Leitfaden Der Griechischen Und Römischen Altertümer Für Den

Total Page:16

File Type:pdf, Size:1020Kb

Leitfaden Der Griechischen Und Römischen Altertümer Für Den LEITFADEN DER GRIECHISCHEN UND RÖMISCHEN ALTERTÜMER FÜR DEN... Emst Wagner Iii Digitized by Google librarics Digitized by Google \ Digitizeo google pMIm liiiifilirD lltrrtiioitr fßr htn lltaf. Dr. ®rn|l ^agncr, Dr. ©torg U0n gobilinehi, 2>brcltgr bei ItSxiflI. ü^tlDelm»flQmiu{lum» vom. Xirettot bct Röiiigl.^uoa*1llti(d]U(t)ulr |u MnigMna L an ttafiMibint i OMfr* Dritte verbesserte Auflage, befolgt boii 49llt 14 (ßrmtörtrHetdjnungrn Im tJCcrt linb einem 5;onlierl]cft, cnüiolUiU» 24 iSlUxrtafeln unIt iDläne von iAttjen unl» Horn. 'SßettUu lDei6maiinf c^e Sud) anMun^. 1907. Digitizeo google kjui^L j Ly Google 10C1513 2^Mt^cm lind) boji ":l-^oftiinimui.qen bcr neuen ^'ef)rpläiu' bic iacl}licl)e (£t= flnvniu] bcr 3d)viftU)eife bci^ 'JUtertitmC' in bcn iHirbev^vunb i]ctieten nnb ^ bie (5iiifübvuiui in biis? Weiftec^; nnb .^iiiitmlcbeu bcv ©ricdicn nnb ^)iiinier ak-> bav eii]iiitlid)o Vefiv^^icl bo^s Untcvnd)tc^ in ben nlten 2piad)cn t)nige[tcüt '\]t, l)at fid) biivi ^i-icbüifniy i^eeignetev ^v\'f)iinittel iininev leblioftcv i^eltenb geiHiidit. bcv veid)en ?^-üIle tvcfrlidicv ^Hrboiten aber, bic bcionbcvC' bnvd) 3d)iUeifLnnnicntave ,yi ben .sHnffifcvn nnb bilblidic raincUunqen bni^ fnrf}(id)c ilHn-ftänbnii> bc^^ 'Hltertninc^ beleben nnb förbern, fcl)lte ct^ an einen! i'el)ibud)c, bae bie und]tic|ücn (vrfdicinnnqen (ims beni Sehen ber iUlten 511; fiininienfolV- Xie Unentbcbv(id)tcit einest fcild)en Seitfoben^ nnb bie lln= 5ulänfllicf)teit aller anbercn .soilftMiiittcl unrb am füf)lbarftcn, menn bie in , ber Crbniiuii ber "Heifepritnuii^cn fi? U) uerlangte iBefanntid)aft ber Sdiülev mit bcn viiuptuiiuftcn ber '.Hntiquitäten eiTeid)t uierben foU. rftenbar cr= tl.n^crr bicic lHuid)ritt eine ü)fteniatifd)c JBe^anblung nnb ÜiUebcrl)ülun,q bcr ^)ieal(cn auf jeber .Silaffcnftufc, nnb eine [üld)e ift nninbt^ilid) an bcr .*oanb nun ci]!;^c[ncii .v?omincntaven, uon benen jeber ol)ne ^}iücf[id)t mif bic aiibcrcn nur ben '^bebürfniffcn bcr Vcttinc cinee Semcfter? angcpnfU ift. Tciniind) bebarf ber ilnn-fud), einen Vcitraben ^nr einlieitlid)en 93c()anblinig ber gried)i; fc^cu unb rönii|d)en ^lltcrtümcr "^ninninicn^nftcllen, mofil feiner ^Kecfitfertignng. Ten ^.Hntrieb ,yi ihrctn Uiitniiclnnen inib iiHrtnoUfte ?