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Journal articles on the topic 'Art wares'
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1
Huang, Ellen. "An Art of Transformation." Archives of Asian Art 68, no. 2 (October 1, 2018): 133–56. http://dx.doi.org/10.1215/00666637-7162228.
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Abstract This article examines the phenomenon of yaobian 窯變, or kiln transformations, in late imperial and early modern China as material epistemology and material practice. By providing a genealogical analysis of documentations of yaobian in late imperial texts spanning the twelfth through the nineteenth centuries, the article relates their supernatural connotations to the production of Qing-period Jingdezhen Jun-style wares, variously known as flambé wares or kiln transmutation glazes. The article advances that the significance of such eighteenth-century yaobian porcelain wares lies in their very inexplicability of craftsmanship and ability to index both physical transformation as well as infinite formal transformation for the Qing empire, particularly during the reign of the Qianlong emperor (1736–1795).
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AJADI, Michael Olaniyi. "Eclecticism Style in Ceramic Art Practices of Ife Art School." Journal of Education and Practice 5, no. 2 (August 2, 2021): 45–58. http://dx.doi.org/10.47941/jep.630.
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Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions of used designs and factors influence the innovation.
Methodology: Descriptive and analytical approaches were used to trace decorative trends of each phase and the integration of the various motifs and styles of the previous phases in the new phases that sprung up. Samples of ceramic wares in the art school exhibition brochures, galleries and ceramic studios were collected for analysis and photographs were also taken for evidence.
Findings: In concept, the praxis reveals traditional ideology at inception and desegregation of different themes, ideas, and styles in the recent phase of the practice. The practices are eclectic inclined as of late with reflection of traditional ideology, contemporary issues and customs of Western societies. Notwithstanding, the ceramic art tradition of the art school is aesthetically inclined both in principle and practice.
Unique contribution to theory, policy and practice: No doubt, the sculptural creativeness of Ife wares has preserved cultural heritage for public awareness. This is largely evident in the proliferation of her ingenious adaptation of indigenous deco-stylistic techniques with Western influence that portrayed Nigerian traditional culture by themes, forms and styles in concepts and renditions.
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Mason, Robert B. "Early mediaeval Iraqi Lustre-painted and associated wares: typology in a multidisciplinary study." Iraq 59 (1997): 15–61. http://dx.doi.org/10.1017/s0021088900003338.
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The study of ceramics in the mediaeval Middle East has traditionally been divided into two separate fields, those of archaeology and art history. Archaeologists have generally focused on the finds from their own sites, seeking only precise comparanda for publication. High-quality glazed ceramics such as lustre-wares were made in a restricted number of centres and distributed over a very large area, and thus may be a small percentage of the total ceramic assemblage. No archaeologist constrained to analysis of material from their own site has ever had the opportunity to examine the fine wares as a complete corpus. Broad all-encompassing approaches to the fine wares have only been attempted by art historians utilizing traditional connoisseurship techniques and focusing on the whole vessels which have appeared on the art market since the nineteenth century.This paper represents the reporting of a component of a larger study that is the first attempt at providing a chronology for Middle Eastern élite glazed wares dating from about 700 to 1340 (all dates are in the “common era” or AD) based on the methodologies of archaeological ceramic study. This forms part of a comprehensive multidisciplinary study, including the application of the scanning electron microscope (SEM) with X-ray spectroscopy and petrographic analysis.
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Korzenik, Diana. "Portrait of the Artist as an American?" New England Quarterly 85, no. 1 (March 2012): 161–67. http://dx.doi.org/10.1162/tneq_a_00161.
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The Bennington Museum's 2011 exhibition “Grandma Moses and the Primitive Tradition” invited viewers to reassess the twentieth-century work and reception of painter Anna Mary Robertson Moses. The meteoric rise of her art, marketed as “primitive,” coincided with certain refugee German art dealers’ quest to offer an American alternative to the war-contaminated wares of Europe.
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Snitkuvienė, Aldona. "The Path of the First European Porcelain Wares to Lithuanian Museums." Perspektywy Kultury 25, no. 2 (July 1, 2019): 159–78. http://dx.doi.org/10.35765/pk.2019.2502.12.
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The state’s development, twists and turns of culture and history of the country, circumstances and passing time, often erase facts, that is why the reconstruction of the history of exhibits’ acquisition in museums is one of the most complicated aspects in museology. The article is dedicated to the presentation of Johann Friedrich Böttger’s (1682-1719) collection of red stone mass exhibits in Lithuanian museums and aims at revealing their history. Thanks to the archival register, it was possible to discover the inventory lists with descriptions of valuable works of art that had been prevented from being seized by Germans and preserved during the Soviet occupation. Among them, there were exhibits stored at the M.K. Čiurlionis National Museum of Art. Particularly valuable are twelve items of red stone mass by J.F. Böttger. Their identification revealed not only the date (1940) and the manor (the Pakruojis manor, Šiauliai region, Lithuania) from which the nationalized art collection was transferred to the museum but also to whom [Leo Carl von der Ropp (27.09.1860 Pakruojis – 09.10.1940 Berlin)] it belonged. That is how the history of J.F. Böttger’s red stoneware exhibits has been unveiled. The Lithuanian Art Museum purchased two exhibits from private persons (1980 and 1982).
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Liudmila Daniluk. "USING OF FOLK WARES IN PROFESSIONAL TRAINING OF THE FUTURE TEACHERS OF FINE ARTS." World Science 2, no. 2(42) (February 28, 2019): 35–38. http://dx.doi.org/10.31435/rsglobal_ws/28022019/6359.
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The possibility of using folk arts products in the professional training of future teachers of fine arts are theoretically groundeded and elucidated in the article. The methodical aspects of introducing the traditional art technique teacher in the educational process are considered, features of creation of folk toys, folk weaving, artistic weaving, manufacturing of ceramic products are described in it. The preparation of modern teachers of fine arts is not possible without realizing the role of their national community, perceiving and rethinking of the cultural experience of the ethnic group, the need to master the knowledge of material and spiritual culture. It is folk art that reproduces the national model of the world, is an objective factor in the spiritual development of the personality of the future teachers of fine arts in the context of national tradition, ethnic stereotypes of world perception.
