DOCSLIB.ORG

RECONSIDERING TUSK and BONE: an ANALYSIS of the FORMS, FUNCTIONS and PERCEPTIONS of ANGLO-SAXON IVORIES, C.500-1066 Three Volumes, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RECONSIDERING TUSK and BONE: an ANALYSIS of the FORMS, FUNCTIONS and PERCEPTIONS of ANGLO-SAXON IVORIES, C.500-1066 Three Volumes, Vol RECONSIDERING TUSK AND BONE: AN ANALYSIS OF THE FORMS, FUNCTIONS AND PERCEPTIONS OF ANGLO-SAXON IVORIES, c.500-1066 Three Volumes, Vol. I Lyndsey Smith, BA MA PhD University of York History of Art September 2015 Abstract It is the purpose of this thesis to reconsider the ivories of early medieval England with an in-depth analysis drawing on various disciplinary approaches. The last extensive published scholarly work on these ivories was that produced over forty years ago by John Beckwith (Ivory Carvings in Early Medieval England, 1972). Since then there has been little in the way of scholarly investigation of these objects beyond occasional studies of individual ivories in the form of articles or as entries in catalogues of museum collections – or even more rarely, as a passing mention within monographs on Anglo-Saxon art in general. While Beckwith’s publication was, by comparison, comprehensive in its coverage, there were, nevertheless, some ivories that were not included – in some cases because they have come to light since 1972. Generally speaking, however, the scholarly trend has been to consider the ivories of Anglo-Saxon England only in relation to continental workshops (namely, Carolingian, Merovingian or Italian centres of production), and most discussions of them has been from a formalist art historical point of view, concentrating on style rather than materiality or iconography. Such approaches fail to acknowledge the full potential of the ivories. To remedy this situation, this thesis will situate the publication and collection of Anglo-Saxon ivories between 1850-2015 as a means of explaining the nature of the scholarship as it exists today. This will be followed by chapters that first, examine the materiality, archaeology, economic footprint and social/cultural perception of ivory in early medieval England; second, re-assess the (potentially Anglo-Saxon) style of the ivory carvings; and third, that considers the iconographic significances of the carvings in order to situate them within the ecclesiastical milieux from which they emerged. In closing, these approaches will be brought together to examine the perceptions of value invested in the ivories – through their embellishments (precious metals and stones) and the iconography of the material of ivory in Anglo-Saxon England and the wider medieval world. 2 CONTENTS Volume I Abstract 02 List of Contents 03 List of Tables and Graphs 06 List of Illustrations 07 Acknowledgements 31 Declaration 32 Chapter 1: Introducing the Ivories of Anglo-Saxon England 33 1.1: Aims and Objectives 33 1.2: The Argument 33 1.3: The Supporting Evidence 39 Chapter 2: Anglo-Saxon Ivories in Print and on Display: Historiography, Collection, Exhibition and Apathy 41 2.1: Introduction 41 2.2: Publishing Anglo-Saxon Art 42 2.2a: Patterns and Developments, c.1850-2015 43 2.2b: The Classical and the ‘Barbaric’: Art History and 47 Anglo-Saxon Art 2.3: Collection and Display: the Private and Public Collection of 62 Anglo-Saxon Ivories, from Auction House to Museum Gallery 2.4: From Collection to Publishing: The Institutional and Scholarly 74 Responses to Anglo-Saxon Ivories 2.5: Conclusions 78 Chapter 3: Perceptions of Ivory in Anglo-Saxon England: A 80 Question of Medium and Economics 3.1: Introduction 80 3.2: Trading in Ivory: An Overview 83 3.3: The Material of Ivory 88 3.3a: Elephant Ivory in Anglo-Saxon England 91 3.3b: Whalebone ‘Ivory’ in Anglo-Saxon England 100 3.3c: Walrus Ivory in Anglo-Saxon England 106 3 3.3d: Summary 113 3.4: Articulating the