}iid)tid)nur für feine '^Hn^^fithrunL•^ gaben ben ^^In-rfaffern bie '-l^erbanblnngcn ber 13. Xircf; toreu=4>erfamin[inu-^ bcr '|.n'oinn,^en Cft; unb ih>eftpreuf,en (l^VL') über bie ^rage: „Üi^ie ift bir Uutcrrid)t in bcn alten v2prnd)en ein^viridncn, hanut bie 3d)iilev in luiberein OJiafu' aU^ bi^ticr in bnv? Veben nnb bie >(iniü bei< xMltcrtnmy eingcnifirt unnbcn?" :li>cint freilid) bie lU. ber bort nngenomniencn X bei cn uon bcni ^ri)ulbud)c, bot^ fie für uiiinid)en':^uiert erflärtc, Qndi bie iinufUl^iuug in autitc Muuft enuaitete, )o üerbot bas (^iiige^en auf t>ic\Q^ by Google : IV ivt^tige (Siebtet einerfettö bte 9{ü(tft(i^t auf ben 'Maum, anbererfeitd bte jur QAt noc^ ^(trf^enbe Un£lar^ett übet ben Umfang unb bie SO^et^obe ber |iei: 3u ertetlenbeit 93ele^mng. SBad fonft bte 993a^( unb bte ^norbnung beci Se^vftoffe^ betrifft, fo mag ^ter auf ben Stuffa^ in bei- 3eitf(^rift für bad (^^mnaftalmefeu (1896, <S. 663) „^ie IBel^anblung ber tlaffifc^en 9leqtien im Unterridft* bermtefen merbeu. ®te bttbtiii^en i^arfteCtungen*), mit benen bad (Sittgegenfommen ber ^erlag^s l^anblung ba$ 8ud^ retii^Iid^ audgeftottet ^at, ftnb, um ben ^ert nid^t 3U unterbred^en, bid auf einzelne ^nmbdg^eit^nungen auf befonberen iBtlbers tafeln bereinigt, ^r bte $(äne Don Ktl^en unb SRom ftnb ebenfo mie für ben ^ejrt bie neueften fidleren Ch:ge6ni{fe ber gorfd^ung tiermertet. B0i:tiiiivt |ur pußitßu Huflars. Qn ben t^ci).ULil)iingen be§ ?oitfnLiciK% in incl)ifacti biu^ xHoboufeii c[<i: Qufecvt iüorben, ah tönute [oiuc iHnmcubuiu^ in bcv 2d)Hlc cino neue 5U>lin bci^vünbcn, bic bim llutniid)t ni ben alten 2prnclien -ju leinen Lil)nel)in tonnt .VI hcniällu]enbeu '^(nfi-jabeu nod] eine fdiiiieve Vah auferleqen unirbe. '3^iele ikiuid)tun.q tmut lun einer (lenaueien 'l^rüfunti bev? gebotenen ^^n- l^alt!? nid)t 6eftel)en. Tenn ber Veurnben null feinen frenibcn Vehrftoff in ben Uuternd)r liineintra^en nod) .sjcnntniffe oenuitteln, bie man bit^tjer ohne 3diabcn entbel)ren tonnte, fonberu e<? finb hier bie .^nn '-iNcrftiinbuisi ber Veftüre unuuigünglid) notiueubigen ^Healien ^nfannuenL^eneUt, bie jet3i in ^-iHnrn'iflen bei? Vet)rer6 gebriid)t ober aut^ uerein'^elten i'lnniertnngen ol)ne ;]uiannnenl)img niiihfani gewonnen uu'rben müffen. (^>erabe biU' '^u'ftreben, eine ebenfo ^^einaubenbe mie nn[ruditbiue ^Ivbeit in ben Veftüreftnnbcu 5U uereinfiid}en, i){\t bie 'iHbfafinug beiö x^nidic:« neranluHt/ unb lebi.Qlid) bie "l-^cbürnnffe ber 3dinüeftüre finb bei ber ;'UuMuat)l unb ^^(norbnunq be^^ 2toffei> inafu^ebeub gciücieu. 