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1
Wang, Quan Yu, Yi Chen e Daniel O'Flynn. "A Scientific Study of Eastern Zhou Bronze Weapons with Tin-Rich Surface Decoration". Materials Science Forum 983 (marzo 2020): 47–55. http://dx.doi.org/10.4028/www.scientific.net/msf.983.47.
Testo completoAbstract (sommario):
In this paper we examined three bronze weapons with tin-rich surface decoration from the Eastern Zhou period: a sword (1966,0222.1) with a trellis pattern, a spearhead (1947,0712.426) with a hexagonal star pattern in the British Museum collections, and a sword (GT698) with a trellis pattern from a private collection. These weapons may have come from south eastern China, a region renowned for its weaponry production in the Eastern Zhou period, as both their styles and decorations are comparable to the sword of the Yue King Goujian and the spearhead of Wu King Fuchai, two of the most typical objects of this type. The manufacturing and surface tin-rich decoration techniques were investigated using microscopy, X-ray CT imaging, X-ray fluorescence spectrometry, scanning electron microscopy equipped with energy dispersive X-ray spectroscopy, and X-ray diffraction. The results showed that all the objects were made of high tin bronzes. The swords were made by casting a grip around the pre-cast blade and the pommel. The spearhead was an integral casting. The trellis pattern on the swords was probably produced by heating up a tin-rich paste applied to the surface and the thin hexagonal star decoration pattern on the spearhead was probably produced by brush painting with a mercury-tin amalgam followed by heating.
2
Mondal, Md Sohel. "Mechanism of Resistance to British Imperialism in the Literature of Kazi Nazrul Islam". Journal of Language and Linguistics in Society, n. 34 (6 giugno 2023): 1–11. http://dx.doi.org/10.55529/jlls.34.1.11.
Testo completoAbstract (sommario):
Literature has always been an effective medium of presentation. Whenever the groaning sound of people with the increasing tyranny of colonial rule raised high, literature played a pivotal role to draw it in a pragmatically artistic touch. The Bidrohi Kabi Kazi Nazrul Islam, National Poet of Bangladesh, made a unique place in the journey of Bengali literature resistance of the early twentieth century. He inextricably applied diverse literary genres and thematic mechanisms of resistance in his literature which undoubtedly bore the motive-inciting words of love and fire against any form of injustice whether of British Empire or societal customs and continued the thread of awakening in the Bengal Renaissance. The Rebel Poet was the figurehead of the allied Hindu-Muslim struggle of undivided India against the imperialistic British rule. However, miserably the discourse on Nazrul Resistance Literature is limited only in Bengali corridors with mere poetic contributions. With this viewpoint, the research delves into exploring the dimensional works of the poet and tries to establish him as a versatile writer of prose and poetry. In addition, the work makes a sincere effort to elucidate various thematic decorations of his literary outcomes and their universal acceptability. Ultimately, Nazrul Studies are yet to be expounded further ahead to bring out more research works on this Bengali poet of love and resistance overlooking the cross-country borders.
3
Goodall, John A. "Some Aspects of Heraldry and the Role of Heralds in Relation to the Ceremonies of the Late Medieval and Early Tudor Court". Antiquaries Journal 82 (settembre 2002): 69–91. http://dx.doi.org/10.1017/s000358150007373x.
Testo completoAbstract (sommario):
The present study arose from the need to provide the background for understanding theheraldry mentioned in the post-mortem inventories of Henry VIII, and while it seems unlikely that this commentary will appear in the foreseeable future it fills agap in the heraldic literature. The role of the ‘British History’ in English royal propaganda and state ceremonials antedated the accession of Henry VII as is evidenced by the material prepared in relation to Edward IV's supersession of Henry VI in 1461. The role of heralds and kings of arms in rationalizing the arms and beasts required for the pageants etc is examined with the ways in which it was organized for entries and other ceremonials. The period also witnessed the introduction of new decorations f ortournaments – ciphers and impresses. The appendices provide editions of some hitherto unpublished texts which were devised for these purposes.
4
Stanek, Piotr. "Ignacy Bator (1916–1944) – jeden z cichociemnych". Res Gestae 15 (6 febbraio 2023): 120–31. http://dx.doi.org/10.24917/24504475.15.9.
Testo completoAbstract (sommario):
Ignacy Bator (1916-1944), nom de guerre “Opór” (“Resistance”) was a lieutenant of the Polish Air Force in Great Britain, participant in the Warsaw Uprising, one of the 316 Silent and Unseen - special paratroopers of the Home Army. In 1939, he took part in the defense of Poland, then he reached France, where he joined the Polish Armed Forces in the West. In 1940, he made his way to Great Britain, where he served in the air force as a shooter-radio operator in No. 301 Polish Bomber Squadron and No. 138 (Special Duties) Squadron RAF. In 1942, he volunteered to serve in the Home Army in occupied Poland. After training, he was dropped to Poland on the night of January 25/26, 1943. He served in the radio communication structures of the Home Army Headquarters. As a radio operator of the Home Army, he took part in the Warsaw Uprising, during which he died in August 1944. He has been awarded many times for his service by Polish and British military decorations, incl. with the Silver Cross of the Order of Virtuti Militari, four times with the Cross of Valor, with the “Distinguished Flying Cross” and others.
