Russian Traditional Clothing Wikipedia
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Wearing Our Identity – the First People's Collection
Wearing our Identity – The First People’s Collection Texts of the exhibition Table of content Introduction 2. Fashioning identity 2. 1 – Wearing who I am 3. 1.1 – Wearing where I come from 3. 1.2 – Wearing life’s passages 3. 1.3 – Wearing my family 6. 1.4 – Wearing my rank 7. 2 – Wearing our culture 10. 2.1 – Wearing our traditions 10. 2.2 – Wearing our legends 15. 2.3 – Wearing our present 16. 3 – Wearing our history 17. 3.1 – Wearing our honour 18. 3.2 – Wearing our struggles 20. 3.3 – Wearing our resilience 21. 4 – Wearing our beliefs 23. 4.1 – Wearing our universe 23. 4.2 – Wearing animal power 24. 4.3 – Wearing spiritual respect 25. 2 Wearing our Identity – The First People’s Collection © McCord Museum, 2013 0 – Introduction Wearing Our Identity The First Peoples Collection Questions of identity lie at the heart of many debates in today’s rapidly changing world. Languages and traditions are threatened with extinction. When this happens, unique knowledge, beliefs and histories are wiped out. First Peoples understand well the challenges and tensions that can erode a sense of self and belonging. Yet, they have shown remarkable resilience in both preserving ancient identities and forging new ones. Whether building on the rich textures of the past or fearlessly transforming contemporary fashion, First Nations, Inuit and Métis use clothing to communicate the strength and meaning of their lives. An exploration of First Peoples dress is a compelling and emotional experience – one that must follow interwoven threads of community and spirituality, resistance and accommodation, history and innovation. -
Islamic Art from the Collection, Oct. 23, 2020 - Dec
It Comes in Many Forms: Islamic Art from the Collection, Oct. 23, 2020 - Dec. 18, 2021 This exhibition presents textiles, decorative arts, and works on paper that show the breadth of Islamic artistic production and the diversity of Muslim cultures. Throughout the world for nearly 1,400 years, Islam’s creative expressions have taken many forms—as artworks, functional objects and tools, decoration, fashion, and critique. From a medieval Persian ewer to contemporary clothing, these objects explore migration, diasporas, and exchange. What makes an object Islamic? Does the artist need to be a practicing Muslim? Is being Muslim a religious expression or a cultural one? Do makers need to be from a predominantly Muslim country? Does the subject matter need to include traditionally Islamic motifs? These objects, a majority of which have never been exhibited before, suggest the difficulty of defining arts from a transnational religious viewpoint. These exhibition labels add honorifics whenever important figures in Islam are mentioned. SWT is an acronym for subhanahu wa-ta'ala (glorious and exalted is he), a respectful phrase used after every mention of Allah (God). SAW is an acronym for salallahu alayhi wa-sallam (may the blessings and the peace of Allah be upon him), used for the Prophet Muhammad, the founder and last messenger of Islam. AS is an acronym for alayhi as-sallam (peace be upon him), and is used for all other prophets before him. Tayana Fincher Nancy Elizabeth Prophet Fellow Costume and Textiles Department RISD Museum CHECKLIST OF THE EXHIBITION Spanish Tile, 1500s Earthenware with glaze 13.5 x 14 x 2.5 cm (5 5/16 x 5 1/2 x 1 inches) Gift of Eleanor Fayerweather 57.268 Heavily chipped on its surface, this tile was made in what is now Spain after the fall of the Nasrid Kingdom of Granada (1238–1492). -
Cultural Orientation | Kurmanji
KURMANJI A Kurdish village, Palangan, Kurdistan Flickr / Ninara DLIFLC DEFENSE LANGUAGE INSTITUTE FOREIGN LANGUAGE CENTER 2018 CULTURAL ORIENTATION | KURMANJI TABLE OF CONTENTS Profile Introduction ................................................................................................................... 5 Government .................................................................................................................. 6 Iraqi Kurdistan ......................................................................................................7 Iran .........................................................................................................................8 Syria .......................................................................................................................8 Turkey ....................................................................................................................9 Geography ................................................................................................................... 