1>er i->cl)iinblung ber nnediiidieii uuD rbiinjdjen iHltcrtiimer uiirb man fid), (oU bie Veftiire rrnditbrnu]enD [ein, in feinem J^-alle entheben fönuen; jie finb ebenfo unentbehrüdi '>nr Ginfiibrung in jebe^.-^ 3d)riftu>erf unb 5UV (^i[d)Ucßuu9 be^* ^i^crftaubuijjCi' ciiiäclnev 3teUcu alss aud) uoi*: (^ntnomineit au5 „&n^\ unb $ontt, ScBen ber iBviec^cu unb Sidmev.* 6. ftafl., iictf bcaxbciUt t>oii fftiä^atb (ingctinaun. Digitized by Google V 5Üg(i(f| geeignet, bad g^tereffe für bie geft^ilberten Vorgänge 511 beleben. Wta% man nun bie wtc^ttgften Hbfil^nitte f^ftemattfd^ butd^ne^men obev bie iSttüpiUl füv bie jetoeUige 6eftüre auSnvä^ten woUen, immer ift für ben Seigrer wie ffir ben ^äßltt bie SCufgobe »efentli«^ erleid^tert, menn atö (»tu^unft biefer Sefe^nmg ein $Ufdbu(j^ gebrau<l^t »erben fann, baiS bnnn freitid^ in ber fysnb jebeS ®<l^ülerd fein mug. 9{a(^ ber günftigen SCufnn^me bed Seitfdbend biirfte bie 2. 9(ufIoge in ber ^ou^tfad^, olfo in ber ^udma^( imb Stnorbnung bed ^toffed, untier&nbert bleiben, bogegen finb bie l^erfdffer bemfi^t gen>efen, im einjelnen SBünft^e $u berfiiffi^ttgen unb banCtoemerte SBinfe ber ^ritif %u befolgen. ISefonberer ^nnf gebül^rt $erm $rofef[or ^ör^felb, ber über einige fünfte be^üglid) ber at^enifc^en ^o^ograp^ie liebendmürbigfh 9(ud!unft erteilt l^at. (eid^teren ^emt|ung ber SBilbertofeln ftnb neben ben Unterfd^rtften bie ju? geffdrigen $arogi(i)>^en ongegeben. ber 9(udnial^( ber 9[bbi(bungen |d)icnen einige ^inberungen ^niecfmä^ig, nui^ tonnten auf 9(nerbieten ber $er(ag^^anb(ung bie ^i(bertafe(n um gwei oerme^rt unb mel^rere neue @ninbrt^;äcid)mm9cn eingefügt merben. "00x^00x1 fut Mütn Mitflogt* 9fu(f) für bie brittc 'Hufinge bcr Vcit^abcnv« evfcf)icncn er(iebHd)e 'iMnbe; ninncH md)t erforbcvlid), e^ gnit niu' (iui^clt)etreu iuid);,utrngen ober mit ben neucitcn >>iefultnten bor Jvi^vfä)uiui in (iintlang 5U bringen. "X^urdi ben nU,5ufrül)en ^ob nieinei> "iViitinbeitcic^, Inngjäfiriiicii iHniti^gonoffen unb lieben Jvreunbei-* (^)corn uon Mübilinc-ti (t mn 14. ^etitci;ibci ^'04 \u ^Knücubuvci) ift mir biefe 9(iifi)nbe nud) für ben '»Hbidinitt :)iom ;^uc]eraUen, bod) bnbe id) mid) bei ber rurd)iidit mie bei bei -Siorreftur