In the field of folk art centred on crafted objects, the decoration of textiles has played – and continues to play – an important role in the material culture of both everyday life and festive or ritual occasions. One of its defining branches, belonging among the oldest handicraft traditions, is weaving. Within this, the Sárköz region developed a particularly rich and varied style of woven textiles, created by combining, adapting and refining the patterns of domestically made Hungarian weavings, the textiles of minority groups living alongside them, and long-standing craft traditions. Its most outstanding, nationally recognised and esteemed creator is Mária Fodorné László, who was born in the village of Decs in the Sárköz region, although her family were not originally from there. She first encountered the area’s characteristic, tradition-preserving, intricate weaving culture during her childhood, at the age of thirteen, through local weavers; and she gradually mastered it to such a degree that it is no exaggeration to say that she possesses comprehensive knowledge of Sárköz weaving techniques, their historical background, traditional repertoire of motifs, abundance of forms, colour schemes and the variations of pattern-composition according to function.
Her artistic career can be divided into three major phases.
The first phase may be defined as the period in which she found her masters and entered the world of weaving, evolving from elementary knowledge to the mastery of complex techniques. Her masters, who taught Mária Fodorné László the craft of weaving between 1962 and 1969, must be named individually. Building on the knowledge they passed on, her woven pieces later became true works of art through the values she herself contributed: refinement, good taste, harmony, stylistic integrity, the preservation of tradition, combined with individual design and the desire to create something new. During this period, from the wages of two summer jobs, she bought her first loom, which today is 112 years old.
Her masters were:
– Katalin Nemesné Futó, who awakened her interest in weaving and taught her the very first steps;
– Éva Bali Istvánné Pusztai (1918–2007);
– Erzsébet Ács Istvánné Kovács (1925–1981);
– Erzsébet Széles Józsefné Rengecz (1921–2006), to whom she owes the most, and who shared her extensive knowledge with complete generosity.
All four worked for the Háziipari Szövetkezet (Household Industry Cooperative).
The second phase encompasses her years as an employee of the Household Industry Cooperative, from 1969 to 1990. These decades prompted her to acquire a thorough, indeed complete understanding of the variety and richness of Sárköz patterns and forms. With this knowledge, her oeuvre matured: works of individual style were born from her hands, reflecting both refined artistic standards and creative design skills. Beyond familiarising herself with the Cooperative’s pattern collection, she also gathered woven textiles still kept in local households; studying them proved an excellent school for understanding complex techniques, rich forms and numerous motifs. During these years she mastered all the weaving techniques used in the making of Sárköz textiles, both in the past and today. These techniques include:
Simple plain weave: executed with two or four shafts, with a dense warp and variations of stripe width; used for various types of tablecloths, dough basket liners, and towels. Buja [embroidered Turkish] linen, woven from fine flax, served for underskirts and shirts. Bíbor [wrap-around veil] linen, bodor [frilled] linen, száda: extremely fine, rippling, airy fabric woven for curtains, shrouds, girls’ shirts, and young women’s veils.
Rib weave: woven on four shafts, with a velvet-like surface created by the weft thread covering the warp thread, with bold stripes articulated by border and ‘kölyökhím’ [small filler motifs]; used for festive tablecloths, wall runners, and decorative cushions.
Twill weave: its multi-directional diagonal patterns were produced by equal or wedge-shaped threading; due to its density, it was/is used for feather beds, duvet and pillowcase ends, sacks, tarpaulins, satchels, hessians, colourful cushions, and tablecloths. A special variant is the satin weave.
The characteristic ‘K’ patterns of bakacsin [black linen or broadcloth] fabrics: small K, capital K, small D, capital D, waterflow, cross-stitch, ‘small and large chest’ motif – meticulously constructed elements used to produce elaborate festive textiles, woven with four basic and two long shafts.
‘Aprórózsás’ [tiny roses] patterns: repeating geometric motifs woven on four shafts, applied to tablecloths, household and mourning textiles and clothing accessories.
‘Szedettes’ [patterned] or ‘cifraszőttes’ textiles: created using board-turning techniques, featuring star motifs, pointed and round roses, star-roses, paired doves, roses with anchors, oak leaves and ‘kölyökhím’ [small filler motifs]. These motifs adorned household textiles and decorative kerchiefs.
In connection with simpler weaving methods, she learned to weave small motifs such as bead, snail, chain, small cross or ‘geges’ patterns, used individually or as complements to larger motifs.