9 Bodies of Water ...........................................................................................................10 Lake Van .............................................................................................................10 Climate ..........................................................................................................................11 History ...........................................................................................................................11 -
Conversing with the Cosmos
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2000 CONVERSING WITH THE COSMOS Linda L. Beeman Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Beeman, Linda L., "CONVERSING WITH THE COSMOS" (2000). Textile Society of America Symposium Proceedings. 782. https://digitalcommons.unl.edu/tsaconf/782 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Pis siyabet/rom Jolo Island, Sulu Archipelago. Interlocking tapestry weave o/silk. Warp 36", weft 34". Private collection. Photograph by Mike Zens/or Material Possessions. CONVERSING WITH THE COSMOS 102000 Linda L. Beeman This paper focu ses on the silk tapestry headcloths woven by Tausug peoples from the Philippine Su lu Archipelago. Called pis siyabet, they captured my attention because they diverge so wildly from the cotton or abaca warp ikat weaving one associates with indigenous peoples from the Philippines and Indonesia. Their material, structure, motif and color fly in the face of local tradition. The dense complexity created by their interlocking square, triangle and diamond motifs suggests cosmic mazes - treasure maps to the unconscious. Pis puzzle us and compel our imaginations. Some history is in order. The Philippine Archipelago was fi rst peopled during the Pleistocene when it was connected by land bridges with the Southeast Asia main land. What became the Sulus offered a wann climate, access to water trade, fertile volcanic soils. -
Trinity Irish Dance Study Guide.Indd
● ● ● ● ● Photo by Lois Greenfield. About the Performance The Performance at a Glance Each of these different elements can be the basis for introducing students to the upcoming performance. Who are the Trinity Irish Dance Company? Trinity Irish Dance Company were formed in 1990 by Mark Howard in an effort to showcase Irish music and dance as an art form. The company is made up of 18- 25 year olds, and has received great critical and popular acclaim from audiences throughout the world. They have performed all over the world, and have collaborated with many notable contemporary choreographers and musicians. Trinity holds a unique place in the dance world, offering a highly skilled presenation of progressive Irish step dance. Who is Mark Howard? Mark Howard is the founder and artistic director of the Trinity Irish Dance Company, and choreographs much of the company’s work. Born in Yorkshire, England, and raised in Chicago, Mark Howard began dancing at the age of nine, and later went on to become a North American champion Irish dancer. He started the Trinity Academy of Irish Dance at the age of 17, and dancers from this school have won 18 world titles for the United States at the World Irish Dance Championships in Ireland. Howard wanted to find a way for his dancers to do more than just compete for tropies and prizes, so in 1990 he founded the Trinity Irish Dance Company as a way to showcase Irish music and dances as an art form. Mark Howard continues to choregraph new works for the company, and he has expanded his independent career to work in theater, television, concert and film. -
Female Filipino Costumes | Fashion & Beauty | Clothing