5
Marchand, Marie-Ève. "L’impossible « chambre des horreurs » du Museum of Ornamental Art : une archéologie du design criminel". RACAR : Revue d'art canadienne 39, n. 1 (14 agosto 2014): 40–51. http://dx.doi.org/10.7202/1026201ar.
Testo completoAbstract (sommario):
In 1852, the Museum of Ornamental Art, today the Victoria and Albert Museum, opened its doors to the public. Taking part in a general reform of the British art and design education system, the museum sought to instill what were considered good design principles. To do so, a museographic strategy that proved to be as popular as it was controversial was chosen: the exhibition gallery entitled “Decorations on False Principles,” which immediately became known as the “Chamber of Horrors.” This gallery, a dogmatic expression of the functionalist conception of ornament advocated by the museum, referred through its nickname to another then famous Chamber of Horrors, the one in Mme Tussaud’s wax museum. In this paper, I will first argue that the Museum of Ornamental Art’s Chamber of Horrors is an early example of the association of ornament with crime that reappears in later design theories. Second, by examining the means taken to transmit the idea of the criminalization of ornaments designed after “bad principles,” I demonstrate why the concept of the Chamber of Horrors is in itself doomed to failure. I thus analyze this uncommon exhibition as a manifestation of the museum’s aesthetic philosophy and mechanisms at a time when the institution’s modalities were still in the process of elaboration.
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D. Mapari, Ms Dimple, e Shankarlal Khandelwal. "Performative Aspects of Mahesh Dattani’s Plays". International Journal of English Literature and Social Sciences 7, n. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.
Testo completoAbstract (sommario):
Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.
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Pantyukhina, T. V. "Training of the managerial elite for the British Empire (a case study of public school the United Services College)". Гуманитарные и юридические исследования 10, n. 3 (2023): 440–46. http://dx.doi.org/10.37493/2409-1030.2023.3.10.
Testo completoAbstract (sommario):
Introduction. The relevance of the research topic is determined by the fact that it has not been studied in the national historical science. Meanwhile, the experience of training effective managerial personnel in England in the last third of the XIX – early XX centuries seems worthy of study and reflection. The purpose of the paper is to analyze the problem on the case study of the United Services College, its history and biographies of its most prominent graduates. The novelty of the research is determined by the fact that this problem has not been the subject of special research in Russian historiography. Materials and Methods. The sources used for the analyses consist of documents on the history of the school, memoirs of its graduates, Kipling’s novel “Stalky and Co.” based on the writer’s school years, documents of the “Kipling Society”. The following methods were used: narrative, descriptive, comparative. Analysis. The United Services College was founded in 1874 with the aim of providing the sons of military personnel with inexpensive school education and prepare boys to go on to cadet colleges to train for a military career. Mission of the school was to mold “men of action”, to teach patriotism, team spirit, leadership skills. Students were brought up to become practical, efficient, brave and effective leaders. Extra curriculum activities were consistent with these purposes. The rules were strict, physical punishment was an accepted teaching method and bullying was common. The examination oftheUSC graduates’ careers is essential for assessing the effectiveness of students’ preparation for their future services. Results. Despite a rather short history the United Services College provided the country with a large number of military and civil personnel. 468 graduates joined the British Army, nearly all served throughout the Empire. 198 graduates joined the Indian Army, 51 did service in the Royal Navy and associated forces, 308 USC’s graduates worked abroad in civil organizations, often in Colonial Service Some graduates reached high ranks of Admiral or General. During World War I USC’s graduates earned numerous awards and decorations. Many of them including two Generals, died in the war. The careers of the most distinguished USC’s graduates: Kipling and Dunsterville provide an example of the school’s capacity to effectively train boys for the future.
8
Alieva, Arzy Yu. "Mary Holderness. Notes relating to the Manners and Customs of the Crim Tatars. Written during the four years` residence among that people". Crimean Historical Review, n. 1 (giugno 2021): 238–60. http://dx.doi.org/10.22378/kio.2021.1.238-260.
