Dissertationen: „Rwandan Decoration and ornament“

1

Dürfeld, Michael. „Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /“. Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.

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2

FARRELL, GAVIN R. „ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.

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3

Pleasant, Elizabeth A. „Ornamentation, representation, and experimental drawing“. Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.

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4

Prickett, Douglas B. „Ornamentalism /“. Online version of thesis, 1990. http://hdl.handle.net/1850/10938.

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5

Wong, Chun-ming. „Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /“. Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.

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6

Alves, Francine D. A. C. C. O. „A arquitectura e o mosaico romano de pavimento-relações-interacções“. Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2002. http://dited.bn.pt:80/30055.

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7

Vieira, Eduarda Maria Martins Moreira da Silva. „Técnicas tradicionais de fingidos e de estuques no norte de Portugal-contributo para o seu estudo e conservação“. Master's thesis, Instituições portuguesas -- -Universidade de Évora, 2002. http://dited.bn.pt:80/30074.

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8

Odom, Jason Scott. „An investigation of the ornamental joint“. Thesis, Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/23120.

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9

Boram-Hays, Carol Sue. „A history of Zulu beadwork 1890-1997 : its types, forms and functions /“. The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195154357662.

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10

Reid, Bronwyn. „Cast architectural ornament : plaster and compo“. Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214384.

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Plaster and compo are both materials used for cast architectural ornamentation. Preserving, repairing, and in-kind replacing cast architectural ornamentation is necessary to maintain the integrity of a space. Plaster and compo are visually and texturally very similar materials. Compo was invented to be a less costly substitute for plaster. Whereas the two materials are easily mistaken for one another, they are chemically quite different. The ingredients and methods used to create the two separate materials exemplify this difference. Understanding the differences is key to successfully preserving the ornaments and, thus, the spaces in which they are located. Repairing plaster with compo or compo with plaster can lead to the destruction of cast architectural ornaments. Furthermore, chemical paint removers that are safe to use on plaster can deteriorate compo. It is necessary to thoroughly understand the nature of the materials so that informed decisions can be made about their treatments. The study addresses the similarities and differences, the maintenance, deterioration, repair, and replacement of the two materials.
Department of Architecture

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11

Zamberlan, Lisa Art College of Fine Arts UNSW. „The pleasure of appearances“. Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43281.

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Decoration holds a contested position in built environment scholarship. Largely marginalised by Modernist claims of material and structural integrity, decoration is often sidelined as the most temporal and superficial of built environment practices. A common misunderstanding is that decoration and interior design merely make built space fashionable. The thesis challenges the misconception of interior design as gratuitous embellishment, and demonstrates how a reconsideration of the term decoration makes new insights available for both contemporary practice and scholarship in interior design. I contend that if decoration can be considered a vehicle through which ideas, such as the cultural veneration of appearances and the social motivations of fashion are explored, it can be understood as representative of contemporary cultural concerns.

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12

Harwood, Haupuru. „Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003“. Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.

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13

Min, Hyerim Choi. „Encountered surfaces /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11971.

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14

Dugan, Moi. „Narratives on clay /“. Online version of thesis, 1993. http://hdl.handle.net/1850/11769.

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15

Czarnocka, Anna Honorata. „Aspekte der "Chinoiserie" in der französischen Lackkunst des XVIII. Jahrhunderts Inaugural-Dissertation ... /“. Bonn : [Rheinische Friedrich-Wilhelms-Universität?], 1989. http://catalog.hathitrust.org/api/volumes/oclc/48102962.html.

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16

Popp, Sigrid. „Die Fresken von St. Vigil und St. Zyprian Studien zur Bozner Wandmalerei um 1400 /“. Access full-text online, 1996. http://edocs.tu-berlin.de/diss/1996/popp%5Fsigrid.pdf.

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17

Hui, Yat-chuen Alexander. „Lingnan in a mustard seed the cultural significance of Shiwan doll-figure decorated pottery roof ridges on temples in Hong Kong and Macau /“. Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31476946.