ber llntcrftütumg iueinec> lieben iHmt!?genoffen nn bem i!i>iU)elmv'gi)ntiuiiiuin, bec^ Mcrvu Cbevlebrerci Dr. Cttti .S{röl)nert, ,yi erfreuen gehabt, njtifür il)m f)ier l]er/,lid) gebnnft fei. xHlö eine proftifd)e 'Jlciierung wirb ei? fid) boffcntlid) eriueifen, baf^ bie ^ilbcrtnfeln 5U einem befonberen .s>efte uereinigt finb unb neben beu Xe^t gelegt o^ne bie Müt^t bee Uinblättemi^ benul^t werben tönneu. j^önigj^berg, im ^ni 1907. Digitizeo google ^nttii^t ithtn <0cted|fii 3 L 6tatt#aftertlimrr. A. gäci Siomex :i § 1. ftönige. § 2. Sie (it>ku. § 3. 7a>? $ülf. § i. Xie ®na)Mn. S)ie Stcmben. B. 5-« öißotift^er ^eif. § b Übergang j Spovto 5 1. ftjeuülfcruug. ^ 6. 2. ißcifafiung G § 7. Sie 6löiiige. § 8. Sie Sp^oten. 9. Stot unb ^olfduet* («mmliitig. «t^e» 7 1. filaffen bcc $Beti5(fening. § 10. {Die etlabeit. §11. $te SRctdlen. § 13. Sie «ftxgexfdKift 2. ®intetlitng unb poUÜ^^ ®Iiebentttg ber Sficgevfd^aft .... 9 ^ 13. Sic arten ':^^t)len. ^^xotfieil. Sbuifrotien. § 14. 3)ie $^Vlen unb Semen bc§ Sletft^ened. 3. 9kt unb *-8o(f#iierfnmm(ung 10 § 15. Ser Siat. ^ 16. Sie ^^Jnjtancu. S 17. Sic iiiiuiiflen hei 9tati. § 18. Sie SBoUdberfammlimg. § 19. 3^cf gejet^geberiic^e Sätig« feit. § 2a S>ie 8oII0l>CKfoimnIutt0 att Oknt^tt^of. § 21. ^ Oftm* 4. ^£ie Beamten 14 § 22. "Eintritt, Jüiirung unb ^^icberlegung bcr 'hnttv. iii; 2:! u. 24. Sie y '^iK^outeu. § 25. Sie (Sliniönncr. ^^oli^ci unb änijenbeanue. § 26. ^ Stxateaen. Digitized by Google «eile 5, ^06 ^JinQn,5jniei>n » 1$ ? 27. 2er inbut ber ^"limbc§flcnoiicn. i; "JH. ^innofimni auä bitcftcn '.Hbgabcn. § 2\K ^öüe. Staatöläiibexcten. IBetiuögcudetn« ^nuSgabf M. Settutgie«. § 82. Xxkmdfit. § 38. C^imgie, i^i)mnn'uirc^ie unb .f)efHa|iA. 6. aRftit}«, Vla^ unö @»ewi(^t 1» S 34. (Smroicfeliinci bcv Wiiii.^rocfen'i. :!'.. Sijftcm ber atti|(^eu 3K&n^ uub beS ntttfc^en ®eroid)te£. § ;J6. 2)ie einzelnen 9lflnacn. § 37. f^e Sängeiimafte. § 88.' Sie ^o^Image. 7. !£)ie Zeitrechnung. § 39 21 II. ^cric^tewcfcn 22 § 40. ^uftänbigfett bex (äexic^te. § 41. !Z}ex Vtxeopag. 2)ie (St>^et«i. § 42. 2)ie ^liafiten. S 43. 3)ct fftagnr imb ber tBet« fliigte. §44. Xie Tinrctni. ^ J5. Tic 5?ort)crf)aiibIung. Tie -Oaupt« Ued^btong* Xie ^Hbftiiumung. § 46. Tie l^oUaie^tuig bet ©ttafeju III. ^ö« Ärtc(|«iücfcn -26 A. ^» ^9mxi(^x 3tit 26 i: 47. Tie 5.^ür)leltungin ^t•§ '.'Ktertiimä üuii ber '-I^ntiaffnung bei dornet.