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Galanin, Sergey I. "FEATURES OF PROCESSING OF GEMS AND ORGANOGENIC FORMATIONS FOR JEWELLERY AND ART PRODUCTS." Technologies & Quality 51, no. 1 (April 29, 2021): 33–39. http://dx.doi.org/10.34216/2587-6147-2021-1-51-33-39.
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The article deals with the features of the use of gems and organogenic formations subjected to various degrees of processing in various jewellery and art products. Using examples of baroque pearls, drusas, gems, cut gems and carved gems, it is shown that the properties and sizes of gems determine compositional solutions for their use in jewellery. It is shown in various jewellery-artistic wares, that depending on the type of mineral raw material or organogenic formations (pearls, shells) a different depth and methods of its treatment are used. Primary systematisation of raw material is conducted on the degree of his treatment. It is shown that inserts with unique properties always occupy a place in the centre of the decoration composition, and the different depth of their processing allows one identifying and emphasising their uniqueness. Examples of historical and modern jewelleries are made with different unique insertions.
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Esosuakpo, Sunday. "Restructuring Ceramic Production for Wealth Creation, Security and Sustainable Development through the Construction of Kick Wheel." UJAH: Unizik Journal of Arts and Humanities 21, no. 4 (May 20, 2021): 118–34. http://dx.doi.org/10.4314/ujah.v21i4.7.
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Right from the time of independence, Nigeria has adopted different restructuring methods in order to create wealth that will improve her economy, ensure security and enhance sustainable development. In doing this, different aspects of human and natural resources have been explored. But it appears that ceramics which is a branch of industrial art and an aspect of the people’s culture has not been considered even when the major raw material (clay) required is abundantly available as the oil. Perhaps, its non-consideration could be due to the crude tools used which do not give room for mass production of ceramic wares that could generate wealth to the nation and her citizens, ensure security and enhance sustainable development in Nigeria. Therefore, this paper explores restructuring ceramic production for wealth creation, security and enhancement of sustainable development in Nigeria through the construction of kick wheel. In carrying out the construction, materials were sourced and constructed into parts. Thereafter, assemblage was done through welding and screwing of parts. In a trial test, the kickwheel worked effectively in mass production of ceramic wares that could create wealth and make ceramics interesting for people to take up as job, thus reduce idleness and crime and ensure peace and security. The paper recommended among others that our country should establish centres for local constructions and fabrications as it will help in turning out our own Nigerian made tools and equipment, give room for apprenticeship, facilitate establishment of cottage industries, help revamp and restructure moribund industries, create wealth, and enhance security and sustainable development in Nigeria.
Keywords: Restructure, National Development, Construction, Kick- Wheel, Ceramics, Wares, Wealth Creation
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Zhang, X. D., Chang Ku Sun, C. Wang, and S. H. Ye. "Study on Preprocessing Methods for Color 3D Point Cloud." Materials Science Forum 471-472 (December 2004): 716–21. http://dx.doi.org/10.4028/www.scientific.net/msf.471-472.716.
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This paper provides a preprocessing flow for color three-dimension (3D) point cloud according to the characteristics of laser scanning data. The preprocessing methods and their functions are introduced in detail. Automatic system decision and manual polygon selection methods are applied to eliminate unwanted and noise data successfully, which possibly make improper color models reconstructed. A data reduction method is presented based on Grid reduction method considering color-boundary preservation. It can effectively avoid shape and color distortion in model reconstruction. Several experimental results are presented to indicate the feasibility and reliability of these methods, which can be broadly applied in various fields of products design, antiques and art wares digitization, etc.
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Abodunrin, Johnson Adelani. "Training in Nigerian art schools: a critique of gender distribution." Harmonia: Journal of Arts Research and Education 17, no. 2 (December 24, 2017): 105. http://dx.doi.org/10.15294/harmonia.v17i2.9826.
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<p>Training is indispensable in all facets of life in order to further knowledge and skills irrespective of gender difference, yet this disparity has become a phenomenon in artistic practice in Nigeria. The study aimed at examining art training in relation to gender distribution into various areas of specialization in art schools in Nigeria. There has been a gender imbalance in various areas of specialization which has left certain areas for male and female. Data for this study were collected in art School in Southwestern Nigeria between 2011/2012 to 2014/2015 academic sessions using archival materials to know the gender affinities. The university selected as sample size within the geographical scope of the study is Ladoke Akintola University of Technology, Ogbomoso. The selection was based on the orientation of their training and admission criteria which differs tremendously. Descriptive analysis was adopted to know the gender affiliation in the practice. Finding reveals that the total enrollments of students are more of females (55.8%) than male (45.2%) are admitted to study art. The result has also shown that more female (93.3%) specializes in textile while more male (84%) students are in sculpture. This perhaps could be attributed to the nature and the demands of each area of specialization. Textile design attracts more female artist because of; the socio-cultural affiliation of the discipline, interest in fashion; the readily available market for textile wares across all social class and the less demand on draughtsmanship skills as compared to other forms of arts.</p>
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Shahbaz Khan, Nadhra. "Persian-Punjabi/Urdu Identities of Traditional Geometrical Patterns Lost During the Colonial Rule of the Punjab (1849–1947)." Manazir Journal 3 (March 7, 2022): 45–63. http://dx.doi.org/10.36950/manazir.2021.3.4.