Testo completoAbstract (sommario):
This translation is based on the work “Notes Relating to the Manners and Customs of the Crim Tartars…” by the English traveler Mary Holderness. This work was published in London in 1821. It contains detailed information about the way of life of the Crimean Tatars, among whom Mary Holderness lived for four years in the village of Karagoz (Karagoss, at present the village of Pervomayskoye, Kirovsky district of the Crimea) since 1816 to 1820. The work is based on the author’s personal testimonies about the conduct of marriage, funeral and many other ceremonies of the Crimean Tatars: their customs, traditions, methods of housekeeping and education, especially intra-family relations. In her notes, Mary Holderness describes the development of women’s handicrafts and leather production. The author notes that all the Crimean footwear production was made in Bakhchisarai and Karasubazar, and subsequently sent to other Crimean cities. The author provides information on the development of sheep breeding among the Crimean Tatars. Lamb skins, after appropriate processing, were highly valued and exported to Moscow. Jewelry production was also well developed. Various jewelry decorations were made by them: jewelry made of silver, glass, brass, lead, as well as gold with colored stones. The significance of work lies in the fact that it provided the modern reader with the opportunity to get acquainted with the way of life and customs of the Crimean Tatars of the period described. An abundance of background information: food prices, Russian equivalents of British measures, indication of the distance between settlements make it possible to assess the standard of living of the Crimean Tatar people in the period under review.
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Xu, Jian, Muchun Li, Dandan Huang, Yuxin Wei e Sijia Zhong. "A Comparative Study on the Influence of Different Decoration Styles on Subjective Evaluation of Hotel Indoor Environment". Buildings 12, n. 11 (24 ottobre 2022): 1777. http://dx.doi.org/10.3390/buildings12111777.
Testo completoAbstract (sommario):
The purpose of this study is to explore the occupants’ subjective evaluation of the indoor environmental quality (IEQ) of hotels with the same physical environment and different decoration styles, and to reveal the influence of different decoration styles on the subjective evaluation of the indoor environmental quality. The study found a hotel with three mainstream styles of modern simple style, British pastoral style, and modern Japanese style, and adopted standard rooms with the same area, pattern, lighting, orientation, and decoration cost. The only variable controlled was the decoration style, and the subjective feelings of customers on the physical environment were investigated. Based on the literature and 604 online comments, the researchers designed a questionnaire and collected 710 effective questionnaires for empirical analysis. The analysis results of KH coder and SPSS software (Chicago, IL, USA) show that the light environment in the indoor environment (including indoor natural lighting, lighting and other influencing factors) and non-light visual factors (including indoor color matching, plant layout, closeness to nature, decoration texture, space materials, decoration atmosphere and other factors) has the greatest impact on the subjective evaluation of decoration style, especially on the subjective evaluation of modern simple indoor environment. Light environment, air quality and non-light visual factors play a key role in the subjective evaluation of the indoor environment of the British pastoral-style hotels. The light environment, thermal environment and non-light visual factors are the most sensitive to the subjective evaluation of the indoor environment of modern Japanese-style hotels. Thermal environment, light environment, acoustic environment, air quality environment and non-light visual factors have the greatest impact on the subjective evaluation of the hotel indoor environment. Based on the findings, this study puts forward some suggestions to improve the interior environment of the hotel with different decoration styles to improve the quality and attractiveness of the hotel.
10
Butcher, S. A. "Catalogue of the Romano-British and Later Metalwork". Proceedings of the Prehistoric Society 53, s1 (1987): 110–12. http://dx.doi.org/10.1017/s0079497x00078646.
Testo completoAbstract (sommario):
1 Complete copper alloy bracelet. One end is hooked and would have been caught through the slot on the other flattened end. The decoration of stamped circles and the form of the bracelet can be paralleled on late fourth century examples from Lydney (Wheeler, 1932 fig 17). Interior, Box 95, L1.2 Bracelet of copper alloy. One end is hooked but enough of the other survives to show that it was not flattened as No 1 above. The decoration appears to be formed by a fine wire twisted round the main bar. Spiral patterned bracelets occur throughout the Roman period. Interior, Box 227, L1.
11
Tucker, David, e David S. Reese. "A Middle Assyrian Hoard from Khirbet Karhasan, Iraq". Iraq 54 (1992): 157–82. http://dx.doi.org/10.1017/s0021088900002564.
Testo completoAbstract (sommario):
Khirbet Karhasan was excavated by the British Archaeological Expedition to Iraq, as part of the Saddam Dam Salvage Project. The excavations brought to light a hoard of Middle Assyrian faience ornaments, which formed a coherent assemblage. Collections of similar ornaments are known from Assur and Nimrud where they have been variously interpreted as decorating the rich garments for a god, a divine image, and even the walls of temples. In the absence of any other persuasive view a hypothesis is advanced based on the evidence of archaeological context, iconographic associations and a viable reconstruction, that the ornaments are equally adaptable to the decoration of ceremonial horse-harness.The tell of Khirbet Karhasan is situated on the right bank of the Tigris approximately 75 km north-west of Mosul. The site on the edge of a prominent terrace overlooks a broad floodplain. In 1986, prior to the flooding of the site, the Tigris channel was 3 km north of the tell. The tell was sheltered by low hills which formed the western slope of the valley some 500 m to the south of the site. The hills rose some 40 m above the tell to approximately 50 m above the floodplain.
12
Bradley, Richard. "Incised motifs in the passage-graves at Quoyness and Cuween, Orkney". Antiquity 72, n. 276 (giugno 1998): 387–90. http://dx.doi.org/10.1017/s0003598x00086658.