Value of Ivory in Anglo-Saxon England 114 3.4a: Ivory. Luxury and the Articulation of Value 115 3.4b: Ivory. Legend and Encounter 122 3.5: Conclusions: The Legacy of Anglo-Saxon Ivory 132 Chapter 4: Anglo-Saxon Ivories and the Question of Style: the 134 Argument of Creative Response and Artistic “Firsts” 4.1: Introduction 134 4.2: The Uncontested Ivories and Anglo-Saxon Styles 136 4.2a: The Eighth and Early Ninth Centuries 137 4.2b: The Tenth and Eleventh Centuries 142 4.2c: Summary 149 4.3: The Contested Ivories 150 4.3a: Continental ‘Influences’ and the Scholarly Response 150 4.3b: Reassessing Anglo-Saxon Stylistic Traditions 161 4.3b(i): The Late Eighth to Early Ninth Century 162 4.3b(ii): The Mid Ninth to Tenth Century 166 4.3b(iii): The Late Tenth to Mid Eleventh Century 173 4.4: Conclusions 174 Chapter 5: Anglo-Saxon Ivories and the Question of Iconography: 176 Subject, Substance, Form & Function 5.1: Introduction 176 5.2: The Iconography of the Early Ivories: Influence, Appropriation 179 and the Narrative 5.2a: The Eighth and Early Ninth Centuries 179 5.2b: The Mid Ninth and Tenth Centuries 197 5.2c: Summary 208 5.3: The Late Tenth and Eleventh Centuries: Christ, the Virgin 209 and the Holy Other 5.3a: Christ in Majesty 211 5.3a(i): Christ Enthroned 211 4 5.3a(ii): The Agnus Dei 214 5.3b: The Virgin: Mother, Intercessor, Queen 218 5.3c: The Crucifixion of Christ 222 5.3d: The Holy ‘Other’: Celestial Beings, Saints, Angels 225 Apostles and Mortals 5.4: Conclusions 228 Chapter 6: Conclusions: the Substance of Anglo-Saxon Ivory 230 6.1: Introduction 230 6.2: The Divine and the Secular 231 6.3: Embellishing Ivory 235 6.4: The Value of the Ivory Crucifixion 240 6.5: Summary 243 6.6: Conclusions 244 Volume II Appendix I: Preliminary Catalogue of Elephant, 248 Whalebone and Walrus Ivory on Pre-Norman Conquest Sites in England Appendix II: Elephant, Whalebone and Walrus Ivory: The Archaeology 257 Appendix III: The Literary Evidence for the Articulation of 262 Ivory Value and an Inventory of Manuscripts Catalogue of Anglo-Saxon Ivories 268 Abbreviations 371 Bibliography 372 Volume III Illustrations 437 5 List of Tables and Graphs Table I. Extant Anglo-Saxon Carved Elephant 94 Ivories: Date and Size Table II: Extant Anglo-Saxon Carved 101 Whalebone Ivories Table III: Excavated Carved Walrus Ivories 108 Table IV: Anglo-Saxon Walrus ivory sizes 111 Table V: Timeline of Ivory in Anglo-Saxon 133 England Graph I: Subject Matter of Anglo-Saxon 211 Ivories c.975-1066 Graph II: The Holy ‘Other’ depicted in the ivories of Anglo-Saxon England 227 c.550-1066 Table VI: Carved Anglo-Saxon Ivories and their 237 Surviving Embellishments 6 List of Illustrations: Chapter 2 2.1 A. Maximian’s throne, ivory on a wood core, c. 545-46. Ravenna, Archepiscopal Museum. B. Maximian’s throne, Nativity panel, ivory relief. C. Maximian’s throne, Annunciation panel, ivory relief. 2.2 A. Franks Casket (cat. 2), whalebone ivory, c.700. London, British Museum: 1867, 1-20.1. B. Franks Casket (cat. 2). Detail of front panel with runic inscription. C. Franks Casket (cat. 2). Detail of helmets and soldierly gear. D. Franks Casket (cat. 2). Detail of corner zoomorphs. 2.3 A. Figure of a Martyr, ivory, second half of the eleventh century. Liverpool, Walker Art Gallery: M8232. B. Presentation at the temple, whalebone, mid-twelfth century. Liverpool, Walker Art Gallery: M8016. 2.4 The Nativity (cat. 16), walrus ivory, tenth century. Liverpool, Walker Art Gallery: M8060. 2.5 Openwork ivory comb, c.1100. London, British Museum: 1856,0623.29. 2.6 A. Zoomorphic Pen Case (cat. 57), walrus ivory, mid-eleventh century. London, British Museum: 1870,0811.1. B. Lewis Chessmen, walrus ivory, c.1150-70. London, British Museum: 1831,1101.136. 2.7 A. Seal-die of Godwin & Godgytha (cat. 51), walrus ivory, mid-eleventh century. London, British Museum: 1881,0404.1. B. Seal-die of Godwin and Godgytha (cat. 51). Detail of figures on handle. 