Baroque in Poland - Baroque and Sarmatism

Baroque and Sarmatism

The Polish Baroque was influenced by Sarmatism, the culture of the Polish nobility (szlachta). Sarmatism became highly influenced by the Baroque style and produced a unique mix of Eastern and Western styles. "East" refers here to the Oriental culture of the Ottoman Empire, not the culture of the Orthodox Muscovy. Those Oriental influences stemmed from a large border shared by Poland with the Ottoman Empire, and it frequent invasions.

Sarmatist thought had praised the idyllic countryside-existence, and the liberal Golden Freedom of the nobility, which stood against the absolute power of the monarchy. Sarmatism stressed the military prowess going back to the times when szlachta first emerged from the knight class; and its religious values, both associated with the historical mission of the Polish people as a bastion of Christianity. Sarmatian nobles felt superior to even the nobility of the other nations, whom they considered non-free and almost enslaved by their rulers (according to Poland's constitution, the king was but an "equal among equals"). With the progression of time, however, the Sarmatism ideals became corrupted. By the time of the 18th-century Enlightenment in Poland, Sarmatism was often regarded as a backward and ultraconservative relic of the past – an opposite of progress, leading the country to its downfall.

On a more material realm, Oriental influences were visible in nobles' attire, arms, and decorations. New Polish costume was based on the Ottoman Empire's robe, which spread from nobility to city dwellers and even peasants. A Polish nobleman wore long robe-like garment such as żupan, delia, and kontusz, often lined with expensive cloth; fitted with a sash belt (pas kontuszowy) and accessorized with knee-high boots from soft leather. Arabian horses were common in Polish cavalry. During the 17th century shaving one's head in the Tatar fashion became popular. The symbol of the noble class was the curved blade weapon, the szabla, a cross between saber and scimitar. Ottoman daggers, sheaths, carpets, helmets, saddles, klims, rugs, tapestries and embroideries were also common: what was not acquired from trade came as loot from many military conflicts along the Commonwealth southern border. The manor (dwór, dworek) of the Polish nobleman was decorated with such war trophies. Some luxury items were of domestic produce, often imitating the Orient style; most were imported from the West via Danzig (Gdańsk) or from the East. Displaying one's wealth was important, and excuses where many: from the name day of the patron saint to weddings and funerals, they be observed in extravagant fashion. A distinctive art of coffin portraits emerged during that period.