Polish Christmas Traditions: The Hidden Stories Behind Beloved Objects

jarmark_bozonarodzeniowy_w_poznaniu_fot_lech_paluszczak_forum-0823009251-s.jpg, full-width, Christmas market in Poznań, photo: Lech Paluszczak / Forum

#polish christmas

#design

We are surrounded by objects daily, yet at Christmastime, they often take on a new, more important meaning. They not only complete the spaces we inhabit but also help in the performance of rituals and observance of traditions, whether they be religious, family or folk. A lot has been written about Polish Christmas traditions and their associated products, but little consideration has been given to the materiality of these items. How and by whom were they crafted? What was required to make them?

Glass baubles

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Glass Christmas tree ornaments by Komozja, photo: Bombkarnia.pl

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The history of glass Christmas ornaments is a tale of humble beginnings leading to worldwide fame. In the mid-19th century, in Lauscha, Germany, the glassworker Hans Greiner was unable to afford traditional tree decorations such as fruits and nuts. Using the resources at his job, he crafted a glass ball resembling an apple. Soon the ornament drew the attention of his neighbours, and this local popularity inspired German glassworks to produce baubles, sparking a global trend that eventually reached Poland.

Glass baubles were initially imported to Poland, which made them quite expensive and only affordable to the upper classes. In the late 19th century, however, glass ornament manufactories began opening in the Polish lands. There are still several such companies today with a rich heritage – for example, Komozja was founded in 1945, and Vitbis was established eight years later. Both are family-run businesses that uphold family and national traditions. There was also a baubles factory in Milicz, founded in the 1950s, which at the height of its popularity was the biggest baubles factory in Poland. Producing around one million ornaments a year, 90% of the output was aimed towards export, with clients including Walt Disney and Pope John Paul II. The pieces made for export are often marketed under a different company name, and many people have Polish glass baubles in their homes without knowing it. Therefore, the next time you buy a glass bauble, check the box to see where it was made, as it’s very likely it came from Poland!

Quality, design and history are what differentiate Polish glass baubles from those made elsewhere. So how are they made? The crafting process starts with the glass being heated to approximately 700 degrees Celsius, making it ready to be blown into shape. Simple, round baubles often do not require a mould; however, for more intricate designs, the glass is placed into a metal form before the craftsman blows into it to make the desired design. Once shaped, silver nitrate is poured into each bauble to create the silvered ‘mirror effect’. The ornaments are then dipped in paint. The next stage involves decoration, a task often carried out by skilled women. All adornment is done by hand and most often includes paint, beads, as well as glitter. After the bauble is complete, its tip is trimmed, a metal hook is attached, and the final product is packaged for distribution – ready for you to hang on your Christmas tree!

Paper ornaments

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Paper Christmas decorations showcased at Young Poland: An Arts and Crafts Movement (1890–1918), William Morris Gallery, London, photo: Wiktoria Kijowska’s private collection

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Polish paper Christmas tree decorations were more than just ornamental; they carried significant political and cultural meaning. During the partitions of Poland by Russia, Prussia and Austria, Poland struggled to create and preserve its national identity. In the early 20th century, paper ornaments became a powerful symbol of national artistic expression, crafted to counter the dominance of widely popular German designs that had been infiltrating Polish lands for almost two centuries.

Particularly influential in the creation of paper Christmas ornaments were artists from Warsztaty Krakowskie (Kraków Workshops), including Wojciech Jastrzębowski and Zdzisław Gedliczka. This cooperative of artists and craftsmen aimed to develop a distinctly Polish national style by producing folk-inspired decorative and utilitarian objects. This emphasis on folk traditions is evident in the design of their paper ornaments, which reflected Poland’s cultural heritage and artistic identity.

Cardboard templates and metal plates facilitated the serial production of these decorations, allowing for greater consistency and efficiency. Materials such as coloured paper, paint and even haricot beans were used in the crafting process, showcasing the resourcefulness of the artists. Popular designs included Saint Nicholas, horses, fish and fruits – all symbols deeply associated with Christmas traditions. The mono- and polychrome 3D figures, sometimes accented with gold or silver details, stood out beautifully against the deep green backdrop of the Christmas tree, adding a striking visual contrast.

The cultural impact of these decorations was so profound that requests were made at the time to introduce courses for educators on their creation. In response, a toy-making school was established in 1919 at the Museum of Crafts and Applied Art in Warsaw. The school’s paper department, responsible for crafting Christmas tree decorations, played a central role in preserving and promoting this important cultural tradition.