2.8 A. Knife handle, antler, eleventh century. London, British Museum: 1890,0209.1. B. A pair of cattle, ivory, eleventh century. London, British Museum: 1885,1010.4. 2.9 Alcester Tau-Cross (cat. 21), walrus ivory, late tenth century. London, British Museum: 1903,0323.1. 2.10 Virgin and Child Crosier fragment (cat. 55), walrus ivory, mid-eleventh century. London, British Museum: 1868,0805.27. 7 2.11 Adoration of the Magi, whalebone, c.1120. London, V&A Museum: 142-1866. 2.12 Genoels-Elderen diptych (cat. 5), elephant ivory, last quarter of the eighth century. Musees Royaux d’Art et d’Histoire, Brussels: 1474. 2.13 A. Gandersheim Casket (cat. 6), whalebone, late eighth century. Herzog Anton-Ulrich Museum, Braunschweig: MA58. B. Gandersheim Casket (cat. 6), detail of zoomorphic interlace and “dissolving bi- peds”. Source: Stephens, 1863: 267-76. 8 List of Illustrations: Chapter 3 3.1 A. Anatomical view of African elephant tusk. B. Schreger lines in elephant tusks. 3.2 Skeletal composition profiles for several species showing the per cent composition (lipid, yellow; protein, green; water, blue; ash, grey) of different skeletal elements. (a) fin whale, B. physalus; (b) sei whale, B. borealis; (c), humpback whale, M. novaeangliae; (d) grey whale, E. robustus; (e) sperm whale, P. macrocephalus; (f) striped dolphin, S. coeruleoalba. (g) Diagram of a sperm whale skeleton illustrating the approximate sample locations. CA, cartilage; LJ, lower jaw; UJ, upper jaw; CS, central skull; RS, rear skull; RB, rib; SC, scapula; ST, sternum. Source: Higgs, et al. 2011, fig. 1. 3.3 A. Cross-section of a Walrus Tusk. Shown are the cementum (C), primary dentine (PD), and secondary dentin (SD) or pulp. Source: Espinoza & Mann, 1999: 15, fig. 13. B. Fossilised walrus tusk. Source: Lopaki Fossilised Ivory Dealer C. Walrus baculum, or oosik. Source: Boone Trading - Fossilised Oosik 3.4 Map 3.1: Distribution of Elephant Ivory in Anglo-Saxon Archaeology. Source: Lyndsey Smith, 2015. 3.5 A. Elephant ivory ring, late-fifth to early seventh century.
Load more

Recommended publications
  • Visual/Media Arts
    A R T I S T D I R E C T O R Y ARTIST DIRECTORY (Updated as of August 2021) md The Guam Council on the Arts and Humanities Agency (GCAHA) has produced this Artist Directory as a resource for students, the community, and our constituents. This Directory contains names, contact numbers, email addresses, and mailing or home address of Artists on island and the various disciplines they represent. If you are interested in being included in the directory, please call our office at 300-1204~8/ 7583/ 7584, or visit our website (www.guamcaha.org) to download the Artist Directory Registration Form. TABLE OF CONTENTS DISCIPLINE PAGE NUMBER FOLK/ TRADITIONAL ARTS 03 - 17 VISUAL/ MEDIA ARTS 18 - 78 PERFORMING ARTS 79 - 89 LITERATURE/ HUMANITIES 90 - 96 ART RELATED ORGANIZATIONS 97 – 100 MASTER’S 101 - 103 2 FOLK/ TRADITIONAL ARTS Folk Arts enriches the lives of the Guam community, gives recognition to the indigenous and ethnic artists and their art forms and to promote a greater understanding of Guam’s native and multi-ethnic community. Ronald Acfalle “ Halu’u” P.O. BOX 9771 Tamuning, Guam 96931 [email protected] 671-689-8277 Builder and apprentice of ancient Chamorro (seafaring) sailing canoes, traditional homes and chanter. James Bamba P.O. BOX 26039 Barrigada, Guam 96921 [email protected] 671-488-5618 Traditional/ Contemporary CHamoru weaver specializing in akgak (pandanus) and laagan niyok (coconut) weaving. I can weave guagua’ che’op, ala, lottot, guaha, tuhong, guafak, higai, kostat tengguang, kustat mama’on, etc. Arisa Terlaje Barcinas P.O.BOX 864 Hagatna, Guam 96932 671-488-2782, 671-472-8896 [email protected] Coconut frond weaving in traditional and contemporary styles.