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18

Mills, Lori. „Floralware /“. Online version of thesis, 1989. http://hdl.handle.net/1850/10924.

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19

Pecharka, David Michael. „That which best serves : materials in response to needs as an approach to architecture : the influence of bricks and brickwork“. Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23374.

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20

Fuller, Corey Lee. „The changing visual identity of churches : from symbols to branding /“. Read thesis online, 2009. http://library.uco.edu/UCOthesis/FullerC2009.pdf.

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21

Cunningham, Dawn K. „(Re-)constructing a passion the pontile of Modena Cathedral /“. Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1058618800.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xxi, 298 p.; also includes graphics Includes bibliographical references (p. 275-298). Available online via OhioLINK's ETD Center

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22

Raksadeja, K. „Digital and interactive media analysis of myths and traditions expressed in Thai fairground art“. Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.

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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.

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23

Mutch, Andrew C. „A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramics“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/604.

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24

Duckworth, Chloë N. „The created stone : chemical and archaeological perspectives on the colour and material properties of early Egyptian glass, 1500-1200 B.C“. Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13935/.

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The Late Bronze Age in Western Asia and Egypt witnessed an explosion in the production of so-called 'vitreous materials', in particular the earliest glass. From its outset, this material appeared in an enormous variety of colours and colour combinations, the manufacture of which demanded a high degree of technological know-how. The unique properties of glass also rapidly came to the fore, most notably the potential of glass to be worked while hot. Archaeometric research into early Egyptian glass has tended to focus on chemical and isotopic analysis as a means to assign provenance to its raw ingredients. To this end, the use of a technique new to archaeology, ToF-SIMS, is developed here in order to investigate the origin of the colorant opacifiers used in glass production. But questions about manufacturing technology and stages of production are also vital to an understanding of the role and perception of glass, and the aforementioned technique is complemented by electron microprobe analysis, revealing a surprising complexity of production, primarily related to coloration. Furthermore, it has been argued that the terms used to refer to glass in epigraphic sources indicate that it was primarily produced in order to imitate, or substitute for, precious stones of value in Late Bronze Age Egypt and Mesopotamia (primarily lapis lazuli, carnelian and turquoise). Recent research into the archaeological and ethnographic understanding of colour naming and classification is applied to these sources along with an investigation of the material properties of glass itself. It is suggested that, far from being an imitation, the artificiality of glass - as a man-made material - was deliberately, sometimes spectacularly, proclaimed. Central to this is the use of colour, in particular in terms of transformation, and the aforementioned complexity of production. It is argued that only through combining the numerous approaches to the evidence taken here - scientific, linguistic-historical, and archaeological - can the perception of glass, and the motivations behind its production, be determined.

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25

Parkerson, Sarah Lawrence. „Variations in gold : the stylistic development of the picture frames used by James McNeill Whistler“. Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4471/.

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The picture frames used by the American painter James McNeill Whistler developed stylistically throughout his career. This thesis identifies these developments, defines the characteristics indicative of each design, and contextualises their creation within Whistler’s larger body of work. First-hand examinations of over a hundred frames, in both the United Kingdom and the United States, resulted in challenging the generic understanding that a ‘Whistler frame’ is characterised only by reeded ornamentation. These physical examinations are cross-referenced with the significant amount of correspondence existing between Whistler and his contemporaries, thanks in large part to the publication of the on-line edition of The Correspondence of James McNeill Whistler. This thesis argues that the stylistic developments present in Whistler’s frames are directly linked to his understanding and perception of the frame’s function. Chapter 1 outlines that a picture frame can serve one of three functions: (1) as a decorative art object linking the painting to the environment, (2) as a decorative art object dividing the painting from the environment, or (3) as an extension of the painting. This thesis also applies the additional approach that the picture frame functions as an indicator of the provenance for both the painting and frame. Chapter 2 explores this method of provenance by examining Whistler’s reframing habits. Chapter 3 explores Whistler’s friendship with Dante Gabriel Rossetti and his early designs from 1864. These frames are observed as extending the painting to become a cohesive whole. Chapter 4 documents Whistler’s earliest attempt at painted frames and their development into incised ornament. Chapter 5 explores the effect that Whistler’s interior designs (including the Peacock Room) had on his frames. Chapter 6 focuses on the frame created during the 1880s and addresses the framing of Whistler’s works on paper. Chapter 7 examines Whistler’s working relationship with Fredrick Henry Grau and the preparations made for the 1892 Goupil Gallery exhibition Nocturnes, Marines and Chevalet Pieces.