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Annexation of the Punjab by the British in 1849 brought about major modifications to the local visual culture. Expecting Indian crafts to remain frozen in time (for several reasons), the colonial administrators and art critics disapproved the changes employed by the craftsmen in their wares to cater to the new ruling class. Among the corrective measures adopted by the government to revive the ‘dying’ Indian art and craft, art schools were set up and surveys were conducted to publish illustrated monographs on individual crafts bringing once strictly guarded trade secrets out in the public. By the late nineteenth century, the ‘native craftsmen’ or mistrīs themselves emerged as authors of illustrated craft manuals carrying instructions in all three important vernaculars, Gurmukhi, Urdu and Sanskrit mixed with some English terms and designs. The most interesting among these publications are a few woodcarver’s manuals that laboriously enumerate a wide range of geometric designs for both architecture and furniture. Each shape, its construction methods and titles are given in an interesting mix of the three vernaculars. These terms were also mentioned by John Lockwood Kipling, the first Principal of the Mayo School of Industrial Art (1876-1893) in his essay on wood carving but abandoned by the time Percy Brown (1897-1909) took over. Except for some, today most of these terms and construction methods are unknown even to the traditional craftsmen of the Punjab. This paper aims to trace the history of traditional geometrical patterns going as far back as Mughal times (sixteenth to eighteenth centuries), their references in manuals published by local craftsmen during the colonial rule and the role of British art educators on social memory.
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Anthwal, Tushar, and M. K. Pandey. "Assessing State of the Art on Artificial Neural Network Paradigms for Level of Eutrophication Estimation of Water Bodies." IAES International Journal of Artificial Intelligence (IJ-AI) 5, no. 4 (December 1, 2016): 135. http://dx.doi.org/10.11591/ijai.v5.i4.pp135-142.
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With growing power of computer and blend of intelligent soft wares, the interpretation and analytical capabilities of the system had shown an excellent growth, providing intelligence solutions to almost every computing problem. In this direction here we are trying to identify how different geocomputation techniques had been implemented for estimation of parameters on water bodies so as to identify the level of contamination leading to the different level of eutrophication. The main mission of this paper is to identify state-of-art in artificial neural network paradigms that are prevailing and effective in modeling and combining spatial data for anticipation. Among this, our interest is to identify different analysis techniques and their parameters that are mainly used for quality inspection of lakes and estimation of nutrient pollutant content in it, and different neural network models that offered the forecasting of level of eutrophication in the water bodies. Different techniques are analyzed over the main steps;-assimilation of spatial data, statistical interpretation technique, observed parameters used for eutrophication estimation and accuracy of resultant data.
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Peters, Edem Etim. "Reflections on Pottery Art in the Oil Rich Niger Delta Region of Nigeria: A Study of Pottery Art in Akwa Ibom and Rivers States." European Journal of Engineering Research and Science 4, no. 3 (March 24, 2019): 145–51. http://dx.doi.org/10.24018/ejers.2019.4.3.1093.
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Niger Delta region is very rich in oil and gas deposits, clay, agricultural land, fisheries, extensive forest and other resources. They are nine states which make the region namely, Abia, Akwa Ibom, Bayelsa, Cross River, Delta, Edo, Imo, Ondo and Rivers. The most oil producing communities among them are Akwa Ibom, Bayelsa, Edo, Delta and Rivers State. Clay is equally found in abundance in all the states like crude oil is found in Niger Delta communities. The available clay mineral in the region has the capacity to transform the nation’s economy if properly utilized. Clay is the basic material for pottery or ceramics production. It is also used to ease the penetration of pipes in drilling of crude oil. This paper looks at the practice of pottery in Niger Delta Area with a focus on pottery practice in both Akwa Ibom and Rivers States. Indigenous and contemporary pottery or ceramics practices in these communities indeed have played vital role in the economic, social religious and cultural ways of life of the people. Clay products such as dinnerware and sanitary wares and others are highly sought for and they have the capacity to boast the national economy as experienced in other nations such as Japan, Italy, Britain, United States of America, India and China among others. Data were collected from both primary and secondary sources and were subsequently assessed. The result shows that proper utilization of clay found in Niger Delta has the potential to create numerous job opportunities for the teaming population of youths in the region. The availability of abundant clay in the region, if well harnessed could adequately compete with crude oil exploitation for economic purposes in the region.
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Peters, Edem Etim. "Reflections on Pottery Art in the Oil Rich Niger Delta Region of Nigeria: A Study of Pottery Art in Akwa Ibom and Rivers States." European Journal of Engineering and Technology Research 4, no. 3 (March 24, 2019): 145–51. http://dx.doi.org/10.24018/ejeng.2019.4.3.1093.
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Niger Delta region is very rich in oil and gas deposits, clay, agricultural land, fisheries, extensive forest and other resources. They are nine states which make the region namely, Abia, Akwa Ibom, Bayelsa, Cross River, Delta, Edo, Imo, Ondo and Rivers. The most oil producing communities among them are Akwa Ibom, Bayelsa, Edo, Delta and Rivers State. Clay is equally found in abundance in all the states like crude oil is found in Niger Delta communities. The available clay mineral in the region has the capacity to transform the nation’s economy if properly utilized. Clay is the basic material for pottery or ceramics production. It is also used to ease the penetration of pipes in drilling of crude oil. This paper looks at the practice of pottery in Niger Delta Area with a focus on pottery practice in both Akwa Ibom and Rivers States. Indigenous and contemporary pottery or ceramics practices in these communities indeed have played vital role in the economic, social religious and cultural ways of life of the people. Clay products such as dinnerware and sanitary wares and others are highly sought for and they have the capacity to boast the national economy as experienced in other nations such as Japan, Italy, Britain, United States of America, India and China among others. Data were collected from both primary and secondary sources and were subsequently assessed. The result shows that proper utilization of clay found in Niger Delta has the potential to create numerous job opportunities for the teaming population of youths in the region. The availability of abundant clay in the region, if well harnessed could adequately compete with crude oil exploitation for economic purposes in the region.
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Georgi, Karen L. "Defining Landscape Painting in Nineteenth-Century American Critical Discourse. Or, Should Art ‘Deal in Wares the Age Has Need of’?" Oxford Art Journal 29, no. 2 (June 1, 2006): 227–45. http://dx.doi.org/10.1093/oxartj/kcl003.
