevala modno urejeno frizuro. To je bil korak na poti osvoboditve žensk, saj so si pred tem morale lase stoletja skrivati pod pečo, avbo ali lasuljo.8 Iz zgodovine klobuka je razvidno, da je lahko narejen iz različnih materialov. Splošno so bili razširjeni klobu- ki iz volnene polsti, boljši iz goveje in zajčje dlake. Klo- buke iz slame poznamo že od antike naprej. Šivali so jih tudi iz tekstila (žameta, svile, platna, bombaža idr.) ter iz naravnega usnja.9 Seveda so ljudje v preteklosti, za delov- no pokrivalo uporabljali materiale, ki so bili dosegljivi v neposredni okolici - tako so si klobuke izdelali iz bukove drevesne gobe, jih spletli iz koruznega ličja ali kostanjevih in lipovih vejic.10 V novejšem času so se naravnim materi- alom pridružili še umetni. Da je bil klobuk lepši, so ga krasili z vrvicami z visečimi co%, kovinskimi zaponkami ali svilenimi trakovi, ovitimi okoli oglavja. Za trakove so zatikali različna živalska pere- sa (ruševca, šoje, noja idr.) ali pa sveže ali posušeno cvetje. Ob raznih priložnostih, npr. ob naborništvu, so si klobuke okrasili s pisanimi trakovi iz krep papirja.11 J. V. Valvasor piše, da so si moški, ko so šli na svatbo, pripasali sabljo, na glavah pa so nosili okrašene klobuke: » … svileni trakovi na klobukih plapolajoči, in veliki štirioglati, iz preluknjane zlate pene narejeni in s kosmato svilo prevlečeni šopki … Nosijo tudi šopke iz pušpana in jih znajo na svoj način s čudno iz- najdbo okrasiti z biseri, …bela posušena ajdova zrnca rabijo za bisere, ki jih prilepijo na pušpanove liste. Z njimi se pri svatovskem sprevodu močno postavljajo … Tako išče uboštvo zvijačo in njegova preproščina ravna pametneje, kakor ra- zum tistih, ki porabijo veliko denarja za dragulje.«12 Za izdelavo klobukov so se razvile posamezne obrti. Klo- buke iz volnene polsti ter goveje in zajčje dlake so izdelova- li klobučarji, ki se na Slovenskem prvič omenjajo sredi 15. stoletja v Ljubljani, širša proizvodnja polstenih klobukov pa se začne v 17. stoletju. Klobučarji so delovali predvsem v mestih, združeni v cehovske organizacije.13 Posamezni - klobučarji, ki so klobuke za kmečko prebivalstvo izdelova- li iz volnene polsti, pa so bili najverjetneje samouki. 6 RAZPREDELNICA kaže razširjenost klobučarske obrti v posameznih obdobjih. leto število klobučarskih mojstrov število klobučarskih mojstrov na Kranjskem14 v Ško"i Loki15 1762 23 1 1870 93 5 (1869) 1890 90 4 1925* 69 3 1964** 34 1 * število klobučarjev v Slovenskem delu Kraljevine SHS ** število klobučarjev v SR Sloveniji16 Središče izdelovanja slamnikov je bilo od druge polovice 18.
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