Testo completoAbstract (sommario):
The decoration of Neolithic passage-graves in Scotland and the British Isles/Ireland has come under renewed scrutiny–showing interesting patterns between tombs and houses. Here Richard Bradley examines two Orkney tombs and compares their decorated stones with motifs in Ireland and elsewhere.
13
Horn, Jonathan A. "Tankards of the British Iron Age". Proceedings of the Prehistoric Society 81 (2 novembre 2015): 311–41. http://dx.doi.org/10.1017/ppr.2015.15.
Testo completoAbstract (sommario):
Iron Age tankards are stave-built wooden vessels completely covered or bound in copper-alloy sheet. The distinctive copper-alloy handles of these vessels frequently display intricate ‘Celtic’ or La Tène art styles. They are characterised by their often highly original designs, complex manufacturing processes, and variety of find contexts. No systematic analysis of this artefact class has been undertaken since Corcoran’s (1952a) original study was published in Volume 18 of these Proceedings. New evidence from the Portable Antiquities Scheme for England and Wales and recent excavations have more than quadrupled the number of known examples (139 currently). It is therefore necessary and timely to re-examine tankards, and to reintegrate them into current debates surrounding material culture in later prehistory. Tankards originate in the later Iron Age and their use continued throughout much of the Roman period. As such, their design was subject to varying influences over time, both social and aesthetic. Their often highly individual form and decoration is testament to this fact and has created challenges in developing a workable typology (Corcoran 1952a; 1952b; 1957; Spratling 1972; Jackson 1990). A full examination of the decoration, construction, wear and repair, dating, and deposition contexts will allow for a reassessment of the role of tankards within the social and cultural milieu of later prehistoric and early Roman Britain.
14
Orchard, Nicholas. "An eleventh-century Anglo-Saxon missal fragment". Anglo-Saxon England 23 (dicembre 1994): 283–89. http://dx.doi.org/10.1017/s0263675100004579.
Testo completoAbstract (sommario):
At first sight, fragments of Anglo-Saxon missals may seem unprepossessing. They are often badly worn, difficult to read and rarely have any decoration to speak of. But their texts are normally of considerable interest. One such fragment which has so far escaped notice is preserved in London, British Library, Harley 271.
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Draper-Stumm, Tara. "SEKHMET STATUES FROM THE REIGN OF AMENHOTEP iii IN THE BRITISH MUSEUM and A FORMERLY UNCATALOGUED HEAD FRAGMENT: A REASSESSMENT". Antiquaries Journal 98 (settembre 2018): 1–15. http://dx.doi.org/10.1017/s0003581518000525.
Testo completoAbstract (sommario):
Beyond the borders of Egypt, the British Museum has the largest collection of granodiorite statues and fragments of statues of the goddess Sekhmet produced in the reign of Amenhotep iii (c 1390–1352 bc; eighteenth dynasty). With so much new material being uncovered in recent years at the site of Amenhotep iii’s funerary temple at Kom el-Hettan in Luxor (Egypt), a reassessment of the British Museum statues was inevitable. The British Museum statues are an ideal sample group for study, offering variations in type, proportions, stone colouration, decoration and state of finish. The group also includes a formerly uncatalogued head fragment with an unusual uraei crown, which relates to surviving examples found at the Mut Temple at Karnak and at Kom el-Hettan in Luxor.
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Hockey, Marilyn, Alan Johnston, Susan La Niece, Andrew Middleton e Judith Swaddling. "An Illyrian helmet in the British Museum". Annual of the British School at Athens 87 (novembre 1992): 281–91. http://dx.doi.org/10.1017/s0068245400015185.
Testo completoAbstract (sommario):
Recent research on a helmet of Illyrian type, found in the River Alpheios and purchased by the British Museum in 1914, has yielded interesting historical, epigraphical, and technological information. The helmet was made between about 550 and 525 BC, and it was probably dedicated to Olympian Zeus in the latter years of the century; it was embellished with various types of silver decoration, notably appliqués of horsemen on the cheek-pieces. The inscription, incised in unusual herring-bone fashion, indicates that the helmet was dedicated by the Koroneans, and the event commemorated by the dedication is here considered.
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YILDIZ ALTIN, Kübra. "SÜMERBAK NAZİLLİ PRINT-TEXTILE FACTORY AS A CULTURAL-CREATIVE INDUSTRY MODEL". Folklor Akademi Dergisi 5, n. 1 (23 aprile 2022): 169–83. http://dx.doi.org/10.55666/folklor.1087998.