Female Filipino Costumes 1.1. Mestiza The Mestiza Dress is a formal dress made of expensive lace and fabric adorned with embroideries. It is the sophisticated version of the national costume, the baro't saya (blouse and skirt). Made more popular by former Philippine First Lady Imelda Marcos, some even called it Imelda dress or terno. Mestiza dress is known for its elegance and butterfly sleeves. It is usually worn for formal occasion. 2. Maria Clara Dress Maria Clara's dress was named after a mestiza heroine of one of the novels of the Philippine National hero Dr. Jose Rizal. Its origin was the national costume of Filipino women which is baro't (shirt) saya (skirt). The Maria Clara gown feat ures a floor-length paneled skirt of silk or satin and it consists of four separate pieces: the collarless waist-length, bell sleeved camisa; the bubble-shaped, floor-length saya; the stiff, neck-covering pañuelo; and the hip-hugging, knee length tapis, or overskirt. 3. Kimona Dress This dress originated from the Visayas, can be worn for everyday activities as casual dress or for formal occasion. Its origin was the baro't (shirt) saya (skirt), the national costume for Filipino women during the early years. A casual kimona dress is always worn with matching West Visayan wrap around called "patadyong" as a skirt. 4. Igorot This attire is used by the tribes in Mountain Province of The Cordillera ranges, called Igorots. They have their own unique costume that makes them distinctive from other tribes in the Philippines. This costume reflects their way of life, cultures, personalities, religious practices and rituals. -
Clothing Terms from Around the World
Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat. -
Seritechnics
SeriTechnics Historical Silk Technologies Edition Open Access Series Editors Ian T. Baldwin, Gerd Graßhoff, Jürgen Renn, Dagmar Schäfer, Robert Schlögl, Bernard F. Schutz Edition Open Access Development Team Lindy Divarci, Samuel Gfrörer, Klaus Thoden, Malte Vogl The Edition Open Access (EOA) platform was founded to bring together publication ini tiatives seeking to disseminate the results of scholarly work in a format that combines tra ditional publications with the digital medium. It currently hosts the openaccess publica tions of the “Max Planck Research Library for the History and Development of Knowledge” (MPRL) and “Edition Open Sources” (EOS). EOA is open to host other open access initia tives similar in conception and spirit, in accordance with the Berlin Declaration on Open Access to Knowledge in the sciences and humanities, which was launched by the Max Planck Society in 2003. By combining the advantages of traditional publications and the digital medium, the platform offers a new way of publishing research and of studying historical topics or current issues in relation to primary materials that are otherwise not easily available. The volumes are available both as printed books and as online open access publications. They are directed at scholars and students of various disciplines, and at a broader public interested in how science shapes our world. SeriTechnics Historical Silk Technologies Dagmar Schäfer, Giorgio Riello, and Luca Molà (eds.) Studies 13 Max Planck Research Library for the History and Development of Knowledge Studies 13 Editorial Team: Gina PartridgeGrzimek with Melanie Glienke and Wiebke Weitzmann Cover Image: © The British Library Board. (Yongle da dian 永樂大典 vol. -
Copyright by Ahmad Aminpour 2010
Copyright by Ahmad Aminpour 2010 The Thesis Committee for Ahmad Aminpour certifies that this is the approved version of the following thesis: An Overview of The Flower of Shoran: A Kurdish Novel by ‘Atā Nahāyi Approved by Supervising Committee: M.R. Ghanoonparvar Michael C. Hillmann An Overview of The Flower of Shoran: A Kurdish Novel by ‘Atā Nahāyi by Ahmad Aminpour, B.A. Thesis Presented to the faculty of the Graduate School of the University of Texas at Austin in Partial fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2010 Acknowledgments I want to express my sincere thanks to M.R. Ghanoonparvar who has never wavered in supporting me to pursue my academic interests. Without his intellectual support, this study would not have been possible. I would also like to extend my gratitude to Michael C. Hillmann; our classroom discussions and his methods of close reading have opened a new perspective to me in my academic studies. I am truly grateful to my dear wife, Nastaran Kherad who has always been a source of inspiration and always encouraged me to explore more. I would also like to offer my thanks to Gregory M. Bruce who proof read the translation part of this thesis. iv Preface The Flower of Shoran (Gūl-ī Shorān), written by „Atā Nahāyi was published in 1998 in Iran. It consists of eight chapters. This novel could be called a historical novel which spans the period between the two World Wars and a decade after the fall of the Republic of Mahabad in 1946. -
Download Here