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26

Beats, Kate A. „Size, surface and shape : experiencing the Athenian vase“. Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.

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This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perception of the vase as something more than a practically functioning thing. The functions that the vase performed were meaningful in themselves. For the purposes of exploring the manifestation of this transformation, this study draws upon an anthropological theory of art as well as theories which interpret the experience of viewing. Although the painted vase is discussed alongside plain vessels, its decorative component is considered as a further expression of communication between the vase and society, Athens in particular. The manifestation of this communication between the vase, context and user is isolated to three characteristics in this study; size, surface and shape. Alterations in these components reduce the practical function of the vase in favour of its symbolic qualities. These factors are discussed over five chapters. In so doing, this study offers a radically revised interpretation of the vase as an object which is entirely context dependent and came to represent the communication between commodities and society.

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27

Clay, E. S. „A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making“. Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.

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This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.

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28

White, Andrew J. „Post medieval pottery in Lincolnshire 1450-1850“. Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/28497/.

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This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.

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29

Towle, Andrew C. „A scientific and archaeological investigation of prehistoric glasses from Italy“. Thesis, University of Nottingham, 2002. http://eprints.nottingham.ac.uk/11741/.

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Ancient glasses are invariably complex materials, in which the specific chemical composition and microstructure capture aspects of their technologies. The chemical characterisation of glasses in specific archaeological contexts has given useful insight into the peculiarities of diverse glass-making technologies. In addition such studies generate more general information upon an important range of phenomenon, including the pyrotechnological milieu, empirical knowledge of sophisticated chemistry, organisation of production, access to significant raw materials and long-distance trade. This study examines a wide selection of glass artefacts recovered from archaeological contexts in Northern and Central Italy from approximately 1200 BC to 200 BC. The earliest material is from the Final Bronze Age, and extends the characterisation of an established glass type, which is unique to Europe and distinct from the contemporary technologies of the Eastern Mediterranean. Using a combination of X-ray fluorescence analysis, electron microprobe and scanning electron microscopy glass artefacts from a thousand-year period from the same region are investigated. The shifting technologies permit the discussion of localised production and importation of glass from elsewhere. The chemical analysis reveals a complex picture of glass production, which defies the expected pattern, and there is evidence for new compositional types, which may yet prove to be diagnostic of highly localised production. The changing compositions are discussed in relation to the broader archaeological context.

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30

FitzGerald, Claire. „Women, craft, and the object : Birmingham 1880-1930“. Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81961/.

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This thesis addresses the overlooked contribution of female graduates of the Birmingham Municipal School of Art to the Arts and Crafts movement, during the period of 1880 to 1930. Despite the special status which the Birmingham School enjoyed in its time, Birmingham’s Arts and Crafts movement as a whole has been relatively little studied. The role of women artists within this regional phenomenon has been even further neglected. Employing an object-led approach, this thesis uses artworks as the starting point and main vectors for the exploration of issues tied to materiality, technique, collaboration, authorship, politics, religion, regionalism and gender. The work of Georgie Gaskin (1866-1934), Celia Levetus (1874-1936), Kate Bunce (1856-1927), Myra Bunce (1854-1919), Florence Camm (1874-1960), Margaret A. Rope (1882-1953), and Mary Newill (1860-1947) will be studied in detail. It will be argued that these women artists were integral to the renewal of book-illustration, the revival of the artistic technique of painting in tempera, stained glass making and embroidery. A web of interactions crucial to their professional success will be traced based on geographical proximity, shared workspaces, and social connections. Craftswomen’s role as educators will also be investigated, revealing them as shapers and not merely followers or consumers of the movement. Informed in particular by the theoretical writings of the philosophers Arthur C. Danto, Jacques Rancière and feminist art historian Griselda Pollock, this thesis will offer a valuable update to a field largely untouched by current academic debates and saturated with survey publications. Combined with extensive archival research and the close inspection of artworks, this study aims to go beyond the additive approach of reinsertion. It seeks to provide a critical discussion of the materialisations of women’s participation in the formation of culture.