    [Show full text]
  • Circumpolar Inuit Economic Summit
    VOLUME 10, ISSUE 1, MARCH 2017 Inupiaq: QILAUN Siberian Yupik: SAGUYA Summit Participants. Photo by Vernae Angnaboogok Central Yupik: CAUYAQ UPCOMING EVENTS Circumpolar Inuit Economic Summit April 1-3 ICC Executive Council Meeting • Utqiagvik, By ICC Alaska Staff Alaska • www.iccalaska.org April 6 At the first international gathering of Inuit in June 1977 at Barrow, Alaska, First Alaskans Institute: Indigenous the Committee for Original Peoples’ Entitlement (COPE) offered up two Research Workshop • Fairbanks, Alaska • www.firstalaskans.org resolutions concerning cross-border trade among Inuit. April 11-12 Bethel Decolonization Think-Tank • Bethel, The first resolution called for a sub-committee with representatives from each Alaska • www.iccalaska.org region to investigate and report on possible new economic opportunities and April 7-9 Alaska Native Studies Conference • Fairbanks, trade routes. It stated that the discovery of oil and gas and our ownership Alaska • www.alaskanativestudies.org or royalties provided capital needed for reinvesting in and promoting Inuit April 24-27 industry. International Conference on Arctic Science: Bringing Knowledge to Action • Reston, Virginia • www.amap.no The second resolution called for a sub-committee on energy to investigate the May 10 feasibility of a circumpolar Inuit energy policy. These two resolutions were I AM INUIT Exhibit Event at the UAF Art Gallery tabled nearly forty years ago by the Inuvialuit of western Canada. • Fairbanks, Alaska • www.iaminuit.org May 11 In 1993, ICC held an Inuit Business Development Conference in Anchorage, 10th Annual Arctic Council Ministerial Meeting • Fairbanks, Alaska • Alaskan to discuss: trade and travel; strengthening economic ties and; natural www.arctic-council.org resources and economies.
    [Show full text]
  • Bibliography
    Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza­ Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P.
    [Show full text]
  • Working with Bone, Antler and Horn
    Working with Bone, Antler and Horn David Constantine © 2014 V1.4 April 2014 Contents List of Figures and Tables ..................................................................................................................................... i Introduction .......................................................................................................................................................... 1 What is Bone Working? ..................................................................................................................................... 1 Recommended reading and additional resources ............................................................................................... 1 Contact Details ................................................................................................................................................... 1 Raw Materials ....................................................................................................................................................... 2 Definitions and basic biology of skeletal materials ........................................................................................... 2 Historical Availability and Use .......................................................................................................................... 4 Period Toolkits .................................................................................................................................................... 10 Basic toolkit ....................................................................................................................................................
    [Show full text]
  • A Customs Guide to Alaska Native Arts
    What International travellers, shop owners and artisans need to know A Customs Guide to Alaska Native Arts Photo Credits: Alaska Native Arts Foundation Updated: June 2012 Table of Contents Cover Page Art Credits……………………………………….……………..………………………………………………………………………………………………………………24 USING THE GUIDE ................................................................................................................................................................................ 1 MARINE MAMMAL HANDICRAFTS - Significantly Altered .............................................................................................................. 3 COUNTRY INFORMATION ................................................................................................................................................................... 4 In General (For countries other than those listed specifically in this guide) ............................................................................... 4 Australia ............................................................................................................................................................................................... 5 Canada ................................................................................................................................................................................................. 6 European Union .................................................................................................................................................................................