Recommended publications
  • Fashioning Change Discovers a Late Medieval World in Which Garments Could Express Fortune's Instability, Aesthetic Turmoil
    “Fashioning Change discovers a late medieval world in which garments could express fortune’s instability, aesthetic turmoil, and spiritual crisis. Fashion was good to think. In lucid and compelling detail, Andrea Denny-Brown reveals just how and why the dress of ecclesiastics, dandies, wives, and kings figured mutability as an inescapable worldly condition.” —Susan Crane, professor of English and Comparative Literature, Columbia University, and author of The Performance of Self: Ritual, Clothing, and Identity during the Hundred Years War “Fashioning Change is one of the most original and inventive studies of medieval cul- ture I have read. It is a book about the experience of social desire, the nature of civi- lized life, the relationships of craft and culture, and the aesthetics of performance. More than just a book about fashion, it is about fashioning: the self, society, and poetry. It is, therefore, a study of how medieval writers fashioned themselves and their worlds through an attentive encounter with the arts of bodily adornment. Engagingly written and scrupulously researched, Fashioning Change will be a signal contribution to the field of medieval studies.” —Seth Lerer, Dean of Arts and Humanities and Distinguished Professor of Literature at the University of California at San Diego “It is rare to find a book that casts its nets widely while meticulously analyzing the texts it discusses. This book does both. Denny-Brown provides insight into philosophical texts, cultural symbolics in textual and visual art, religious and theological texts and practices, Middle English poetry, and national identity, which taken together makes the book an invaluable index to medieval—not just Middle English—notions about fash- ion, philosophical approaches to change, gender dynamics, and aesthetics.” —Maura Nolan, University of California, Berkeley “Denny-Brown draws on texts of many genres as well as historical information to show that fashion—and the promise of fortune that accompanied it—had great appeal for men and women in the Middle Ages.
    [Show full text]
  • Roman Clothing and Fashion
    ROMAN CLOTHING AND FASHION ALEXANDRA CROOM This edition published 2010. This electronic edition published 2012. Amberley Publishing The Hill, Stroud, Gloucestershire GL5 4EP www.amberley-books.com Copyright © Alexandra Croom 2010, 2012 The right of Alexandra Croom to be identified as the Author of this work has been asserted in accordance with the Copyrights, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing from the Publishers. British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library. ISBN 978-1-84868-977-0 (PRINT) ISBN 978-1-4456-1244-7 (e-BOOK) CONTENTS List of Illustrations Acknowledgements 1 - Introduction 2 - Cloths and Colour 3 - Men’s Clothing 4 - Women’s Clothing 5 - Children’s Clothing 6 - Beauty 7 - Provincial Clothing 8 - Conclusions Pictures Section Glossary References Weaving Terminology Bibliography LIST OF ILLUSTRATIONS TEXT FIGURES 1 - The costume of goddesses 2 - Woman spinning 3 - Tunic forms 4 - A clothes press 5 - Tunics of the first and second centuries 6 - Tunics of the third and fourth centuries 7 - Tunic decorations 8 - Portrait of Stilicho 9 - Tunics 10 - Togas of the first to fourth centuries 11 - The ‘Brothers’ sarcophagus 12 - Togas of the fifth and sixth centuries 13
    [Show full text]
  • Current Research on Roman Dress
    CHAPTER 1 Current Research on Roman Dress Clothing and Personal Adornment for this absence should be considered: as a large, all enveloping expanse of un-seamed cloth, the toga was The Toga ideal to be used as a shroud during a time when crema- The toga, probably the most well-known item of Roman tion was the norm.7 It could also very easily have been clothing, is a rounded woollen garment adapted from made into something else; certainly there is consider- the semi-circular Etruscan mantle.1 Literary and art able evidence for the recycling of textiles, as I discuss in historical evidence describes and depicts the toga as later chapters. Furthermore, the majority of extant gar- an expensive and cumbersome garment made from a ments come from a later period when inhumation was voluminous amount of cloth, which was draped across more common, by which time a narrow-sleeved tunic the body in a complicated manner. It was not fastened and cloak was the more usual ensemble of the Roman with a brooch, and so had to be held in place by the official.8 Togas were still worn during this period, but wearer, a clear indication of both his wealth and status were increasingly reserved for ceremonial or official as a member of the ‘leisure class’.2 The many depictions occasions.9 These later togas appear often to have been of togate figures from the Roman period attest to the made with patterned tapestry fabric, fragments of which symbolic importance of this ‘national’ garment, with exist in the archaeological record, but may not be recog- variations in the method of drapery sometimes used to nised for what they are.10 identify specific roles or achievements, both public and private.3 There are references to prostitutes and/or adul- Mantles and Cloaks teresses having to wear a toga as a symbol of their rejec- Like the toga, the Roman mantle was a large cloth that tion of the moral code it represented, however there is was draped across the body; considerably smaller and no evidence that they were legally compelled to do so, straight edged, it was easier both to make and to handle.