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31

Şerifaki, Kerem Böke Hasan. „Conservation problems of historic wall paintings of taxiarhis church in cunda, ayvalık/“. [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/mimarirestorasyon/T000393.pdf.

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32

Kaplan, Craig S. „Computer graphics and geometric ornamental design /“. Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6887.

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33

Smith, Michèle Mariette Hayeur. „A social analysis of Viking jewellery from Iceland“. Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1000/.

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Leite, Sílvia Maria Brito Gomes. „A arte do manuelino como discurso simbólico-categorias ordenadoras da imagem do mundo e representação do poder no tardo-medievalismo portugues“. Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2003. http://dited.bn.pt:80/29955.

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35

Ramos, José Artur Vitória de Sousa. „O auto-retrato ou a reversibilidade do rosto“. Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa, 2001. http://dited.bn.pt:80/30041.

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36

Bruneel, Benjamin. „Art and worship in Zwinglian theology“. Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.

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37

Lutz, Mark L. „Precedent and context“. Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23153.

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38

衛翠芷 und Chui-chi Rosman Wai. „Peony on the lintel: traditional painting on a timber lintel in the Liu Ying Lung Study Hall“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B42181057.

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39

Wong, Chun-ming, und 黃振銘. „Cantonese opera on the temple ridge: conservation of Shek Wan ceramic figurines on the ridge of the HungShing Temple at Apleichau“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B4218874X.

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40

Allen, Joanne. „Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior“. Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.

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This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.

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Knittler, Konstanze Amelie. „Motivations and patterns of collecting : George Salting, William G. Gulland and William Lever as collectors of Chinese porcelain“. Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2811/.

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The collecting of Chinese ceramics had become an increasingly popular activity in late 19th-century Britain. Whereas the 18th century was characterised by an interest in porcelain for the purpose of interior design, the political developments between China and Britain enabled a new approach to Chinese cultural identity; different Chinese material became available in the wake of the Second Opium War (1856-1860) and the subsequent sacking of the Imperial Summer Palace of Yuanmingyuan, and this material entered Britain for the first time. Due to the opening of China to foreign merchants, Britons now could move freely in the country and gain access to ‘luxury goods’ such as porcelain. As a result, a different taste for Chinese porcelain emerged and developed, which would reflect on the collecting scene in Britain. This thesis examines the motivations and collecting patterns of three British collectors (George Salting, William G. Gulland and William Lever) in the context of late 19th- and early 20th-century Chinese porcelain collecting. All three men built significant collections in the given period, which entered national institutions by gift and/or bequest, as well as a purpose built gallery in one case. Nonetheless the collectors’ achievements in the field of Chinese ceramics have not been analysed extensively and therefore the present thesis aims at complementing the existing research. The study makes predominant use of primary unpublished material on the three collections, which enables conclusions to be drawn on the incentive and approach of these collectors in accumulating Chinese artefacts during this period. In consideration of those findings, it will be argued whether their collecting encouraged an underlying common motif and how their tastes matched the general concept of collecting porcelain in the late 19th and early 20th centuries. The first chapter provides an introduction to the subject, and will be followed by a historical abstract of 19th-century collecting in Britain and a review of the published literature in the second chapter. The third chapter examines the collecting activity of the oldest collector, George Salting, by analysis of his purchase activity and the bequest of his Chinese porcelain collection to the Victoria and Albert Museum. The fourth chapter considers the collecting of William G. Gulland, whose first-hand experience of East Asia prompted him to collect and publish books on Chinese porcelain. The fifth chapter will look into the collecting principles of William Lever, whose Chinese collection stands in contrast to his overall British taste. The conclusion in the sixth chapter will summarise the major points of the preceding chapters and it will put the achievements of the three collectors into perspective with the general idea of collecting Chinese porcelain in Britain in the period under discussion.