Straw ornaments

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Straw Christmas tree decorations, left, photo: Orionagd.pl; right, photo: astoreo.pl

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Christmas decorations in the 19th and early 20th centuries were deeply inspired by nature. They were crafted from natural materials, with designs reflecting the beauty and importance of the natural world in people’s lives. It is important to note that this was a time when the Polish population was mostly agrarian, relying on agriculture and the success of their crops for their livelihoods. Whether large or small, straw decorations have been, and continue to be, a significant part of Polish Christmas traditions.

Straw ornaments, which symbolised life, were traditionally placed on a Christmas tree or a podłaźniczka (more about this below) throughout Poland, a practice that continues today. The straw was cut in various ways, with each method creating a distinct effect. There are several traditional shapes of straw ornaments, each rich with meaning. The most important is believed to be the star, crafted from flat pressed straw combined with a straw stalk. Round ornaments, symbolising apples, were also popular and represented happiness and love. These could be left plain or painted red, as this colour was traditionally thought to protect against evil. Other common shapes included fish, symbolising Christianity, as well as icicles and angels. A straw chain was also a popular decoration, and the longer the chain, the better, as it was believed that it indicated the length of one’s life, as well as happiness and abundance.

However, straw did not always need to be crafted or beautifully finished to be placed in the home at Christmastime. For example, unthreshed wheat sheaves were often placed in the corner of the room to bring good luck and abundance for the coming year. Similarly, individual ears of grain were scattered on the floor to provide shelter for souls coming from the afterlife.

Opłatek (Christmas wafer)

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Iron tongs used to make Christmas wafers, Ethnographic Museum, Rzeszów, photo: The Ethnographic Museum in Rzeszów

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The Christmas wafer, known as opłatek in Poland, is an essential part of the Polish Christmas tradition. Shared with loved ones during the festive season, especially on Christmas Eve, the opłatek symbolises friendship, love and reconciliation. This custom is believed to have originated in Poland in the late 18th century, initially embraced by the nobility before gradually spreading to all social classes.

Its delicate texture is achieved using only wheat flour and water. Traditionally, the cream-like batter was placed between hot iron tongs and baked in an oven for around three minutes. Once removed from the oven, any uneven edges caused by spilled batter were trimmed with scissors.

The tools used to create the paper-thin opłatek are true works of art. Crafted by skilled ironsmiths, they featured two rectangular panels on each end. One panel was often engraved by hand with intricate religious symbols or illustrations. Occasionally, the production date was also included, making it easy to determine when the tool was made. To protect the user from burns, the tongs were designed with long, thin iron arms that extended well beyond the heated panels. Today, many ethnographic museums across Poland, such as those in Kraków and Rzeszów, preserve these beautifully crafted tongs as part of their collections, showcasing their cultural and artistic significance.

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Left: Traditional display of the opłatek on the Christmas table, right: example of światy ornament, photo: Poland.pl; photo: trasadlabobasa.pl

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In earlier times, opłatek was baked by organists, but production has scaled up significantly over the decades. They are now mass-produced in factories using advanced tools, although the simple, traditional recipe remains unchanged. Each batch of wafers is carefully packaged, typically in a plastic bag or paper envelope, and adorned with a colourful, printed Christmas image that highlights the product’s deep religious symbolism. On the Christmas table, the wafers are placed on a bed of hay, symbolising the humble conditions of Jesus’s birth, while also believed to bring abundance and prosperity to the household.

Beyond their symbolic role, Christmas wafers serve a second purpose – as festive decorations! Światy, which translates as ‘worlds’, are delicate ornaments crafted from several circular pieces of opłatek. Often left plain, without embossed decorations, the wafers are moistened slightly at the edges to stick them together, forming simple or intricate constructions. In the past, światy would often be suspended above a dining table, hanging by a thin thread or even a strand of horsehair. This allowed the ornament to spin gently, mimicking the rotation of Earth.

Kraków nativity scenes

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Left: nativity scene by Stanisław Paczyński, 1992; right: details of a Kraków nativity scene by Marian Dłużniewski, 2008, photos: Ethnographic Museum in Kraków

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In December, the city of Kraków comes alive with countless hand-crafted nativity scenes (szopki) of various sizes and designs, a tradition that dates back centuries. While the custom of creating and displaying nativity scenes began in the Middle Ages, the world-famous Kraków versions originated in the mid-19th century. During the harsh winter months, as temperatures dropped and construction work halted, bricklayers and builders from the Kraków area faced unemployment and reduced incomes. To support their families, they turned to crafting intricate nativity scenes, giving birth to this unique tradition.