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Milwright, Marcus. "Pottery in the written sources of the Ayyubid-Mamluk period (c. 567–923/1171–1517)." Bulletin of the School of Oriental and African Studies 62, no. 3 (October 1999): 504–18. http://dx.doi.org/10.1017/s0041977x00018553.
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Vast quantities of ceramic shards of the Ayyubid-Mamluk period have been recovered from excavations of major urban sites such as Fusṭāṭ and Ḥamā, as well as from numerous smaller settlements in the Levant. Knowledge of the range of glazed and decorated wares has been supplemented by the publication of complete vessels in museum collections. As a result of archaeological and art historical research some production sites have been identified and broad chronological divisions established within the ceramic repertoire. Less well understood, however, is the social and economic environment within which pottery was produced and utilized. In addition, analysis of the objects themselves reveals little about the value ascribed to ceramics in relation to the other craft media of the period. This paper will attempt to provide further insights into the manufacture, trade and consumption of pottery in the Levant in the Ayyubid-Mamluk period (including some comments concerning the Crusader states in Palestine) by using contemporary Arabic and Western written sources.
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Gryzlova, Anastasia A. "FORMATION AND REPRESENTATION OF THE COLLECTION OF PORCELAIN WARES OF KHAITA PORCELAIN PLANT IN EXHIBITION ACTIVITIES OF SUKACHEV IRKUTSK REGIONAL ART MUSEUM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 26 (June 1, 2017): 149–58. http://dx.doi.org/10.17223/22220836/26/16.
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Heuer, Keely. "Tenacious Tendrils: Replicating Nature in South Italian Vase Painting." Arts 8, no. 2 (June 6, 2019): 71. http://dx.doi.org/10.3390/arts8020071.
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Elaborate floral tendrils are one of the most distinctive iconographic features of South Italian vase painting, the red-figure wares produced by Greek settlers in Magna Graecia and Sicily between ca. 440–300 B.C. They were a particular specialty of Apulian artisans and were later adopted by painters living in Paestum and Etruria. This lush vegetation is a stark contrast to the relatively meager interest of Archaic and Classical Athenian vase painters in mimetically depicting elements of the natural world. First appearing in the work of the Iliupersis Painter around 370 B.C., similar flowering vines appear in other contemporary media ranging from gold jewelry to pebble mosaics, perhaps influenced by the career of Pausias of Sicyon, who is credited in ancient sources with developing the art of flower painting. Through analysis of the types of flora depicted and the figures that inhabit these lush vegetal designs, this paper explores the blossoming tendrils on South Italian vases as an evocation of nature’s regenerative powers in the eschatological beliefs of peoples, Greek and Italic alike, occupying southern Italy.
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Korolkova, E. F. "ABOUT STYLES AND METAMORPHOSES (the Issue of Definitions in the Study of Sarmatian Animal Style)." Archaeology and Early History of Ukraine 36, no. 3 (May 7, 2020): 150–56. http://dx.doi.org/10.37445/adiu.2020.03.07.
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This paper is devoted to the problems of scientific definitions concerning the study of the Sarmatian animal style art. This art is represented with the gold decorative objects which often ornamented with colour inlays of different shapes, mostly made of turquoise often used together with other minerals. This art shows the specific features to distinct it from the phenomenon of the Scythian animal style. Decoration of the artistic wares with colour inlays reflects a specific aesthetic tastes and typical method of jewelry of the Sarmatian era. This polychromic effect used to be considered as a very essential feature of the Sarmatian era.
But there were some different heterogeneous cultures which show artistic traditions of different origin in the area inhabited by Sarmatian tribes in the turn of Christian era. Polychromic styles were of different character and type. So, the so called polychromic style is a very conventional definition which comprises some different variants.
One of the groups of objects belonging to Sarmatian culture is characterized with very abundant decoration of turquoise inlays. This visual feature inspired Mark Schukin to launch a new term «turquoise-golden style» which was taken up by archaeologists and became a professional definition. But even scholars mean different comprehension in this term. So, now it is clear that this term is too indeterminate and it is not able to describe the certain artistic style and artistic culture. There were a lot of golden objects in heterogeneous cultures and in different times which were decorated with inlays made of turquoise. They show different styles and the only feature could not determine the artistic style. Any style could be determined with a complex of essential features.
The definition «turquoise-golden style» nothing means and should be forgotten to avoid confusion and mess in scientific studies.
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Alexander, Ingrid C. "Processes and Performance in Renaissance Painting." MRS Bulletin 17, no. 1 (January 1992): 28–31. http://dx.doi.org/10.1557/s0883769400043219.
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During the greater part of the 15th century, the Burgundian princes created a stable, unified center for industry and the flourishing of the arts in the Netherlands. Philip the Good became one of the most powerful and wealthy princes of the House of Burgundy in the period. Under his rule, the Netherlands became an important center for commerce. The port of Bruges, and later Antwerp, offered easy access to the important trade routes. The German merchants of the Hansa towns of Bremen, Danzig, Lübeck, and Hamburg and ships from England and the Baltic regions brought wares to be bought and sold in Flemish towns. The routes along the Atlantic and Mediterranean provided direct lines of communication between Italian merchants from Venice, Genoa, Florence, and Bruges.The Netherlands soon became a center of a large part of the business activity in Europe and its prosperity grew. The concentration of trade, the presence of numerous banks, and the commission they charged contributed to the wealth of its bourgeois merchants and financiers. They soon became as rich and sometimes richer than the Burgundian princes. Thus they had the means to become important patrons of the arts so as to display their wealth. The acquisition of rare and exotic goods became an essential part of a society where exhibiting one's wealth was admired.Flemish artists' corporations were well organized, not unlike modern businesses. They were well-known locally and abroad and had significant influence on the art of the period. Works of art were created in workshops where a long apprenticeship afforded the artists guidance and expert training in their craft. High standards which contributed to the good reputation of the art of Flanders, were maintained by setting the quality of the materials and establishing the techniques used. The painters' guild controlled the production of paintings and took measures to control the supply of materials to keep down prices and to control competition. Also, contracts between artist and patron would sometimes stipulate the type of materials to be used.