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Shih, Huei-Mei. „An overview of Cochin ceramics in Taiwan with an emphasis on the influence of Hong Kun-Fu and his school 1910s to 1980s /“. Access electronically, 2008. http://ro.uow.edu.au/theses/148.

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43

Wai, Chui-chi Rosman. „Peony on the lintel traditional painting on a timber lintel in the Liu Ying Lung Study Hall /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B42181057.

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Oliphant, Mary V. „The house of the Church the living worship space of St. Clement's parish /“. Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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45

White, Gillian. „'That whyche ys nedefoulle and nesesary' : the nature and purpose of the original furnishings and decoration of Hardwick Hall, Derbyshire“. Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/1200/.

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This study considers the nature and purpose of the original furnishings and decoration of Hardwick Hall. It analyses surviving artefacts, inventories, accounts and other documentation, as well as other comparative contemporary literary and visual sources. It seeks to reveal more about Bess of Hardwick's motives and processes in creating the interior of Hardwick. The Introduction includes a brief biography of Bess and a survey of existing literature on Hardwick. It also indicates the scope for new work. Chapter Two provides a context for the later chapters by considering the organisation of space within the building and its social significance. In order to understand the relationship between the two Hardwick Halls a detailed analysis of the Old Hall's whole layout is offered for the first time. Chapter Three analyses the furnishings as physical objects. It asks what Bess owned, how she acquired it, how she used it and how her practices compared with other peoples'. Discussion is based on the 1601 inventory, Bess's household accounts, surviving artefacts and other comparative material. Bess's unpublished will and earlier inventories of Chatsworth and Northaw are also included in the analysis and presented as appendices. Chapter Four analyses three iconographic themes: the assertion of identity, the government of the self, and the government of the nation. This is done by making detailed case studies and seeking to interpret the objects through contemporary ideas, sources and examples. Chapter Five summarises the chief fmdings and interprets them in the context of Bess as a patron, her resources, influences and motivation. The principal conclusions are that Bess did not invest heavily in creating Hardwick, that she did not create a palace for her royal grand-daughter and, most surprisingly, that she did not seek to build a house for the Cavendish dynasty. Instead, she created a personal monument.

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Briceno, Faden Noel. „The Chinoiserie revival in early twentieth-century American interiors“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 139 p, 2008. http://proquest.umi.com/pqdweb?did=1597631591&sid=46&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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47

Melo, Ana Maria Botelho de Vasconcelos e. „Imagens do Nordeste brasileiro no século XVII-um discurso visual de apropriação colonial“. Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 2000. http://dited.bn.pt:80/29434.

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48

Anderson, Dustin Robert Wood Zoë Justine. „Two-dimensional computer-generated ornamentation using a user-driven global planning strategy : a thesis /“. [San Luis Obispo, Calif. : California Polytechnic State University], 2008. http://digitalcommons.calpoly.edu/theses/15/.

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Thesis (M.S.)--California Polytechnic State University, 2008.
Major professor: Zoë Wood, Ph.D. "Presented to the faculty of California Polytechnic State University, San Luis Obispo." "In partial fulfillment of the requirements for the degree [of] Master of Science in Computer Science." Submitted June 11, 2008. Includes bibliographical references (leaves 77-79). Also available online. Also available on microfiche (1 sheet).

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Hahn, Stephanie. „Fulda "Zur Zierde der Stadt" : Bauten und Bauaufgaben der Residenzstadt im 18. Jahrhundert /“. Petersberg : Imhof, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2642827&prov=M&dok_var=1&dok_ext=htm.

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Hoban, Sally. „The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement“. Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.

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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.

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