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Väitöskirjassaan Ruotsalaisia Damastikankaita Ja Niiden Valmistusta Vadstenassa 1753–184315

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Väitöskirjassaan Ruotsalaisia Damastikankaita Ja Niiden Valmistusta Vadstenassa 1753–184315 Kansikuva: Dora Jung, Festivo (Påfågel), 1965, 46 x 34 cm, Tampella. Kuva PF. © Päivi Fernström ISBN 978-952-10-8334-1 (nid.) ISBN 978-952-10-8376-1 (PDF) ISSN L 1798-713X ISSN1798-713 Unigrafia, Helsinki 2012 2 Tiivistelmä Tutkimuksen kohteena on suomalaisen tekstiilitaiteilija Dora Jungin, 1906–1980, käsityöllinen ja teollinen toiminta sekä hänen damastiensa kehittymiskaari. Dora Jungia on aikalaiskirjoituksissa kuvailtu damastin uudistajana, hänen kudoksiaan damastitaiteen renessanssina ja hänen damastien kudontaa ”dorajung-tekniikkana”. Tutkimus selvittää vanhan ja arvostetun damastikudonnan vaiheittaista siirtymistä Etelä-Euroopasta Pohjolaan ja tuo esille rakenteita, jotka ovat vaikuttaneet damastiin Suomessa. Dora Jungin toiminnassa keskityn sen muutokseen vaikuttaneisiin tekijöihin ja käsin kudonnan merkitykseen kansallisessa viitekehyksessä peilaten tätä eurooppalaisen damastitaiteen jatkumoon. Dora Jung opiskeli Helsingissä Taideteollisuuskeskuskoulun tekstiilitaiteen osastolla 1929–1932. Ennen tekstiilitaiteen opintojaan hän opiskeli Suomen Käsityön Ystävien kudontakoulussa. Hän perusti valmistumisvuonaan 1932 oman kudonta-ateljeen nimellä Dora Jung Textil. Kutomossa valmistettiin sisustustekstiilejä, kirkkotekstiilejä, 1950- luvulta alkaen uniikkeja tekstiiliteoksia julkisiin tiloihin ja joitakin vapaita taidetekstiilejä. Jung teetti teollisia damasteja Oy Tampella AB:ssä jo 1930-luvulla, mutta suunnittelusopimus Tampellan kanssa solmittiin vasta 1950-luvun lopussa. Tutkimusstrategiana on tapaustutkimus. Se kohdistuu Dora Jungiin, eurooppalaisen damastin historiallisessa kontekstissa. Käsityötieteen kentässä tutkimus kohdistuu sellaiseen käsityöhön, jossa suunnittelija ja valmistaja(t) ovat eri henkilöitä. Tutkimuksen aineistona ovat Dora Jungin kutomon jäämistö: kudontakortit; näytekansiot; luonnokset; leikekirjat; konkreettiset tekstiilit sekä informanttien muistitiedot. Lisäksi Dora Jungin sisaren, Kristiina Jungin, jäämistöstä 2007 esiin tullut uusi aineisto valottaa Jungin toimintaa. Tutkimuksessa tulee esille myös ennen julkaisematonta kuva-materiaalia. Tutkimus avaa moniulotteisen kuvan Dora Jungin damasteista ja hänen toiminnastaan tekstiilitaiteilijana. Dora Jung perehtyi damastikudontaan ja muutti sitä omaleimaiseksi työskentelyvälineitä, työskentelymenetelmiä ja damastin pintarakennetta muuttamalla. Jungin damasti-innovaatio kohdistui erityisesti taidetekstiileihin, mutta hän käytti uudenlaista damastia myös joissakin sisustustekstiileissä. Teollisen damastin osalta tutkimus tuo esiin, että suomalaisen damastin suunnittelussa käytettiin kotimaisia taiteilijoita sekä suunnittelijoina että makutuomareina jo 1800-luvun puolella. Dora Jung siirsi osan oman kutomon damastisuunnitelmia lähes sellaisenaan teollisuuteen. Avainsanat: damasti, käsityö, muotoilu, tekstiilitaide, Dora Jung, tapaustutkimus 3 Abstract THE TRADITION AND INNOVATION OF DAMASK The work of textile artist Dora Jung with a focus on her damask textiles The focus of the study is the artisanal and industrial activity of textile artist Dora Jung, 1906–1980, and the developmental cycle of her damask textiles. Dora Jung has been described by her contemporaries as the reformer of damask and her weaving as the renaissance of the damask art. Her method of damask weaving has been called the “dorajung-technique”. The study discusses the gradual migration of the tradition of damask weaving from southern Europe to the Nordic countries and presents the influences on damask in Finland. In the work of Dora Jung I focus on the factors that have contributed to the changes in and the significance of hand weaving in the national context while contrasting this against the continuum of European damask art. Dora Jung studied at the textile department of the Helsinki Central School of Art (Taideteollisuuskeskuskoulu) in the years 1929–1932. Prior to her studies of textile art, she trained at the weaving school of the association Finnish Friends of Handicraft. In 1932, the year of her graduation, she set up her own weaving atelier under the name Dora Jung Textil. The weaving shop produced interior textiles, church textiles and, from the 1950s onwards, unique works of textile art for public spaces and some other art textiles. Jung had already been designing industrially fabricated damask textiles for Oy Tampella Ab in the 1930s, but she made a formal design contract with Tampella as late as the 1950s. The research strategy is the case study. The research focuses on Dora Jung within the historical context of European damask. Within the field of craft science, the research focuses on the type of handicraft where the designer and the