    [Show full text]
  • Wretharn, Otherwise Little Wretham, East
    Wretharn, otherwise Little Wretham, East Wre- at his office in Cambridge ; and with the Clerk of tham, otherwise Great Wretham, Bridgeham, the Peace for the city and county of the city of otherwise Bridgham, Roudham, Larling, Snetter- Norwich, at his office in the city of Norwich ; and ton, Eccles, Wiiby, llargham, Attleborough, other- a copy of so much of the said plans, sections, and wise Attleburgli, Besthorpe, Wymondham, other- books of reference as relate to each of the parishes wise Wyndham, Hethersett, Kettartngham, Int- through which the proposed railway and branch wood, otherwise Intwoocl-cum-Keswick, Cringle- railway and works will pass, will be deposited, on ford, Keswick, Marketshall, otherwise Markshall, or before the thirty-first December next, with the Arniinghall, otherwise Arrneringhall, Trowse New- Parish Clerks of such parishes respectively, at their ton, Bexley, Thorpe, Caistor next Norsvich, Cais- respective residences. tor-cum-Markshall, otherwise Marketshall, Colney, Little Melton, Great Melton, Swardestone, Carl- Hayle Railway. ton Saint Peter, Carl ton Saint Mary, East Carlton, Mulbarton, otherwise Mulbarton-cum-Kenning- OTICE is hereby given, that application is ham, Bracon Ash, Hethel, Stanfield, Wicklewood, N intended to be made to Parliament in the "Wreningham, Ashwell Thorpe, Fundenhall, Old next session, for a Bill to alter, amend, and enlarge Buckenham, Shropham, Deopham, Larlingford, the powers and provisions of an Act, pa-ased in Great Eilinghara, Banham, Brettenham, East Har- the session of Parliament
    [Show full text]
  • Parish Registers and Transcripts in the Norfolk Record Office
    Parish Registers and Transcripts in the Norfolk Record Office This list summarises the Norfolk Record Office’s (NRO’s) holdings of parish (Church of England) registers and of transcripts and other copies of them. Parish Registers The NRO holds registers of baptisms, marriages, burials and banns of marriage for most parishes in the Diocese of Norwich (including Suffolk parishes in and near Lowestoft in the deanery of Lothingland) and part of the Diocese of Ely in south-west Norfolk (parishes in the deanery of Fincham and Feltwell). Some Norfolk parish records remain in the churches, especially more recent registers, which may be still in use. In the extreme west of the county, records for parishes in the deanery of Wisbech Lynn Marshland are deposited in the Wisbech and Fenland Museum, whilst Welney parish records are at the Cambridgeshire Record Office. The covering dates of registers in the following list do not conceal any gaps of more than ten years; for the populous urban parishes (such as Great Yarmouth) smaller gaps are indicated. Whenever microfiche or microfilm copies are available they must be used in place of the original registers, some of which are unfit for production. A few parish registers have been digitally photographed and the images are available on computers in the NRO's searchroom. The digital images were produced as a result of partnership projects with other groups and organizations, so we are not able to supply copies of whole registers (either as hard copies or on CD or in any other digital format), although in most cases we have permission to provide printout copies of individual entries.
    [Show full text]
  • Pagan to Christian Slides As Printable Handout
    23/08/2018 Transition From Pagan To Christian William Sterling Fragments of a Colossal Bronze Statue of Constantine, Rome Hinton St Mary Mosaic in the British Museum c. 1985 Bellerophon ↑ and Jesus ↓ Today there are statues and a Café in the same position “Although we speak of a religious crisis in the late Roman Empire, there is little, real sign that the transition from paganism to Edward Gibbon by Christianity was fundamentally Reynolds difficult.” Dr J P C Kent of the Museum’s Coins and Medals Department “The World of Late Antiquity” “Decorative art shows no clear division between paganism and “the pure and genuine influence of Christianity may be traced in its Christianity” beneficial, though imperfect, effects on the barbarian proselytes of the North. If the decline of the Roman empire was hastened by the K S Painter “Gold and Silver from conversion of Constantine, his victorious religion broke the violence of the Late Roman World Fourth-Fifth the fall, and mollified the ferocious temper of the conquerors.” Centuries.” 1 23/08/2018 “The new religion and new ecclesiastical practices were a steady focal point around which the new ideological currents and “The Christian culture that would social realignments revolved, as emerge in late antiquity carried Christianity gradually penetrated more of the genes of its “pagan” the various social strata before ancestry than of the peculiarly becoming the official religion of the Christian mutations.” state. At the same time, important aspects of the classical spirit and Wayne A Meeks “Social and ecclesial civilisation still survived to life of the earliest Christians” complete our picture of late antiquity.” Eutychia Kourkoutidou-Nicolaidou “From the Elysian Fields to the Christian paradise” “I don’t think there was ever anything wrong with the ancient world.