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Kebede, Fassikaw, Habtamu Tarekegn, Mulugeta Molla, Dube Jara, and Abebe Abate. "Incidence and Predictors of Pulmonary Tuberculosis among Children Who Received Antiretroviral Therapy (ART), Northwest Ethiopia: A Multicenter Historical Cohorts Study 2009–2019." Journal of Tropical Medicine 2022 (January 29, 2022): 1–9. http://dx.doi.org/10.1155/2022/9925693.
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The human immune deficiency virus (HIV) is the strongest risk factor for endogenous reactivation of pulmonary tuberculosis (PTB) through target reduction of CD4, T-lymphocytes, and cellular immune function. Almost one-third of deaths among people living with HIV are attributed to tuberculosis. Despite this evidence, in Ethiopia, information is scarce and meager regarding PTB incidence after ART initiated for seropositive children. Methods. Facility-based multicenter historical cohort was conducted among 721 seropositive children after initiating ART from January 1, 2009, to December 31, 2019. Data from the records of children were extracted using a standardized checklist. The collected data were entered using Epi-Data version 4.2 and exported to STATA (SE) R-14 version statistical soft wares for further analysis. Bivariable and multivariable Cox regression analyses were conducted to identify predictors of PTB incidence. Results. Seven hundred twenty-one (N = 721) seropositive children were included with a mean (±SD) age of 118.4 ± 38.24 months. During the follow-up periods, 63 (15.2%) participants developed new cases of TB; majority (61/63, 96.8%) of them were PTB. The overall incidence rate and the median (±IQR) time of PTB reported were determined as 5.86 per 100 child years (95% CI: 4.58, 7.5) and 17.8 (±11) months, respectively. At baseline, children being severely stunted (AHR = 2.9 : 95% CI, 1.2–7.8, P = 0.03 ), with Hgb ≤10 mg/dl (AHR = 4.0; 95% CI, 2.1–8.1, P = 0.001 ), and not given isoniazid and cotrimoxazole preventive therapy (AHR = 2.4; 95% CI: 1.2; 5.1, P = 0.001 ) (AHR = 2.5; 95% CI, 1.4–4.7, P = 0.021 ) were significantly associated with PTB incidence. Conclusion. A high incidence rate of PTB was observed in our study as compared with the previous finding in Ethiopia. Cases at baseline not taking IPT and CPT, being severely stunted, and having low hemoglobin (≤10 mg/dl) levels were found to be at higher risk of developing PTB.
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Heng, Geraldine. "An Ordinary Ship and Its Stories of Early Globalism." Journal of Medieval Worlds 1, no. 1 (March 1, 2019): 11–54. http://dx.doi.org/10.1525/jmw.2019.100003.
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An ordinary ship and its cargo can tell the story of far-flung global markets, human voyaging, and early industrialization in China that supplied exports to the world. Sometime after 825 CE an Arab dhow set sail from the port of Guangzhou in coastal south China, having unloaded its goods from the Near East, and reloaded with some estimated 70,000 ceramics and other items, on its return voyage to the Abbasid empire. Taking the route that has been called “the maritime silk road,” this hand-sewn ship made of planks fastened with coconut fiber (without any nails) seems to have decided to offload some cargo first in maritime Southeast Asia, perhaps intending to pick up a secondary cargo of spices, resins, and aromatics for which the Indonesian islands were famed. The dhow sank near the island of Belitung, at a reef called Batu Hitam (“Black Rock”). Fifty-five thousand ceramic wares, along with gold and silver ornaments, ingots, mirrors, ewers, vases, jars, cups, incense burners, boxes, flasks, bottles, graters, and the like—and two objects that may have been children’s toys, and a re-soldered gold bracelet sized for a woman’s wrist—were excavated intact in 1998, and are housed at the Asian Civilisations Museum in Singapore. This ninth-century dhow is the only ship of its kind ever recovered, though hand-sewn ships that plied the Indian Ocean are described in travel accounts from as early as the first-century CE. The dhow is a remarkable example of the global ships carrying people, goods, ideas, religion, and culture, which knit the world into relationship along transoceanic routes. Its vast trove of ceramics is the earliest physical evidence attesting the industrial production of ceramics in China for export to foreign markets as early as the Tang Dynasty (618–907). Designs painted on the great majority of the ceramic wares were favored in the export market, not in China. Part of the trove includes prototypes of blue-and-white ceramics for which China would become famous 400 years later: ceramic experiments that feature Iraqi designs attesting global interrelationships in art and the exchange of ideas. The crews of ships such as this one were multiracial, multireligious, and assembled from everywhere: The cargo, knowledges, and stories these diverse, anonymous voyagers helped to transfer across the world transform our understanding of scale, time, and globalism.
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Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering Research and Science 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejers.2019.4.6.1254.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering and Technology Research 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejeng.2019.4.6.1254.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Pawłowska, Beata. "Religijne podróże do Rzymu w okresie przedkonstantyńskim." Vox Patrum 48 (June 15, 2005): 267–74. http://dx.doi.org/10.31743/vp.8725.
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An zweiter Stelle stehen Reisen „einfacher" Reisenden, die durch wahres Glauben mit der Kirche verbunden waren. Nur an dieser Art von Besuchem hatten die polemisch eingestellten Vater der damaligen Kirche wenig Interesse, um sie namentlich in eigenen Schriften zu erwahnen. Vielleicht aber betrachteten sie ihre Reisen in die ewige Stadt als etwas ganz Normales.