Testo completoAbstract (sommario):
Cultural heritage management has been studied in the international literature for a long time. However, it is an area that has attracted attention in our country in recent years. Heritage management naturally emphasizes the industrialization and branding of heritages. The relevant research area focuses not only on the transmission of culture, but also on the process of its use. It is important to examine the application examples in the inferential studies focused on obtaining results and application in this field. This type of analysis is helpful in model building. The basic assumption of the study is that traditional knowledge memory, which is also defined as living cultural heritage, can be transformed into a cultural-creative industry resource as a sector in the context of sustainable development. In this study, which is based on cultural heritage management and cultural economy, the Sümerbank Nazilli Print-Textile Factory, which offers a model example as a cultural-creative industry and is Turkey’s first industrial establishment in the printing field, is emphasized. The main reason why the factory was selected for review is that it has products nourished by tradition and created a unique clothing culture in the context of its period. The fact that these are still used as decorations and motifs in the 21st century is also important for the study. The study has been discussed in the perspective of the “Circuit of Culture”. This approach was developed by British cultural theorists in the late 20th century as a tool for cultural analysis. There are five elements in the approach: “representation, identity, production, consumption and regulation”. This approach reveals how a cultural text or any cultural artifact is represented and which social identities are associated with it. Furthermore, this approach examines how it is produced and consumed, and what mechanisms regulate its distribution and use. According to this, every cultural product has a meaning in social life. Cultural meanings circulate and are maintained in society with the five elements mentioned. In this context, firstly, the production role of Sümerbank Nazilli Print-Textile Factory for a certain period was examined in the study. In the second stage of the study, the social, cultural and economic outputs of the factory, both locally and nationally, were examined from a holistic perspective in the context of the Circuit of Culture. In the study, it has been determined that Sümerbank Nazilli Print-Textile Factory has a function as a cultural center and creates a culture of its own by preserving local-authentic values. In addition, in the study, it was concluded that the factory is a cultural, creative and economic sector in terms of its operation, product output and widespread impact. For this reason, it has been stated that, the factory can provides an example of a model for cultural-creative industries to achieve sustainable development and more specifically cultural heritage-based goals in Turkey’s 2023 development vision, in the context of production culture.
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Whittaker, John C. "THE AZTEC ATLATL IN THE BRITISH MUSEUM". Ancient Mesoamerica 26, n. 1 (2015): 69–79. http://dx.doi.org/10.1017/s0956536115000036.
Testo completoAbstract (sommario):
AbstractThe British Museum's Aztec atlatl is one of their most famous Mesoamerican objects, yet it has not been studied as a weapon in light of current knowledge of spear-throwers, and the details necessary to do so have not been published. Close examination and experimental replication shows that although it is ornately decorated, it is a serviceable spear-thrower. While evidence of actual use of this specimen is ambiguous, we can at least accept the form as an example of working weapons of Contact period Mesoamerica. The actual effects and circumstances of atlatl use against the Spanish and others are difficult to judge from surviving accounts. The iconography of the decoration, as in other instances, associated this atlatl with elite warfare and deities of war and sacrifice.
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Kenrick, Philip. "Sabratha and Lepcis Magna: two notes". Libyan Studies 39 (2008): 167–74. http://dx.doi.org/10.1017/s0263718900010062.
Testo completoAbstract (sommario):
AbstractIn the 1986 publication of the British excavations at Sabratha, a photograph was inadvertently included of a grave with faked burial goods: an explanation of this is now given. The posthumous volume by John Ward-Perkins on the Severan buildings at Lepcis Magna appeared to refer to a drawing of marble veneer decoration which was not found at the time: this has now been located, and has drawn attention to a surprising solution to an architectural problem.
20
Watts, Dorothy J. "Circular Lead Tanks and their Significance for Romano-British Christianity". Antiquaries Journal 68, n. 2 (settembre 1988): 210–22. http://dx.doi.org/10.1017/s0003581500069341.
Testo completoAbstract (sommario):
SummaryAt least sixteen whole or partial circular lead tanks have been found in Roman Britain, several of them decorated with Christian symbols. Over the past fifty years different uses have been ascribed to these vessels, some secular, some religious. The objective of this paper is two-fold: to examine the motifs used in the decoration of the tanks and to attempt to discover the purpose of the vessels. It is proposed that the tanks are all Christian objects and that they were used in the baptismal ceremony for the footwashing rite, a practice carried out in various parts of the Christian world at least up to the sixth century.
21
Wootton, Will. "Figuring out the facts: calculating mosaic labour times in 4th-c. A.D. Britain". Journal of Roman Archaeology 28 (2015): 261–82. http://dx.doi.org/10.1017/s1047759415002482.
Testo completoAbstract (sommario):
In the study of the British countryside in the 4th c. A.D. villas have formed a central component. Their decoration features highly in the scholarship, the tessellated floors cited as evidence for the spending patterns and status claims of a wealthy élite. This élite’s desire to spend its surplus funds on lavish interiors created a “boom” in mosaic production, which some scholars have associated with a “flight of capital” from the Continent in the late 3rd c. or others simply with the increasing prosperity of landowners during the 4th c.
22
Burrow, Steve. "The Ronaldsway Pottery of the Isle of Man: a Study of Production, Decoration, and Use". Proceedings of the Prehistoric Society 65 (1999): 125–43. http://dx.doi.org/10.1017/s0079497x00001961.