    [Show full text]
  • Fashion Text Book
    Fashion STUDIES Text Book CLASS-XII CENTRAL BOARD OF SECONDARY EDUCATION Preet Vihar, Delhi - 110301 FashionStudies Textbook CLASS XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110 301 India Text Book on Fashion Studies Class–XII Price: ` First Edition 2014, CBSE, India Copies: "This book or part thereof may not be reproduced by any person or agency in any manner." Published By : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 Design, Layout : Multi Graphics, 8A/101, W.E.A. Karol Bagh, New Delhi-110005 Phone: 011-25783846 Printed By : Hkkjr dk lafo/ku mísf'kdk ge] Hkkjr ds yksx] Hkkjr dks ,d lEiw.kZ 1¹izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kkRed x.kjkT;º cukus ds fy,] rFkk mlds leLr ukxfjdksa dks% lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /eZ vkSj mikluk dh Lora=krk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj 2¹jk"Vª dh ,drk vkSj v[kaMrkº lqfuf'pr djus okyh ca/qrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/ku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~ }kjk bl lafo/ku dks vaxhÑr] vf/fu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶izHkqRo&laiUu yksdra=kkRed x.kjkT;¸ ds LFkku ij izfrLFkkfirA 2- lafo/ku (c;kyhloka la'kks/u) vf/fu;e] 1976 dh /kjk 2 }kjk (3-1-1977) ls ¶jk"Vª dh ,drk¸ ds LFkku ij izfrLFkkfirA Hkkx 4 d ewy dÙkZO; 51 d- ewy dÙkZO; & Hkkjr ds izR;sd ukxfjd dk ;g dÙkZO; gksxk fd og & (d) lafo/ku
    [Show full text]
  • Fashion,Costume,And Culture
    FCC_TP_V2_930 3/5/04 3:55 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V2_930 3/5/04 3:55 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 2: Early Cultures Across2 the Globe SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
    [Show full text]
  • Fashion Studies Revision Test Total Marks-25 CLASS-XII Answer the Following Questions in 20-30 Words: 2X2=4 1. Give Two
    Fashion studies Revision test Total marks-25 CLASS-XII Answer the following questions in 20-30 words: 2x2=4 1. Give two examples of draped and slip on costume? 2. Name the materials used by primitive men to cover the body? Answer the following questions in 30-50 words: 2x3=6 3. Explain the term uttariya.Briefly explain the manner of draping among the different classes of society? 4. Elaborate on the following terms: a) Kaunakes. b) Schenti. Answer the following questions in 80-120 words: 3x5=15 5. Explain the term armour? Discuss the different types of armour construction? 6. What were the broad categories of Indian garments? 7. Briefly explain the Greek costume for men and women? -------------------------------------------- Fashion studies Revision test Answer key Two marks: 1. Egyptian schenti, Greek himation and the Tahitian pareo. The Roman paenula, the medieval huque and the South American poncho. 2. Men required clothing in response to the need for protection and for shelter against extreme variations of temperature, rain, dust, thorns, wild animals and insects. For activities like warfare and hunting, extra protection was needed for the body. Eskimos wear closely fitted garments in several layers to effectively trap and retain body warmth. Wearing several layers of clothing. Three marks: 3. The Uttariya or upper garment was usually of cotton or silk with ornamented borders and fringes. The way it was worn depended on the profession of the wearer. In court, the uttariya could be draped on one or both shoulders, diagonally across the chest. It could also be loosely draped across the back with the free ends hanging down both the lower arms or wrapped around the wrist.