    [Show full text]
  • The Bayeux Tapestry
    The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • A Strategy for Identifying Introduced Provenances and Translocations*
    A strategy for identifying introduced provenances and translocations* C. FERRIS1, A. J. DAVY2 AND G. M. HEWITT2 Downloaded from https://academic.oup.com/forestry/article/70/3/211/543878 by guest on 29 September 2021 1 Department of Botany, University of Leicester, University Road, Leicester, LEI 7RH, England 2 School of Biological Sciences, University of East Anglia, Norwich, Norfolk, NR4 7TL, England Summary Native species of oak in Britain have been of great importance in our history for their many uses, and have thus been subject to management and planting by man for centuries. Following events such as the Enclosure Acts of the late eighteenth century and the Napoleonic wars, many oaks would have been planted. Translocations and introductions of foreign genotypes were greatly encouraged by early landscape gardeners such as Capability Brown. Britain must, there- fore be a mosaic of native and non-native oaks. A major problem arises when we try to identify non-native trees. Due to their long life-cycle, oaks are of necessity both phenotypically plastic and genetically very variable and it has been virtually impossible to discriminate between native and non-native forms using traditional methods. The advent of new molecular genetic techniques however, now allows us to identify DNA markers that can distinguish between such forms. The geographic patterns for two chloroplast DNA markers will be presented. One clearly differentiates between oaks from eastern Europe versus western Europe and can be used to identify translocations of eastern European oaks into Britain and western Europe. The second identifies genotypes native to East Anglia and can be used to recognize translocations into and out of East Anglia.
    [Show full text]
  • New Zealand Crafts Issue 28 Winter 1989
    FTSCOUNCI‘E:~I" 2: Crafts Council Magazine 28 Winter 1989 $10 incl GST STATE — FOREWORD The State‘Of the Crafts in New Zealand Crafts CouncilCr5ft5Magazine 28 Winter Double Issue 1989 Nan Berkeley — outrageous 25 Details 41 Craft Index Textiles visionary Jenny Pattrick Richard Tarrant 42 The NZ Spinning, Weaving and The NZ Society of Potters Inc. 26 Craft Index Jewellery/Metal Woolcraft Society Inc. Rick Rudd Nola Fournier 29 The Association of Handcraft Craft Index Ceramics Printers Ken McGrath 43 Craft Index Textiles IO The crafts in Maori society 30 The crafts and the fine arts 44 The crafts and tourism Amy Brown Lesieigh Salinger Hon. Jonathan Hunt l2 Craft Index Ceramics . The Craft Buyer's Guide I989 . 46 The National Association of Woodturners NZ Inc. l3 Nga Puna Waihanga 32 The Association of NZ J.A. Hazlett NZ Maori Artists and Writers Society Leatherworkers Warren Hunt Inc. 47 Craft Index Wood 33 Craft Index Leather 14 Craft Index Ceramics 48 The crafts and sponsorship 34 The New Zealand Lace Society Vanessa Gibbs 16 The crafts and women Inc. Pauline Pease Cassandra Fusco 50 The Furniture Group 35 Craft Index Textiles James Dowle 18 The NZ Society of Artists in Glass On the twenty-fifth anniversary of the World Crafts Council, it is appro- Peter Raos 36 The Association of NZ 51 Craft Index Wood priate to consider the important role that the crafts play in the lives of New Embroiderer's Guilds Inc. Zealanders. I9 Craft Index Glass Elizabeth Ellett 54 The crafts and the public art As a people, we have excelled in this area of arts.
    [Show full text]
  • Scientific Modelling of Decorative and Applied Arts Of
    Journal of Siberian Federal University. Humanities & Social Sciences 10 (2017 10) 1507-1524 ~ ~ ~ УДК 7.05 Scientific Modelling of Decorative and Applied Arts of the Indigenous Small-Numbered Peoples of the Krasnoyarsk Territory: Current State and Ways of Effective Development Maria A. Kolesnik and Alexandra A. Sitnikova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 01.06.2017, received in revised form 02.10.2017, accepted 09.10.2017 The article presents a scientific model of the traditional functioning of the decorative and applied arts of the indigenous peoples of the Krasnoyarsk Territory (Krai). This is an “ecological model”, since it implies careful and economical use of all natural resources being extracted. The current state of the decorative and applied arts of the indigenous small-numbered peoples of the Krasnoyarsk Territory North is described by a scientific model, which is perceived as a “model of symbolic consumption”. The authors analyzed main types of souvenirs produced by the indigenous minorities of the North of the Krasnoyarsk Territory, namely beadwork, bone carving works, festival clothes, taxidermy items, shaman attributes, doll amulets, etc. The researchers offered a scientific model of ways to develop the decorative and applied arts of the indigenous small-numbered peoples the Krasnoyarsk Territory North. These include the improvement of the “symbolic consumption” system first at the level of souvenir production, then at the level of creating ethnocultural villages and ethnic parks, and, finally, at the level of creating contemporary art works to be understandable and interesting internationally. Keywords: decorative and applied arts, the indigenous small-numbered peoples, souvenirs of the indigenous peoples of the North, ethnic park, development models for the decorative and applied arts of the indigenous peoples of the North.
    [Show full text]