Testo completoAbstract (sommario):
The Late Neolithic pottery of the Isle of Man falls into two types: Ronaldsway and Grooved Ware. This paper focuses on the former style which is markedly different from other contemporaneous pottery styles in use in Britain and Ireland. The discussion draws upon the biographical history of Ronaldsway vessels from the choice of raw materials to the deposition of the finished pots. At each stage in this biographical history the approach adopted by Manx potters and pottery users is compared with that employed in surrounding parts of the British Isles.
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Şahin, Mustafa. "Hellenistic braziers in the British Museum: trade contacts between ancient Mediterranean cities". Anatolian Studies 51 (dicembre 2001): 91–132. http://dx.doi.org/10.2307/3643029.
Testo completoAbstract (sommario):
One of the more important collections of Hellenistic terracotta in the British Museum is the selection of brazier attachments. These were added to the Museum at various dates from the mid-19th century onwards. What adds enormously to the value of the British Museum attachments is that they come from cities in different regions and that for each one its location has been systematically recorded in the Museum inventory. This information in conjunction with the type of attachment and the composition of the clay should make it possible to work out where they were made. Not only will the main centres of production for braziers then become evident, but at the same time, by looking at the towns where they were found, we shall be able to get some idea of Hellenistic trade routes between Mediterranean cities.These Hellenistic braziers characteristically consist of a fire bowl with pierced bottom and three raised supports, carried on a stand with two loop handles and a large vent. The raised supports, conventionally known as attachments, are roughly rectangular in shape, with a spur below projecting towards the centre of the fire bowl. They characteristically have relief decoration on the inner face and sometimes on the reverse (outer side) as well. These braziers are light and portable. The fuel used was charcoal, which was placed in the bowl, and a draught was maintained through the holes at the bottom of the bowl and the vent in the stand. The stand is made of coarse, gritty terracotta, and is generally undecorated, but in a few cases we observe applied relief as decoration (fig 1).
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Weber, Anke, Willem Hovestreydt e Lea Rees. "Third Report on the Publication and Conservation of the Tomb of Ramesses III in the Valley of the Kings (KV 11)". Journal of Egyptian Archaeology 107, n. 1-2 (giugno 2021): 79–104. http://dx.doi.org/10.1177/03075133211060539.
Testo completoAbstract (sommario):
Since antiquity, the tomb of Ramesses III (KV 11) has been among the most frequently visited royal tombs in the Valley of the Kings. It was also one of the first to be described and documented in detail by European travellers in the eighteenth to nineteenth centuries. As large parts of the wall decoration of the tomb, especially in its rear, are now destroyed, the drawings, notes and squeezes of those early researchers who saw the site in its former splendour offer an invaluable resource for the reconstruction of the tomb’s unique decoration programme. The collection, revision, and publication of all relevant archive material concerning KV 11 is an important goal of The Ramesses III (KV 11) Publication and Conservation Project. The following article reports on first and preliminary results from the authors’ research in the archives of the British Library and the Victoria and Albert Museum in London, as well as the Bodleian Libraries and the Griffith Institute in Oxford, carried out in September 2019 and made possible through the Centenary Award 2019 of the Egypt Exploration Society.
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Robin, Guillaume. "Spatial Structures and Symbolic Systems in Irish and British Passage Tombs: the Organization of Architectural Elements, Parietal Carved Signs and Funerary Deposits". Cambridge Archaeological Journal 20, n. 3 (27 settembre 2010): 373–418. http://dx.doi.org/10.1017/s0959774310000478.
Testo completoAbstract (sommario):
Passage tombs are the most elaborate monuments that were built during the Irish and British Neolithic, not only because of their complex monumental architecture but also because they are the only type of tomb that has carvings and such a diversity of funerary objects. This article focuses on the spatial organization of these three components of passage tombs and identifies several recurrent structures that are classified into three groups. From these spatial structures, an abstract elementary model is proposed that helps to understand the conceptual principles and the symbolic significations that guided the construction, decoration and use of the monuments.
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Catling, R. W. V. "A fragment of an archaic temple model from Artemis Orthia, Sparta". Annual of the British School at Athens 89 (novembre 1994): 269–75. http://dx.doi.org/10.1017/s0068245400015409.
Testo completoAbstract (sommario):
A fragment of an archaic temple model from the British School's early excavations at the sanctuary of Artemis Orthia at Sparta is published. It is suggested here that its decoration represents a timber-framed building. Support for this argument is found in the similar construction technique used for the early 7th-cent. temple of Artemis Orthia. Its contribution to the debate concerning the evolution of the developed Doric order is considered. In further discussion of the significance of votive ‘house models’, doubts are expressed about the universal applicability of recent explanations linking them with female cults explicitly associated with protection of the household.
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Nenakhova, Maria N. "Clazomenian Sarcophagus from the British Museum: The Semantic Aspects of the Decoration and Shape". Actual Problems of Theory and History of Art 11 (2021): 38–46. http://dx.doi.org/10.18688/aa2111-01-03.