    [Show full text]
  • Weaving in Stones Garments and Their Accessories in the Mosaic Art of Eretz Israel in Late Antiquity
    Weaving in Stones Garments and their accessories in the mosaic art of Eretz Israel in Late Antiquity Aliza Steinberg Archaeopress Archaeology Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978-1-78969-321-8 ISBN 978-1-78969-322-5 (e-Pdf) © Aliza Steinberg and Archaeopress 2020 Translated from Hebrew to English by Debi Manor Photo arrangements by Gall Orian Cover photograph: Amazon on the ‘Nile House’ mosaic, Zippori, 5th century AD (photo credited to piki- wiki user: llan Sharif CCO 1.0) All rights reserved. No part of this book may be reproduced, or transmitted, in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the copyright owners. Printed in England by This book is available direct from Archaeopress or from our website www.archaeopress.com ‘To Shlomo, there is not a word in my tongue’, Psalms 139, 4. Contents List of figures ...............................................................................................................................................................................v Acknowledgements ...............................................................................................................................................................xvii Introduction ................................................................................................................................................................................1 Current research status .........................................................................................................................................................5
    [Show full text]
  • What Is the Best Way to Begin Learning About Fashion, Trends, and Fashion Designers?
    ★ What is the best way to begin learning about fashion, trends, and fashion designers? Edit I know a bit, but not much. What are some ways to educate myself when it comes to fashion? Edit Comment • Share (1) • Options Follow Question Promote Question Related Questions • Fashion and Style : Apart from attending formal classes, what are some of the ways for someone interested in fashion designing to learn it as ... (continue) • Fashion and Style : How did the fashion trend of wearing white shoes/sneakers begin? • What's the best way of learning about the business behind the fashion industry? • Fashion and Style : What are the best ways for a new fashion designer to attract customers? • What are good ways to learn more about the fashion industry? More Related Questions Share Question Twitter Facebook LinkedIn Question Stats • Latest activity 11 Mar • This question has 1 monitor with 351833 topic followers. 4627 people have viewed this question. • 39 people are following this question. • 11 Answers Ask to Answer Yolanda Paez Charneco Add Bio • Make Anonymous Add your answer, or answer later. Kathryn Finney, "Oprah of the Internet" . One of the ... (more) 4 votes by Francisco Ceruti, Marie Stein, Unsah Malik, and Natasha Kazachenko Actually celebrities are usually the sign that a trend is nearing it's end and by the time most trends hit magazine like Vogue, they're on the way out. The best way to discover and follow fashion trends is to do one of three things: 1. Order a Subscription to Women's Wear Daily. This is the industry trade paper and has a lot of details on what's happen in fashion from both a trend and business level.
    [Show full text]
  • Fashion,Costume,And Culture
    FCC_TP_V1_919 3/5/04 3:50 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V1_919 3/5/04 3:50 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 1: The Ancient1 World SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
    [Show full text]
  • The Appropriateness of Historic Costuming of Male Protagonists In
    THE APPROPRIATENESS OF HISTORIC COSTUMING OF MALE PROTAGONISTS IN HISTORIC EPIC MOVIES by CLARISSA M. ESGUERRA (Under the Direction of Patricia Hunt-Hurst) ABSTRACT Costuming functions as a tool to nonverbally communicate and manipulate visual identities, especially gender identity; applied to the costuming of characters in movies, the visual identity of a character is broadly amplified to the movie-going audience. The purpose of this study was to examine the costuming of male protagonists in historic epic movies for historical accuracy and how the era in which the movie was produced may have affected the level of accuracy. The Ten Commandments (1956) and Spartacus (1960) from the Cold War era and Gladiator (2000) and Troy (2004) from the turn of the millennia were viewed and comparatively analyzed in light of the American social dynamics of each era INDEX WORDS: historic costume, men’s wear, Ancient Egyptian costume, Ancient Greek costume, Ancient Roman costume, historic epic genre, movies, Cold War, post-World War II, America, turn of the millennia, gender dynamics THE APPROPRIATENESS OF HISTORIC COSTUMING OF MALE PROTAGONISTS IN HISTORIC EPIC MOVIES by CLARISSA M. ESGUERRA B.F.A., Brenau University, Women’s College, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GEORGIA 2005 © 2005 Clarissa M. Esguerra All Rights Reserved THE APPROPRIATENESS OF HISTORIC COSTUMING OF MALE PROTAGONISTS IN HISTORIC EPIC MOVIES by CLARISSA M. ESGUERRA Major Professor: Patricia Hunt-Hurst Committee: April Allen Soyoung Kim Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2005 ACKNOWLEDGEMENTS I have experienced a substantial amount of intellectual and personal growth during my time in the Department of Textiles, Merchandising, and Interiors at the University of Georgia, and I credit much of this growth to my major advisor Dr.
