Drawing on contemporary Hungarian and Central European writings, exhibition texts and institutional debates, this article reconstructs how the “national direction” of applied arts was conceptualized in Hungary between roughly 1870 and 1900. It shows that discussions of national style were shaped by a recurring set of dilemmas: whether “national” applied art was possible at all, what its legitimate models should be (European historical styles, “Eastern” traditions, vernacular ornament or reconstructed “ancient Magyar” motifs) and whether national character should be sought in style and ornamentation, or rather in taste, usefulness and modern functionality. Case studies centred on key actors (Arnold Ipolyi, Károly Pulszky, József Hampel, Károly Tagányi and József Huszka) and exhibitions (such as the Goldsmith Exhibition at the Museum of Applied Arts) and the vocational-school network in Austria-Hungary reveal a shift from historically grounded, comparative arguments toward increasingly ahistorical, essentializing readings of folk ornament. By the turn of the century, the concept of “national style” had largely receded from scholarly discourse even as it was gaining popular appeal. Although attempts were made to fit certain groups of objects and forms into separate national narratives, a comparative, large-scale regional perspective shows that the shared motif repertoire of multi-ethnic Central Europe continued to connect rather than separate its cultures.
Gábor Papp (Thu,) studied this question.