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Ranjit, Beth. "Can the use of the Mental Health Act be the 'least restrictive' approach for psychiatric in-patients?" International Journal of Mental Health and Capacity Law 2016, no. 22 (October 19, 2016): 51. http://dx.doi.org/10.19164/ijmhcl.v2016i22.551.
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<p>In England and Wales, involuntary admissions for assessment or treatment in mental health wards are based on the legal framework of the Mental Health Act 1983 (as amended in 2007) or the Mental Capacity Act 2005, with the Deprivation of Liberty Safeguards introduced in 2007. But what is the "least restrictive" approach and are we truly safeguarding in-patients’ liberty by curbing use of the Mental Health Act in particular groups?</p>
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Vincentelli, Moira. "Women's Art in Wales." Woman's Art Journal 7, no. 1 (1986): 52. http://dx.doi.org/10.2307/1358247.
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Krupat, Kitty Weiss. "Modern Art/Ancient Wages." New Labor Forum 31, no. 1 (December 4, 2021): 26–27. http://dx.doi.org/10.1177/10957960211062149.
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Lindahl, Carl. "Yvain's Return to Wales." Arthuriana 10, no. 3 (2000): 44–56. http://dx.doi.org/10.1353/art.2000.0039.
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Owen, Gareth S., George Szmukler, Genevra Richardson, Anthony S. David, Peter Hayward, James Rucker, Duncan Harding, and Matthew Hotopf. "Mental capacity and psychiatric in-patients: implications for the new mental health law in England and Wales." British Journal of Psychiatry 195, no. 3 (September 2009): 257–63. http://dx.doi.org/10.1192/bjp.bp.108.059782.
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BackgroundIn England and Wales mental health services need to take account of the Mental Capacity Act 2005 and the Mental Health Act 1983. The overlap between these two causes dilemmas for clinicians.AimsTo describe the frequency and characteristics of patients who fall into two potentially anomalous groups: those who are not detained but lack mental capacity; and those who are detained but have mental capacity.MethodCross-sectional study of 200 patients admitted to psychiatric wards. We assessed mental capacity using a semi-structured interview, the MacArthur Competence Assessment Tool for Treatment (MacCAT–T).ResultsOf the in-patient sample, 24% were informal but lacked capacity: these patients felt more coerced and had greater levels of treatment refusal than informal participants with capacity. People detained under the Mental Health Act with capacity comprised a small group (6%) that was hard to characterise.ConclusionsOur data suggest that psychiatrists in England and Wales need to take account of the Mental Capacity Act, and in particular best interests judgments and deprivation of liberty safeguards, more explicitly than is perhaps currently the case.
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Snyder, Christopher A. "Merlin and Wales: A Magician's Landscape by Michael Dames." Arthuriana 13, no. 2 (2003): 112–13. http://dx.doi.org/10.1353/art.2003.0026.
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Breeze, Andrew. "Writers of Wales: Geoffrey of Monmouth (review)." Arthuriana 22, no. 1 (2012): 135–36. http://dx.doi.org/10.1353/art.2012.0009.
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Darvill, Timothy, and Geoffrey Wainwright. "A Cup-marked Stone from Dan-y-garn, Mynachlog-Ddu, Pembrokeshire, and the Prehistoric Rock-art from Wales." Proceedings of the Prehistoric Society 69 (2003): 253–64. http://dx.doi.org/10.1017/s0079497x0000133x.
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A small panel of mobiliary rock art containing two cup-mark motifs discovered in north Pembrokeshire in August 2002 is described and compared with other finds of rock art from Wales. Although the sites with passage-grave style rock art in north Wales are well-known, the more widespread yet less impressive cup-mark dominated panels found mainly around the upland fringes of the country have received relatively little attention. A provisional corpus of 33 rock-art sites comprising more than 37 panels is provided.
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Swinton, Mark, and Sarah Smith. "Costs of physical health care for self-injuring patients." Psychiatric Bulletin 21, no. 9 (September 1997): 538–41. http://dx.doi.org/10.1192/pb.21.9.538.
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Self-injury is a major clinical problem on the women's wards at Ashworth Hospital. Ashworth Hospital is one of three special hospitals within England and Wales that provides assessment, treatment and rehabilitation for those legally detained patients under the Mental Health Act (1983) who suffer from a mental disorder and require conditions of special security because of their dangerousness. There is extensive literature on the psychological aspects of serf-injury. However, since patients with self-injury present with damage to the body, it is surprising that there is little information on the physical health care and associated resource costs of this behaviour.
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Achmad, Fanita, and Utik Bidayati. "PENGARUH UPAH, KERJASAMA ANTAR KARYAWAN, DAN LINGKUNGAN KERJA TERHADAP SEMANGAT KERJA PADA PT. OSKSA ART STUDIO BANTUL YOGYAKARTA." Jurnal Fokus Manajemen Bisnis 2, no. 1 (March 31, 2012): 43. http://dx.doi.org/10.12928/fokus.v2i1.1318.
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The purpose of this study to determine the effect of wages, cooperation among employees and work environment on morale at the Art Studio PT.Osksa either partially or in unison. Population in this study were all employees of PT. Osksa Art Studio Bantul, Yogyakarta. The sampling technique using the method of Non-Probability Sampling, then used purposive sampling. Characteristics of the sampled respondents are employees working in PT. Art Studio Osksa aged 17 years and over. The data was collected by distributing questionnaires to a sample which numbered 70 people. Result showed that the variable wages and work environment partially having a significant effect on morale, while the variable partial cooperation among the employees had no significant effect on morale. The wages, cooperation among employees and work environment simultaneously have significant impact on morale at PT.Osksa Art Studio.
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Grooms, Chris. "Records of Early Drama: Wales ed. by David N. Klausner." Arthuriana 16, no. 1 (2006): 75–77. http://dx.doi.org/10.1353/art.2006.0060.