ISABEL SUN CHAO AND CLAIRE CHAO REMEMBERING SHANGHAI A Memoir of Socialites, Scholars and Scoundrels PRAISE FOR REMEMBERING SHANGHAI “Highly enjoyable . an engaging and entertaining saga.” —Fionnuala McHugh, writer, South China Morning Post “Absolutely gorgeous—so beautifully done.” —Martin Alexander, editor in chief, the Asia Literary Review “Mesmerizing stories . magnificent language.” —Betty Peh-T’i Wei, PhD, author, Old Shanghai “The authors’ writing is masterful.” —Nicholas von Sternberg, cinematographer “Unforgettable . a unique point of view.” —Hugues Martin, writer, shanghailander.net “Absorbing—an amazing family history.” —Nelly Fung, author, Beneath the Banyan Tree “Engaging characters, richly detailed descriptions and exquisite illustrations.” —Debra Lee Baldwin, photojournalist and author “The facts are so dramatic they read like fiction.” —Heather Diamond, author, American Aloha 1968 2016 Isabel Sun Chao and Claire Chao, Hong Kong To those who preceded us . and those who will follow — Claire Chao (daughter) — Isabel Sun Chao (mother) ISABEL SUN CHAO AND CLAIRE CHAO REMEMBERING SHANGHAI A Memoir of Socialites, Scholars and Scoundrels A magnificent illustration of Nanjing Road in the 1930s, with Wing On and Sincere department stores at the left and the right of the street. Road Road ld ld SU SU d fie fie d ZH ZH a a O O ss ss U U o 1 Je Je o C C R 2 R R R r Je Je r E E u s s u E E o s s ISABEL’SISABEL’S o fie fie K K d d d d m JESSFIELD JESSFIELDPARK PARK m a a l l a a y d d y o o o o d d e R R e R R R R a a S S d d SHANGHAISHANGHAI -
“We Are Nigeria”
“WE ARE NIGERIA” CHAPTER ONE ‘Who can tell me what happened on the 1st of October 1960?’ asked our class teacher. None of the students wanted to answer the question. Our teacher looked around the class and we hid our faces because we knew what she was going to do next. ‘Jay’ She said, and he almost jumped out of his chair. ‘Please answer the question.’ She always picked a student randomly to answer questions when no one volunteered. ‘It was the day Nigeria defeated the Queen of England’ Jay got up to answer the question. His voice was a shaky whisper. Jay was always nervous when he had to answer questions in class. ‘Yes Didi’ our teacher said and the class turned to look at me as I stood up to answer the question. ‘Class, did you hear him?’ our teacher asked. ‘No ma’ the class chorused. Their mocking voices ‘Before the 1st of October 1960, Nigeria was ruled by made Jay more nervous. Great Britain. The Queen of England, Queen Elizabeth the second was the Head of Government of ‘It was the day Nigeria defeated the Queen of Nigeria. Before independence, the money we spent England’ Jay repeated louder and the class erupted in Nigeria was pounds and shillings; the British people in laughter. taught us their language and that is why English language is the primary language in Nigeria.’ ‘Students, please be quiet’ she scolded and the class went quiet. I was enjoying all the attention as the class listened to me attentively. ‘Good effort Jay’ she said but we knew she was only trying to encourage him. -
Adire Cloth: Yoruba Art Textile
IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida Editor/Outreach Director: Agnes Ngoma Leslie Layout & Design: Pei Li Li Assisted by Kylene Petrin 427 Grinter Hall P.O. Box 115560 Gainesville, FL. 32611 (352) 392-2183, Fax: (352) 392-2435 Web: http://nersp.nerdc.ufl.edu/~outreach/ Center for African Studies Outreach Program at the University of Florida The Center is partly funded under the federal Title VI of the higher education act as a National Resource Center on Africa. As one of the major Resource Centers, Florida’s is the only center located in the Southeastern United States. The Center directs, develops and coordinates interdisci- plinary instruction, research and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in schools from K-12, colleges, universities and the community. Below are some of the regular activities, which fall under the Outreach Program. Teachers’ Workshops. The Center offers in- service workshops for K-12 teachers on the teaching of Africa. Summer Institutes. Each summer, the Center holds teaching institutes for K-12 teachers. Part of the Center’s mission is to promote Publications. The Center publishes teaching African culture. In this regard, it invites resources including Irohin, which is distributed to artists such as Dolly Rathebe, from South teachers. In addition, the Center has also pub- Africa to perform and speak in schools and lished a monograph entitled Lesson Plans on communities.