Builders-turned-artists created wonders, ranging from small, delicate displays to monumental pieces – the largest recorded nativity scene stands over five metres tall! Initially a seasonal activity during the winter months, the craft eventually evolved into a year-round task, with the final creations showcased during the period around Christmas and the New Year.

Kraków nativity scenes are far from the basic displays you might imagine, which only feature the traditional elements and characters. These Polish creations are marvels of imagination, creativity and architectural ingenuity. The makers drew – and continue to draw – inspiration from their surroundings, with such iconic landmarks as St. Mary’s Basilica and the Cloth Hall in Kraków’s Main Square serving as prominent influences. Each element is meticulously handcrafted: strips of wood are cut to create the framework for buildings, towers and other architectural details. Vibrant paper is then carefully selected and applied to the walls, adding colour and life to the designs.

But it’s not just buildings – figures within the scenes are traditionally made from carved wood or rags and wire. Sticks are occasionally attached to their backs, allowing for the retelling of Jesus’s birth story. While traditional nativity figures featuring Jesus, Mary and the Three Kings are not uncommon, Kraków scenes also include distinctly Polish additions. Appearances are made by such characters as the Lajkonik, the Wawel Dragon, and even General Józef Piłsudski, all icons of Kraków and Polish history.

The unique Kraków nativity scenes have gained global recognition – such notable figures as Charles de Gaulle have them in their collections. In 2014, they were added to Poland’s National List of Intangible Cultural Heritage. Building on this honour, they became the first-ever Polish entry on UNESCO’s National List of Intangible Cultural Heritage in 2018, further highlighting their significance within Polish and global heritage.

Podłaźniczka

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Left: podłaźniczka hung in traditional way above dinner table, https://swietokrzyskie.org.pl/podłaźniczka-babcia-choinki/; right: close-up showcasing various decorations on podłaźniczka, photo: swietokrzyskie.org.pl; photo: Wikipedia

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The Christmas tree as we know it today originated in Germany in the 19th century. However, Slavic folk tradition featured a decorated green tree long before. The podłaźniczka, a decorated upper part of an evergreen tree, was hung upside down from the ceiling. But it was more than just a decoration – it held deep spiritual, cultural and even political significance. In 1918, when Poland regained its independence, many Polish households rejected the display of Christmas trees, a tradition of German origin, and instead chose to showcase the podłaźniczka. Maria Gerson-Dąbrowska, a Polish artist and historian, echoed this sentiment in her 1922 household advice magazine Choinka Polska (Polish Christmas Tree). She encouraged readers to ‘get rid of foreign designs and products’, emphasizing that ‘we have an inexhaustible source of aesthetic ideas among our national decorations’.

Spruce, pine or fir were the preferred tree choices for the podłaźniczka because they thrived through the harsh winter and symbolised the awakening of nature. Their needles were also believed to protect the household from illness and evil spirits, ensuring happiness and well-being.

The process of selecting the tree for the podłaźniczka carried its own significance. Tradition held that a man had to visit the forest early in the morning, as the first person to obtain the branches was thought to secure the fastest ripening of grain on their land. But what about the decorations? In the past, just as we do today, people took great care in selecting what they placed in their homes. The podłaźniczka was carefully decorated with specific, meaningful ornaments, many of which were sourced from the forest or the homeowner’s land and which we’ve discussed earlier in this article. Fruits symbolised fertility and abundance, while nuts represented prosperity, strength, wisdom and vitality. Apples stood for vegetation, health and the heavenly tree of knowledge. The branches of the podłaźniczka were lit with candlelight to ward off darkness and evil.

Handmade polychrome ornaments such as paper decorations, wafer świąty and straw chains adorned the evergreen. Some ornaments retained their natural earth colours, while others were painted in bold hues such as red, green and yellow. These colour choices were not accidental, as each carried its symbolic meaning, as did everything else on the podłaźniczka.

Many Polish Christmas traditions and the products associated with them were developed between the mid-19th and the early 20th centuries. During this period, the partitioned nation was eager to construct and preserve a distinct national identity, and adopting or creating traditions became a powerful way to achieve this. Some customs were inspired by ideas from dominant neighbouring countries, such as Germany, and were readily embraced by the Polish people. On the other hand, there were traditions, such as the Christmas tree, that faced resistance – particularly in the early 1900s when Poland regained its independence. Despite differing opinions, Polish Christmas customs consistently highlight the nation’s ability to craft exceptional, meaningful and beautiful articles. Often made from simple materials, these objects are a testament to Polish ingenuity and creativity.

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