    [Show full text]
  • Some Remarks on Iconography of Rulers and Archangels in Nubian Painting 92 MAŁGORZATA MARTENS-CZARNECKA
    CENTRE D’ARCHÉOLOGIE MÉDITERRANÉENNE DE L’ACADÉMIE POLONAISE DES SCIENCES ÉTUDES et TRAVAUX XXI 2007 MAŁGORZATA MARTENS-CZARNECKA Some Remarks on Iconography of Rulers and Archangels in Nubian Painting 92 MAŁGORZATA MARTENS-CZARNECKA Excavations that have been carried out for many years by Polish scholars in the terri- tory of Nubia, namely in the monastery in Old Dongola and the church in nearby place called Banganarti,1 exceedingly enriched our knowledge of the subject of rulers and arch- angels in the Nubian wall painting. So far all the conclusions concerning that subject have been drawn mainly on the ground of an analysis of wall paintings discovered in the twen- tieth century by British,2 Italian,3 and Dutch4 missions in churches in Faras, Abd el-Qadir, Tamit, Sonqi Tino, and Abdalla-n Irqi, and later by Polish mission directed by Professor Kazi mierz Michałowski in the cathedral in Faras.5 A set of paintings representing effi gies of Nubian rules under protection of archangels in chapels of Banganarti church6 and the painting in the Dongola monastery,7 showing the scene of coronation of a Nubian king, considerably contribute to the learning of culture of the Christian Nubia. Representations of Nubian rulers, investigated in different aspects can largely enhance our knowledge of the structure of the royal court, hierarchy, propa- ganda, and ideology of rule and religion, while discoveries of grave crypts give an idea of kinds of burials of Christian Nubia rulers. Analysis of attire can in turn bring new in- formation on attributes of power (sceptre, crown), while richness of fabrics and decorative elements shows what sorts of objects were available to and used by an elite of the Nubian society.
    [Show full text]
  • OCCULT DRESS Occultism Is Any Nonmainstream Western System of Spirituality That Uses Magic, the Defi- Nition of Magic Being
    69134-ECF-O_1-10.qxd 8/23/2004 1:57 PM Page 1 O OCCULT DRESS Occultism is any nonmainstream Occult dress is also used to indicate status within a Western system of spirituality that uses magic, the defi- group. Wiccan high priestesses of Alexandrian lineages in- nition of magic being the way in which internal thoughts dicate status to other initiates by a colored leg garter. Also, are used to effect changes in the outside world. Occultists, a waist cord may be worn in the same group to indicate such as northern European Pagans (e.g., Wiccans, the wearer having taken oaths pertaining to a level of ini- Druids, and witches) and ceremonial magicians (Cabal- tiation. Other occult groups, such as the Order of Bards, ists, hermetics, and the like) practice magic as part of their Ovates, and Druids, who originated in England, wear col- religions. Occult dress is used when participating in ored robes denoting rank during some occult ceremonies. magic rites, rituals, or ceremonies. Western occult dress Cultural disposition is another motivation for spe- has three primary functions: (1) to psychologically place cific occult dress. For example, Asatru practitioners may the wearer in an extraordinary sense of reality; (2) to iden- don tunics and mantles of historic Germanic styles to de- tify the status of the wearer within a social group; and (3) note their affiliation to the ancient Teutonic religion. to indicate the beliefs of the wearer. Celtic knotwork designs on clothing and jewelry may be worn to show an affiliation to Druidism and other an- Clothing cient Celtic spiritualities.
    [Show full text]