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Woodward, Kate. "Off-road and Off-beat: Gadael Lenin, American Interior and the Transnational Focus of Welsh Art Cinema." Journal of British Cinema and Television 13, no. 2 (April 2016): 292–311. http://dx.doi.org/10.3366/jbctv.2016.0314.
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This article focuses on two recent films from Wales, the feature film Gadael Lenin (1993) and the documentary American Interior (2014). Together, they are well placed to offer a rich interrogation of the many contrasting and contradictory aspects of contemporary art cinema. I argue that film production in Wales – despite the fact that the very concepts of Wales, Welsh cinema and Welsh film are highly complex, contested and shifting – has developed a distinctly transnational status which allows an interrogation of the national (in terms of Wales) but also of the interface between the national and the transnational. Set wholly and mainly outside Wales, with dialogue in Welsh as well as other languages, the films employ a comparativist agenda in order to internationalise the Welsh experience and demonstrate that it is within art cinema's reach to be both national and transnational, by addressing distinct, contrasting dimensions. While Gadael Lenin makes bold statements about the role of art in society, American Interior engages in a transmedial, multi-platform form of film-making which transcends boundaries and demonstrates the cultural potential of an expansive and inclusive form of culture making from Wales, one which reaches out globally and crosses national and cultural forms.
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Field, P. J. C. "Greater Medieval Houses of England and Wales, 1300-1500 by Anthony Emery." Arthuriana 9, no. 1 (1999): 154–55. http://dx.doi.org/10.1353/art.1999.0065.
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Moens, C., P. Moens, and G. Philippart. "Azathioprine and warts." Annals of the Rheumatic Diseases 49, no. 4 (April 1, 1990): 269. http://dx.doi.org/10.1136/ard.49.4.269.
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Schellekens, Jona. "Wages, Secondary Workers, and Fertility: A Working-Class Perspective of the Fertility Transition in England and Wales." Journal of Family History 18, no. 1 (January 1993): 1–17. http://dx.doi.org/10.1177/036319909301800101.
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The focus of the analysis in this study is on the economic benefits parents derive from their children and the impact of these on fertility transitions. Particular attention is given to the working class in Victorian England and Wales. The life-cycle drop-off in adult productivity among this class created a need for additional income at later stages of the family life-cycle. This income was mostly generated by children and adolescents. Hence, it is suggested, that not until the substantial rise in real wages during the last quarter of the nineteenth century could fertility among the working class in England and Wales have started its decline. This hypothesis is shown to be consistent with data on occupation-specific fertility levels taken from the 1911 Fertility Census.
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Roderick, Gareth Lloyd. "Kyffin Williams online: creating a digital resource for an art collection at the National Library of Wales." Art Libraries Journal 39, no. 1 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018113.
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When Sir Kyffin Williams, RA died in 2006 he bequeathed a large section of his estate to the National Library of Wales (NLW) – an institution with which the artist, most known for his landscape paintings of north-west Wales, had a long association. Combined with material already in the NLW’s collections, there are now over 200 works in oil, over 1200 works on paper and a comprehensive archive held at Aberystwyth. The collection’s presence in a library rather than museum or gallery raises questions of how the work can be displayed or exhibited. In this essay I will give some background to this collection and the wider art holdings of the National Library of Wales before discussing how geo-spatial approaches are being used to display this collection digitally. This work is being completed as a collaborative Knowledge Economy Skills Scholarship (KESS) PhD project between Aberystwyth University School of Art and the National Library of Wales. KESS is part-funded by the European Social Fund (ESF) through the European Union’s Convergence Programme (West Wales and the Valleys) administered by the Welsh Government.
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Civelek, Aynur. "Phokaia Sahil Yolu Kırmızı Astarlı Seramikleri." Denizli İli, Tavas İlçesi, Yaka Mahallesi’ndeki Kilise Kurtarma Kazısı ve Artemis Sibyrallis’e Ait Yeni Bir Yazıtın Ön Değerlendirmesi 1, no. 3 (December 11, 2021): 41–65. http://dx.doi.org/10.53538/arm.2021.1/03.
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Antik yerleşimlerin Roma Dönemi tabakalarında, kırmızı renkte kilden ve kırmızı renkte parlak astarlı, kalıpta ya da çarkta yapılmış, kabartmalı bezemeli ya da bezemesiz seramikler sıklıkla bulunmaktadır. İlk yapılan çalışmalarda Arezzo ya da Arretine Seramiği olarak anılmış, fakat sonraları diğer antik yerleşimlerde de sıklıkla bulunduğu saptanarak, ilerleyen çalışmalarda Terra Sigillata olarak isimlendirilmiştir. Günümüzde, Geç Roma Dönemi’nde üretilen kırmızı renkli seramikler için Kırmızı Astarlı terimi yaygınlaşmıştır. Son yıllarda ilerleyen çalışmalarla, Roma Dönemi’nin bu karakteristik seramikleri Anadolu’daki çok sayıda yerleşimde bulunmuş ve yayınlanmıştır. Antik Batı Anadolu’nun önemli Ion kentlerinden biri olan Phokaia, bu karakteristik seramik grubunun üretim merkezlerinden biridir. Bu çalışmanın amacı, Phokaia Sahil Yolu kazısında bulunan Kırmızı Astarlı seramiklerini tipolojik ve kronolojik olarak incelemek ve kil analizlerini sunmaktır. Phokaia (günümüzde İzmir-Eski Foça), Batı Anadolu’nun önemli kıyı yerleşimlerinden biridir ve tarih boyunca seramik üretimi ile dikkat çekmektedir; 1989 yılından itibaren yapılan araştırma ve kazılardan gelen verilerle, kentin önemli bir seramik üretim merkezi olduğu kanıtlanmıştır. Kentin çeşitli alanlarında yapılan kazılarda Kırmızı Astarlı seramikleri ve fırınlarına ait kalıntılar saptanmıştır. Phokaia Kırmızı Astarlı Seramikleri (PRSW-Phocaean Red Slip Ware) üzerine ilk çalışma Waage tarafından yapılmış; 1960’lardaki araştırmalarda Langlotz tarafından Form 3 C tipi olarak anılmıştır. 1972’de Hayes tarafından LRC (Late Roman C / Geç Roma C) ve 1980’de Phocaea Kırmızı Astarlı grubu olarak isimlendirilmiştir. Phokaia Sahil Yolu’nda yapılan kazılarda çok fazla miktarda Kırmızı Astarlı seramikler bulunmuştur ve büyük olasılıkla bu alanın gerisindeki atölyelere ait olmaldırlar. Malzemeler, alandaki buluntu yerlerine göre yapılan gruplar dikkate alınarak çizilmiş ve fotoğraflanmıştır. Malzemelerin kil analizleri uzmanlar tarafından yapılmış ve sonuçları sunulmuştur.
