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Use and Applications of Draping in Turkey's
USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION DUYGU KOCABA Ş MAY 2010 USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY DUYGU KOCABA Ş IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES MAY 2010 Approval of the Graduate School of Social Sciences ...................................................... Prof. Dr. Cengiz Erol Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ...................................................... Prof. Dr. Tevfik Balcıoglu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adaquate, in scope and quality, as a thesis for the degree of Master of Design. ...................................................... Asst. Prof. Dr. Şölen Kipöz Supervisor Examining Committee Members Asst. Prof. Dr. Duygu Ebru Öngen Corsini ..................................................... Asst. Prof. Dr. Nevbahar Göksel ...................................................... Asst. Prof. Dr. Şölen Kipöz ...................................................... ii ABSTRACT USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION Kocaba ş, Duygu MDes, Department of Design Studies Supervisor: Asst. Prof. Dr. Şölen K İPÖZ May 2010, 157 pages This study includes the investigations of the methodology and applications of draping technique which helps to add creativity and originality with the effects of experimental process during the application. Drapes which have been used in different forms and purposes from past to present are described as an interaction between art and fashion. Drapes which had decorated the sculptures of many sculptors in ancient times and the paintings of many artists in Renaissance period, has been used as draping technique for fashion design with the contributions of Madeleine Vionnet in 20 th century. -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Iroquois Beadwork Teachers Guide
This is an older Teacher Guide made into a PDF for our new Societies and Territories site at http://societies.learnquebec.ca Note also, the new location for the Iroquois Beadwork Kids’ Zone ! at http://blogdev.learnquebec.ca/societies/iroquois-beadwork-kids-zone/ Home Many First Nations in Québec and Canada have lonG practiced beadwork. This art has become a very real tradition for two Iroquois nations in particular, the Mohawks, who live near Montreal, and the Tuscaroras, who live on the American side of NiaGara Falls. This website and the McCord Museum exhibition that inspired it - Across Borders: Beadwork in Iroquois Life - are based mainly on the beadwork of these two nations. The photoGraphs and the imaGes of beaded objects, which are a combination of old and new, show that the art of beadwork not only has a lonG history but is still very much alive today. In order to reflect this reality, a number of objects were made especially for the Across Borders: Beadwork in Iroquois Life exhibition which was held last year at the McCord Museum and is now travelling to various locations in North America. The exhibition is orGanized and circulated by the McCord Museum, Quebec, and the Castellani Art Museum of Niagara University, NY, in collaboration with the Kanien'kehaka Raotitiohkwa Cultural Center, Kahnawake, the Tuscarora Nation community beadworkers within New York State, and the Royal Ontario Museum, Toronto. This project is beinG developed by teachers and consultants in partnership with the McCord Museum and the Kanien'kehaka Raotitiohkwa Cultural Center. Iroquois Beadwork: General Overview What initiated the project? The project was initiated when Ann Cohen, pedaGoGical consultant at Sir Wilfrid Laurier School Board, toured the Across Borders Iroquois Beadwork exhibition at the McCord Museum in 1999. -
Zen Masters at Play and on Play: a Take on Koans and Koan Practice
ZEN MASTERS AT PLAY AND ON PLAY: A TAKE ON KOANS AND KOAN PRACTICE A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brian Peshek August, 2009 Thesis written by Brian Peshek B.Music, University of Cincinnati, 1994 M.A., Kent State University, 2009 Approved by Jeffrey Wattles, Advisor David Odell-Scott, Chair, Department of Philosophy John R.D. Stalvey, Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgements iv Chapter 1. Introduction and the Question “What is Play?” 1 Chapter 2. The Koan Tradition and Koan Training 14 Chapter 3. Zen Masters At Play in the Koan Tradition 21 Chapter 4. Zen Doctrine 36 Chapter 5. Zen Masters On Play 45 Note on the Layout of Appendixes 79 APPENDIX 1. Seventy-fourth Koan of the Blue Cliff Record: 80 “Jinniu’s Rice Pail” APPENDIX 2. Ninty-third Koan of the Blue Cliff Record: 85 “Daguang Does a Dance” BIBLIOGRAPHY 89 iii ACKNOWLEDGEMENTS There are times in one’s life when it is appropriate to make one’s gratitude explicit. Sometimes this task is made difficult not by lack of gratitude nor lack of reason for it. Rather, we are occasionally fortunate enough to have more gratitude than words can contain. Such is the case when I consider the contributions of my advisor, Jeffrey Wattles, who went far beyond his obligations in the preparation of this document. From the beginning, his nurturing presence has fueled the process of exploration, allowing me to follow my truth, rather than persuading me to support his. -