Testo completo
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Joy, Jody. "‘Fancy Objects’ in the British Iron Age: Why Decorate?" Proceedings of the Prehistoric Society 77 (2011): 205–29. http://dx.doi.org/10.1017/s0079497x00000670.
Testo completoAbstract (sommario):
A survey and new perspectives of Celtic or La Tène art from Britain is presented. Following Spratling, Celtic art is defined as ‘ornament or pattern and animal/human/supernatural images in metal and other media’. Regional and temporal variations in the type and usage of decorated artefacts are summarised. Three case studies, made of different media, are presented: metal scabbards, bone and antler weaving combs, and pottery. By asking the question ‘why decorate?’ it is argued that the decision to decorate an artefact can affect its life history, marking it out from undecorated artefacts of the same type. Rather than serving a single function, decoration was employed to serve multiple social goals throughout the Iron Age. Different forms of social expression, such as feasting, elaborate display, or weaving, are significant at any one time or place. It is argued that decorated artefacts often played a significant role in these different social arenas. Contrary to many past discussions, decorated artefacts in media other than metal are demonstrated to have been important in negotiations of social power and cosmology.
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Sonia Nasir Khan e Iqra Ashraf. "The Architecture and Decoration Varieties of Khirbat al Mafjar". PERENNIAL JOURNAL OF HISTORY 1, n. 2 (30 dicembre 2020): 161–80. http://dx.doi.org/10.52700/pjh.v1i2.171.
Testo completoAbstract (sommario):
The 8th century desert palace Khirbat al Mafjar remains (in present day Jordan)is a matchless specimen of Umayyad luxurious lifestyle and their perception forart. The palace is amalgamation of variety of decoration type like carved andmoulded stucco, stone relief and birds and figure sculpture and also frescospaintings. It is famous for its well-preserved floor mosaics. Although credited tocaliph Hisham (r. AD 724– 743) but his successor and also his nephew named asAl Walid II probably built this palace (r. AD 743– 44) . However after five yearsAl-Walid’s died and, the palace was smashed due to an earthquake. This articlediscusses the building designed structure and the ornamentation and decorationvarieties used in the architecture. Though this palace is famous for its mosaicsbut this paper covers its main parts of architecture and all types of varieties. It’san explorative study collected from historical data, literature and excavationreports and in the end it concludes that this palace is unique not only for itsvarieties but also the symbolic meanings of elements in the decoration. Thesesymbols have some logic or reason of representing in the palace that explains thepower and authority of the owner. In other words not just depiction of luxuriouslifestyle but the aesthetics and symbolic both designs are the parts of thisUmayyad era building.Keywords: palace, architecture, decoration, varieties, aesthetic, symbolic.Introduction:Khibrat al- Mafjar also known as Hisham’s Palace is one of the most important culturalsymbols of early Islamic archaeology in Palestine. It was firstly excavated in 1930 by RobertHamilton who was member of British team and noted in 1873 in West. After Hamilton andBaramaki , Doanld Whitecomb and Hmadan Taha also worked on it. It is the case of earlyIslamic Umayyad architecture and its ruins spread in 60 hectares. These Mafjar ruins is alsothe last recorded remaining’s of the Byzantine and also Romans in Creswell (1932) views,while Hamilton (1959) and Baramiki (1948) believes it has Byzantine and Sassanianinfluences
30
Xia, Zhongyuan. "Historical examples and modern application of the "Chinese style" in the art of British interior design". Культура и искусство, n. 5 (maggio 2024): 15–24. http://dx.doi.org/10.7256/2454-0625.2024.5.70575.
Testo completoAbstract (sommario):
"Chinese style" is a new form of combining Chinese and Western styles, formed on the basis of Western decorative art after a large number of Chinese exported works of art were imported to Europe in the XVII—XVIII centuries. The article takes the famous British country estate of the XVIII century as a starting point, and combines the relevant elements of interior decoration to analyze the influence of Chinese design on British decorative patterns and decorative techniques. "Chinese Style" is an innovative combination of Chinese and Western art based on Western decorative techniques.The article also analyzes the influence of the Chinoiserie style as a new art form combining traditional Chinese elements with Western forms on British decorative methods, with an emphasis on a specific study of this phenomenon.The purpose of the author of this study is to study and familiarize readers and the scientific community with the development and application of the "Chinese style" in British decorative methods of interior design. To achieve this goal, the author uses comparative historical, historical and cultural methods, iconographic method of description, as well as stylistic analysis, analyzes historical sources: historical documents, images, artifacts and literature. The research methodology includes a comprehensive approach to the study of the historical context and its impact on the formation of the British interiors. An empirical generalization of the material allows us to conclude about the significance of the above research and the influence of the "Chinese style" on modern decorative methods of interior design and design in Britain. The novelty of the research lies in the application of a combination of methods, analysis of historical forms to study this topic, which has been little studied in the segment of Russian historical science, which allowed us to obtain results that can arouse increased interest in the formation of the British interior among specialists. The author emphasizes the importance of the ability of design masters and architects to combine elements of Italian and British design to create a unique interior. The author's special contribution lies in the analysis of historical materials, practical examples of the successful application of the "Chinese style" in British interiors, which makes this article a valuable study for designers and lovers of interior art.