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MCMULLEN, JOHN. "THE WAGES ACT 1986." Industrial Law Journal 15, no. 1 (1986): 266–71. http://dx.doi.org/10.1093/ilj/15.1.266.
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Griffiths, Paul. "Legislating for Wales ‐ local government (Wales) act 1994." Journal of Legislative Studies 2, no. 2 (June 1, 1996): 63–78. http://dx.doi.org/10.1080/13572339608420472.
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Pavlić, Goran. "Materijalna baza proizvodnje – nekoliko napomena o virtualnosti." Život umjetnosti, no. 104 (July 2019): 126–43. http://dx.doi.org/10.31664/zu.2019.104.08.
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The difference between the “real,” “authentic” life and its mere representation has saturated the philosophical discourse from its very onset. Debord’s The Society of the Spectacle usually gets categorized as a further elaboration on this issue. The essential misapprehension of such an understanding lies in the disregard of Debord’s constitutive thesis: “the spectacle is not a collection of images; it is a social relation between people that is mediated by images.” (§ 4) In cultural perspectives, the “real” material dynamics of life – relations between people – is replaced by a purported exchange of images which lack any authenticity. The concept of cognitive capitalism (Vercellone, 2005), with its theses on the contemporary domination of information and knowledge within capitalist reproduction, further validates this opposition. According to Doogan’s (2009) thoroughly researched and empirically founded insights, our world is still heavily dominated by crude material production which precludes any notion of a new, post-Fordist, virtual, immaterial, post-work stage of capitalism. Similarly, Huws (2003, 2014) warns of the dubious status of the concepts of fluid identities, or hybrid subjectivities, and stresses the prevalence of class and gender issues which still substantially affect the working spheres. Drawing on Davis’s (2013) insights on the necessity of class analysis for the comprehension of the artistic field, I will present the modes in which “creativity” functions as a neoliberal buzzword. More specifically, I will outline the ways in which systemic exploitation, as an intrinsic feature of capitalism, still structures the dynamics of the art field, particularly areas that are fashionably known as “creative industries”.
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Cox, Julian. "Photography in South Wales 1840–60 ‘This beautiful art’." History of Photography 15, no. 3 (September 1991): 159–70. http://dx.doi.org/10.1080/03087298.1991.10443168.
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Gibson, Lorraine. "Art, Culture and Ambiguity in Wilcannia, New South Wales." Australian Journal of Anthropology 19, no. 3 (December 2008): 294–313. http://dx.doi.org/10.1111/j.1835-9310.2008.tb00355.x.
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Bodini, Nicola, Dino Zardi, and Julie K. Lundquist. "Three-dimensional structure of wind turbine wakes as measured by scanning lidar." Atmospheric Measurement Techniques 10, no. 8 (August 14, 2017): 2881–96. http://dx.doi.org/10.5194/amt-10-2881-2017.
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Abstract. The lower wind speeds and increased turbulence that are characteristic of turbine wakes have considerable consequences on large wind farms: turbines located downwind generate less power and experience increased turbulent loads. The structures of wakes and their downwind impacts are sensitive to wind speed and atmospheric variability. Wake characterization can provide important insights for turbine layout optimization in view of decreasing the cost of wind energy. The CWEX-13 field campaign, which took place between June and September 2013 in a wind farm in Iowa, was designed to explore the interaction of multiple wakes in a range of atmospheric stability conditions. Based on lidar wind measurements, we extend, present, and apply a quantitative algorithm to assess wake parameters such as the velocity deficits, the size of the wake boundaries, and the location of the wake centerlines. We focus on wakes from a row of four turbines at the leading edge of the wind farm to explore variations between wakes from the edge of the row (outer wakes) and those from turbines in the center of the row (inner wakes). Using multiple horizontal scans at different elevations, a three-dimensional structure of wakes from the row of turbines can be created. Wakes erode very quickly during unstable conditions and can in fact be detected primarily in stable conditions in the conditions measured here. During stable conditions, important differences emerge between the wakes of inner turbines and the wakes of outer turbines. Further, the strong wind veer associated with stable conditions results in a stretching of the wake structures, and this stretching manifests differently for inner and outer wakes. These insights can be incorporated into low-order wake models for wind farm layout optimization or for wind power forecasting.
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Sreekanth, Soma, Mr G. Subbareddy, and DR Venkata Rangaiah. "Payroll System At ICICI Bank Ltd." Think India 22, no. 2 (June 19, 2019): 96–102. http://dx.doi.org/10.26643/think-india.v22i2.7981.
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The pay structure of a company depends on several factors such as labor market Conditions Company’s paying capacity and legal provisions. In India, different acts include different items under wages though all the Acts include basic wage and dearness allowance under the term wages. Under the workmen’s Pay Roll act, 1923 wages for leave period holiday pay, overtime pay, bonus, and good conduct bonus form part of wages. Under the payments of wages act, 1936, section 2(vi) anyawards of settlement and production bonus, if paid constitute wages.
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Owen, Richard. "Government of Wales Act 2006." Law Teacher 42, no. 1 (January 2008): 103–6. http://dx.doi.org/10.1080/03069400.2008.9959765.
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