Pure Mind, Pure Land a Brief Study of Modern Chinese Pure Land Thought and Movements
Pure Mind, Pure Land A Brief Study of Modern Chinese Pure Land Thought and Movements Wei, Tao Master of Arts Faculty ofReligious Studies McGill University Montreal, Quebec, Canada July 26, 2007 In Partial Fulfillment ofthe Requirements for the Degree Master of Arts in the Faculty ofReligious Studies of Mc Gill University ©Tao Wei Copyright 2007 All rights reserved. Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Bran ch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-51412-2 Our file Notre référence ISBN: 978-0-494-51412-2 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. -
Sociolinguistic Survey Report for the Marka-Dafin
1 SOCIOLINGUISTIC SURVEY REPORT FOR THE MARKA-DAFIN LANGUAGE WRITTEN BY: BYRON AND ANNETTE HARRISON SIL International 2001 2 Contents 0 Introduction and Goals of the Survey 1 General Information 1.1 Language Classification 1.2 Language Location 1.2.1 Description of Location 1.2.2 Map 1.3 Population 1.4 Accessibility and Transport 1.4.1 Roads: Quality and Availability 1.4.2 Public Transport Systems 1.5 Religious Adherence 1.5.1 General Religious History 1.5.2 History of Christian Work in the Area 1.5.3 Language Use Parameters within Church Life 1.5.4 Written Materials in Marka-Dafin 1.5.5 Summary 1.6 Schools/Education 1.6.1 History of Schools in the Area 1.6.2 Types, Sites, and Size 1.6.3 Attendance and Academic Achievement 1.6.4 Existing Literacy Programs 1.6.5 Attitude toward the Vernacular 1.6.6 Summary 1.7 Facilities and Economics 1.7.1 Supply Needs 1.7.2 Medical Needs 1.7.3 Government Facilities in the Area 1.8 Traditional Culture 1.8.1 Historical Notes 1.8.2 Relevant Cultural Aspects 1.8.3 Attitude toward Culture 1.8.4 Summary 1.9 Linguistic Work in the Language Area 1.9.1 Work Accomplished in the Past 1.9.2 Present Work 2 Methodology 2.1 Sampling 2.1.1 Village Sites Chosen for the Jula Sentence Repetition Test 2.1.2 Village Sites for Sociolinguistic Survey 2.2 Lexicostatistic Survey 2.3 Dialect Intelligibility Survey 3 2.4 Questionnaires 2.5 Bilingualism Testing In Jula 3 Dialect Intercomprehension and Lexicostatistical Data 3.1 Perceived Intercomprehension 3.2 Results of the Recorded Text Tests 3.3 Lexicostatistical Analysis 3.4 -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
Bead Weaving on a Loom
Bead Weaving on a Loom Objective: students will be able to describe the process of weaving and demonstrate how Native Americans and others wove beads on a loom to create long, narrow bands such as hair ties and bracelets. They will produce a patterned beaded band influenced by their visual study of Native American geometric patterns in their Web and print resources. They can discuss how the use of color, shape, and value in Native American beading has changed through the years because of the influence of other cultures. Grade Levels: Grades 5-7th Time Required: Several class periods (or use of free time) Materials: Purchased bead looms or To make a loom (see instructions below): Cardboard cut to loom pattern, craft knife, wood glue, pins 2 wide round-headed ½"screws Beading supplies; Scissors Seed or pony beads (larger beads for younger students) Linen or nylon thread Needle Bead patterns (Graph paper or online interactive bead pattern makers) Motivation: Beads have been used by many cultures, including Native American, for thousands of years. A defining moment in Native American cultures came upon their exposure to European glass beads in the seventeenth century they were ready to use, rich in color, hard and durable, and could be traded for with pelts. Native Americans became very interested in obtaining glass beads. They used the beads to decorate clothing, vessels, tools, and weapons. Seed beads adorned bags, moccasins, hair ties, and other garments. When tourist trade increased after 1900, Native Americans created beaded items especially for this market. Patterns reflected the styles of the time as well as traditional designs. -
Les Noirs De L'afrique (Maurice Delafosse, 1922)
Maurice Delafosse : Les Noirs de l'Afrique (1922) 15 des siècles se sont desséchés ou transformés en nappes souter- raines. Il est probable que l’Afrique du Nord, très différente déjà du reste du continent et se rapprochant de l’Europe méditerra- néenne plus que de l’Afrique centrale et méridionale, était habi- tée par une autre race d’hommes. Selon toute probabilité, les Négrilles de l’époque antérieure à la venue des Noirs en Afrique devaient être des chasseurs et des pêcheurs, vivant à l’état semi-nomade qui convient à des hommes se livrant exclusivement à la chasse ou à la pêche. Leurs mœurs se rapprochaient vraisemblablement beaucoup de celles des Négrilles qui existent encore à l’heure actuelle et sans doute parlaient-ils, comme ceux-ci, des langues mi-isolantes mi-agglutinantes caractérisées, au point de vue phonétique, par le phénomène des « clics 1 » et par l’emploi des tons musicaux. Les grands arbres des forêts, les grottes des montagnes, des abris sous roche, des huttes de branchages ou d’écorces, des ha- bitations lacustres construites sur pilotis devaient leur servir, selon les régions, de résidences plus ou moins temporaires. Peut-être s’adonnaient-ils à l’industrie de la pierre taillée ou po- lie et convient-il de leur attribuer les haches, les pointes de flèche, les grattoirs et les nombreux instruments en pierre que l’on trouve un peu partout dans l’Afrique noire contemporaine et que les Nègres actuels, qui en ignorent la provenance, consi- dèrent comme des pierres tombées du ciel et comme les traces matérielles laissées par la foudre. -