fabricators are different actors. The source material of the research includes original documented material from the Dora Jung weaving atelier: weaving cards, sample folders, sketches, scrap books, concrete textile works as well as the memories of the informants. In addition, the inheritance of the sister of Dora Jung, Kristiina Jung, revealed new material in 2007, which shed more light on Jung´s work. The study also includes previously unpublished photographic material. The research opens a multifaceted picture of the damask and works of Dora Jung as a textile artist. Dora Jung examined the art of damask weaving and developed her own methods through developing the working methods, tools and the surface structure of the damask. Jung’s artistic innovation focused especially on art textiles, but she used a new kind of damask also in some of her interior textiles. The study of industrial textiles reveals that domestic artists were used as designers and arbiters of taste in the design of Finnish damask already in the 19th century. Dora Jung transferred part of the damask designs of her atelier in an almost unaltered form to industrial production. Keywords: damask, craft, design, textile art, Dora Jung, case study 4 Kiitokset Yksi tutkimustyön suurenmoisimpia puolia on uusiin ihmisiin tutustuminen ja heidän kanssaan asiointi. Omalla kohdallani ensimmäinen projektiini olennaisesti vaikuttanut henkilö oli Designmuseon edesmennyt johtaja Marianne Aav. Häntä saan kiittää tutkimukseni aiheen löytymisestä. Kysyin häneltä vihjettä mielenkiintoisten arkistojen lähteille, jolloin hän ohjasi minut Dora Jungin jäämistön äärelle ihmetellen samalla, kuinka vähän Jungista oli siihen mennessä kirjoitettu. Tämä arvovaltainen ”siunaus” tutkimusaiheelleni on kulkenut mielessäni kaikkina tutkimukseni vuosina. Yhtä tärkeää kuin innostavan aiheen löytyminen on hyvien ohjaajien saaminen. Minulla oli etuoikeus saada kaksi asiantuntevaa ja erinomaista ohjaajaa työlleni. Olen erittäin kiitollinen dosentti Kirsti Salo-Mattilalle ja professori Päikki Prihalle siitä, että juuri he suostuivat työni ohjaajiksi. Molempien tietämys ja innostus ovat olleet työni kannalta merkityksellisiä. Kannustava asenne ja valoisuus ovat olleet tärkeitä tekijöitä monia vaiheita sisältäneessä tutkimusjaksossa. Esitarkastajien asema on olennainen tutkimuksen loppuun viemisessä. Kiitän oman työni esitarkastajina toimineita dosentti Marketta Luutosta ja dosentti Sanna Kaisa Spoofia, jotka esittivät oivaltavia kommentteja ja ehdotuksia tutkimukseni kehittämiseksi. Tutkimuskauteni alkuvuodet sain olla professori Leena Kaukisen johtamissa, rikasta keskustelua virittävissä, jatkokoulutusseminaareissa ja viimeiset kaksi vuotta luontevasti Kirsti Salo-Mattilan ryhmässä. Tämän ryhmän ydinteemaa oli moninaiset tekstiilikulttuuriin liittyvät kysymykset. Molempien ryhmien osallistujat olivat viisaita ja vilkkaita keskustelijoita. Erityisesti haluan kiittää Kaisa Hyrskyä ja Suvi Kettulaa. Heidän kanssaan saatoin keskustella niin tutkimusteemoistamme kuin kulttuurin kuulumisista tai vaikkapa puutarhassa puurtamisesta. Heidän vertais- tukensa on ollut korvaamatonta. Lisäksi kulkeminen Kaisa Hyrskyn kanssa tutkimuksen viimemetrit tasatahtia on helpottanut monia käytännön asioita. Haluan lisäksi kiittää erityisesti Tarja Kaarina-Laamasta ja Miia Collanusta sekä koko Salo-Mattilan ryhmää. On kannaltani harmillista, että oma jaksoni tässä ryhmässä jäi niin lyhyeksi. Työni Helsingin yliopiston opettajankoulutuslaitoksen käsityötieteen koulutusohjelmassa on pitänyt minua asioiden ja tapahtumien ytimessä. Olen kiitollinen siitä, että olen saanut olla tässä työyhteisössä niin monia vuosia. Kannustava ja ymmärtävä ilmapiiri on ollut huojentavaa tutkimusperiodin aikana. Kollegoiden lisäksi haluan kiittää opiskelijoitani 5 oivaltavasta ja vaativasta suhtautumisesta käden taitoihin, tutkimukseen ja opetustyöhön. Mehevyyttä ajoittain yksinäiseen tutkimustyöhön toi damastin kerääjä ja asiantuntija Irja Satri, jota haluan koko sydämestäni kiittää. Hänen panoksensa tutkimukseen on ollut korvaamatonta. Olemme yhdessä kolunneet niin Mikkelin Elka:n aineistoja, antiikkiliikkeitä kuin kirpputorejakin. Hän on lisäksi tutkimukseni Tampella-osuuden tarkka lukija, joka jaksoi huolellisesti paneutua mallikohtaisiin pohdintoihin. Dora Jung -arkistoja sain nähdä ja lainata monilta työtäni auttaneilta tahoilta. Dora Jungin sisaren, Ulrica Eklundin tytär, Kristiina-Ulrica Teir jaksoi väsymättömästi näyttää omia kudos- ja kuvavarastojaan, samoin Dora Jungista kirjan kirjoittanut Pirkko Timonen. Heidän ystävällinen apunsa ja innostuksensa on ollut korvaamatonta. Haluan myös kiittää Lisa Johansson-Papen tytärtä, Laura Buttleria, jonka luona sain viettää ikimuistoisen viikonlopun. Opiskeluaikoinaan 1960–1970-luvuilla Dora Jungia haastatelleen ja hänestä opinnäytetyön kirjoittaneen Ivy Öhrstedtin sekä hänen miehensä Stig Öhrstedtin
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