During this period, she also mastered the slow and exceptionally complex technique of double-sided weaving – a knowledge long guarded by the elders. Mária László was permitted to learn it only after she had demonstrated mastery of every other aspect of Sárköz style weaving. After thirty-five years she was granted this opportunity, acquiring a unique and demanding skill requiring both exceptional preparation and a particular state of mind. Today she is the only practitioner in Hungary with full command of this technique, enriching our cultural heritage with increasingly beautiful creations.
The third phase of her career spans from 1990 to the present, during which she has worked as an independent artist with several looms and a workshop where she demonstrates different weaving techniques. She not only produces her creations to the highest artistic standards, but teaches in summer camps, holds regular demonstrations, and makes commissioned works based on Sárköz traditions and her own designs – all of which undergo jury evaluation. Each piece meets contemporary functional and practical needs. In 2006, her family moved from Decs to Balatonalmádi, where her creative activity is hosted by the Pannonia Cultural Centre.
The creations of Mária Fodorné László fall into three main groups.
The first group comprises liturgical or church textiles. These adorn the Communion tables, pulpit fronts, pastor’s seat front panels and Communion railings of Reformed churches. As the Reformed tradition does not impose strict restrictions on material or decoration, Mária Fodorné László has continued the long-standing custom whereby festive or ritual textiles were offered as gifts for church use. Many weavers and craftsmen in the 18th–19th centuries and early 20th century considered it their duty to donate finely woven pieces for liturgical purposes. Her work embodies the continuation of this practice. These textiles are characterised by patterning that covers the entire surface.
The second group consists of home-decorative textiles. Within this, several functional types can be distinguished: table runners and tablecloths, decorative cushions, wall runners, bedspreads and curtains. In this group, two principal compositional arrangements appear. Tablecloths, cushions and wall runners are fully covered with ornamentation; in contrast, the patterns of table runners and bedspreads are placed along the edges, with the remaining areas enlivened only by delicate striping. Curtains form a distinct subgroup, with their motifs arranged in vertical stripes.
The third group comprises kitchen and dining textiles, such as tablecloths, napkins, aprons and dough basket liner. Their decorations are positioned along the edges or arranged in stripes across the surface.
Characteristics of Her Decorated Textiles
The earlier discussion outlined the techniques she mastered and the types of objects created through them. In addition, the following points must be emphasised. The decoration covering the entire surface of her textiles is applied evenly, in a carpet-like manner, typically composed from geometric elements arranged in stripes. Textiles patterned only at the edges feature geometrically constructed borders, while cushions and tablecloths often display paired birds and various star or rosette motifs placed side by side in rows. She maintains and practices the characteristic Sárköz weaving style, in which densely composed patterns of birds, stars and rosettes – originally woven by village weavers – form tightly structured, circular and often crowded ornamental compositions. She continues to produce regional specialties such as ‘bodorvászon’ [‘bodor’ linen], woven in blue and red grid patterns, and the delicate ‘bíbor’ [wrap-around veil], made either patterned or plain.
Her use of colour strictly follows tradition, as colour does not affect function. The typical combinations include blue-red or red-blue on a white ground, red, red-black, red-black-white, black, as well as white striping on white. She also composes white-beige or ecru, and white-beige-red tones with great subtlety.
With changes in lifestyle, the traditional household functions of woven textiles (kerchiefs, quilt covers, bench covers, mosquito nets, blindfolds, shrouds, kerchiefs for a pole, ‘minden asszony abrosza’ [literally ‘every woman’s tablecloth’], ‘tekerőző bíbor’ [winding ‘bíbor’]) have gradually disappeared. Yet through Mária Fodorné László’s work, these pieces – created with traditional techniques and rich ornamentation – have acquired new roles as decorative items for modern homes, festive occasions and the table or kitchen. She has created artworks of individual style and clear structure, characterised by strong forms. All her works testify to excellent compositional skill, unparalleled technical knowledge and a courageous desire for innovation – even renewal. She is an outstanding developer of Sárköz weaving traditions, a dedicated preserver of traditional techniques, motifs and the entire repertoire of patterns, which she has continued and refined with excellent taste and great talent. Each of her creations serves to enhance its surroundings with refined harmony. She has developed her own style while carefully preserving historical stylistic elements. Her woven textiles embody the highest artistic values of folk art and folk decorative art. The forms of her creations, the structure of their patterns, the application of colour and the richness of their ornamentation radiate perfect harmony. The coherence of composition and decoration is characteristic of her work, marked by well-proportioned, restrained arrangements and the decorative presence of the motifs, while every piece – every textile – fully fulfils its intended function. Her aim is to ensure that folk art does not lose its connection with everyday, real life.
[2016]