Bead Weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Bead weaving - Ahmedabad, Gujarat Technique of Beadwork by Prof. Bibhudutta Baral and Rakshitha NID, Bengaluru Source: http://www.dsource.in/resource/bead-weaving-ah- medabad-gujarat 1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Video 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Bead weaving - Ahmedabad, Bead weaving is a technique of beadwork for which seed beads are the chief material that is used. The technique Gujarat of bead weaving is to weave seed beads together onto a plane fabric or to make a three-dimensional object like Technique of Beadwork ball, box, clasp etc. They are also used for making flower, stringing and to fill-up the space between other beads by in jewelry and also to make a whole new jewelry from beads. They are generally used in embroidery and also ex- Prof. Bibhudutta Baral and Rakshitha pended for loom and off loom bead weaving techniques like brick stitch and peyote stitch. These beads are very NID, Bengaluru small yet uniformly shaped that are available in innumerable shapes, colors, sizes and textures. Most commonly seed beads are prepared using glass. The history of beads dates back to Late Old Stone Age (the Upper Paleolithic). But during those days beads were large in size probably made of ivory or shells. The seed beads which are presently used for beads weaving is also Source: an ancient art that can be traced back in the Egyptian items dating back to 4000 years. -
African Mythology a to Z
African Mythology A to Z SECOND EDITION MYTHOLOGY A TO Z African Mythology A to Z Celtic Mythology A to Z Chinese Mythology A to Z Egyptian Mythology A to Z Greek and Roman Mythology A to Z Japanese Mythology A to Z Native American Mythology A to Z Norse Mythology A to Z South and Meso-American Mythology A to Z MYTHOLOGY A TO Z African Mythology A to Z SECOND EDITION 8 Patricia Ann Lynch Revised by Jeremy Roberts [ African Mythology A to Z, Second Edition Copyright © 2004, 2010 by Patricia Ann Lynch All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Chelsea House 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Lynch, Patricia Ann. African mythology A to Z / Patricia Ann Lynch ; revised by Jeremy Roberts. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-1-60413-415-5 (hc : alk. paper) 1. Mythology—African. 2. Encyclopedias—juvenile. I. Roberts, Jeremy, 1956- II. Title. BL2400 .L96 2010 299.6' 11303—dc22 2009033612 Chelsea House books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Chelsea House on the World Wide Web at http://www.chelseahouse.com Text design by Lina Farinella Map design by Patricia Meschino Composition by Mary Susan Ryan-Flynn Cover printed by Bang Printing, Brainerd, MN Bood printed and bound by Bang Printing, Brainerd, MN Date printed: March 2010 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. -
Rustic Rope © Melissa Grakowsky Shippee
Difficulty: ««¶¶¶ Advanced Beginner www.mgsdesigns.net Rustic Rope © Melissa Grakowsky Shippee This necklace features 13mm antique cut beads (also called English cuts) from Perry Bookstein plus unusual Japanese 8/0 cut beads and 11/0 seed beads. If you can’t find these unusual materials, you can substitute the more common 10mm antique cut beads, 11/0 seed beads, and 15/0 seed beads. Page 2 What You’ll Need... Symbol/Supply Name # Weight Toho 8/0 cut beads, matte bronze 8/0 1269 32g Toho 11/0 seed bead, bronze 11/0 288 2g Czech antique cuts, (aka English antique cut 10 cuts), aqua gold luster Notions Size 12 to 13 beading needles, beading thread (8lb Fireline recommended) Tools Scissors, beading mat. Techniques Tubular herringbone stitch, peyote stitch. About the diagrams... Beads already added when you start a step are shown new in the diagram in color with a normal outline. Beads you need to add in the current step are shown with a red outline. Thread paths going through beads are dashed, and thread coming out of beads is solid. Old thread paths old are not shown. The arrow represents the needle. The dot indicates the start of the thread path. Page 3 Glossary stitch through - v. To go through; put the needle through; needle through. stitch - n. A bead or set of beads picked up and added to beadwork and the beads stitched through; one set of a repeat. pick up - v. To put on your needle, ie. “pick up three 11As”. step up - v. To go through without adding beads, usually referring to the first bead(s) in the row being completed, in order to get the thread in place to start the next row.