31
Megaw, Ruth, Vincent Megaw e Rosalind Niblett. "A Decorated Iron Age Copper Alloy Knife from Hertfordshire". Antiquaries Journal 79 (settembre 1999): 379–87. http://dx.doi.org/10.1017/s0003581500044577.
Testo completoAbstract (sommario):
One of the objects on display in the ‘Celtic Iron Age’ gallery of the British Museum is so small that in fact it may not be immediately appreciated for what it is – a cast bronze knife with exquisite curvilinear decoration which measures a mere 11omm in length (figs I a−b 2a−c).To date only the briefest of descriptions of the knife have appeared in print accompanied by illustrations which, it must be said, hardly do it justice.2 Thus, some further notes may be added to draw further attention to one of the miniature insular masterpieces of what, despite the best efforts of many, is still widely termed ‘early Celtic art’.
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Burleigh, Gilbert, Vincent Megaw, Helen Ashworth e Mansel Spratling. "The Iron Age Mirror Burial at Pegsdon, Shillington, Bedfordshire: An Interim Account". Antiquaries Journal 87 (settembre 2007): 109–40. http://dx.doi.org/10.1017/s0003581500000858.
Testo completoAbstract (sommario):
In November 2000 metal detectorists located a decorated copper-alloy mirror, a single silverKnotenfibelbrooch and some pottery sherds at Pegsdon, Shillington, Bedfordshire. Subsequent excavation of the findspot uncovered a Late Iron Age cremation burial pit associated with further pot sherds and a single fragment of calcined bone. The opportunity is taken in this preliminary account to revisit both the occurrence in southern England of the brooch type and to discuss the mirror's decoration in relation to the variation of views as to the British mirror series as a whole, and in particular with regard to other recent mirror discoveries. The burial is discussed in its local context and the possible significance of the topography in relation to the site is highlighted.
33
Falsone, Gioacchino. "A Syro-Phoenician Bull-Bowl in Geneva and its Analogue in the British Museum". Anatolian Studies 35 (dicembre 1985): 131–42. http://dx.doi.org/10.2307/3642879.
Testo completoAbstract (sommario):
The following discussion begins with a study of a bronze bowl belonging to Monsieur George Ortiz, whose collection of ancient bronzes in Vandoeuvres/Geneva includes a large number of outstanding pieces of Near Eastern art. The bowl was recently acquired in the antiquities market and is said to come from modern Turkey. It is one of the finest and best preserved examples of a particular class of oriental metalwork in repoussé, the so-called Syro-Phoenician “bull-bowls”, which were most probably produced in the Levant in the early first millennium B.C. The main decoration of this class consists of concentric friezes of bovine animals in procession or similar sequence arranged around a central floral motif. The present paper will also examine a second, as yet unpublished, bowl kept in the British Museum.
34
Goodall, John A. "Rolls of Arms of Kings: Some Recent Discoveries in the British Library". Antiquaries Journal 70, n. 1 (marzo 1990): 82–94. http://dx.doi.org/10.1017/s0003581500070311.
Testo completoAbstract (sommario):
As the intensive study of the medieval rolls of arms continues it is becoming ever more clear that, even in the thirteenth century, the general rolls were drawing material from existing collections—often in blocks of entries. One of the features of many of the general rolls, both in England and on the continent, is a section devoted to the arms of emperors and kings; sometimes with a selection of oriental and African potentates (Appendix I). Such series were also used in decoration; as in the windows formerly in the great hall of the Bishop's Palace at Lincoln, in wood carvings at St Mary's, Barton on Humber, and the early fifteenth-century painted ceiling in St Alban's Abbey. These appear, in most of the rolls, as self-contained units, and vary in number and content. There was, therefore, no single source from which the compilers drew their material. In the present study the author proposes to examine some of the problems and to introduce two newly discovered English medieval rolls of arms relevant to the subject.
35
Hendrickx, Stan, Frank Förster, Kathryn E. Piquette, Merel Eyckerman, Louise Goffin e Lisa Meyers. "A history of the visualisation of the Hunters’ Palette and a tentative reconstruction of its missing part". Archéo-Nil. Revue de la société pour l'étude des cultures prépharaoniques de la vallée du Nil 30, n. 1 (2020): 123–48. http://dx.doi.org/10.3406/arnil.2020.1346.
Testo completoAbstract (sommario):
The so-called Hunters’ Palette, one of the iconic objects of late Predynastic times, has attracted much scholarly attention since its discovery in the late 19 th century. The visualisation of the palette, which is preserved in three fragments dispersed over two museums (the British Museum and the musée du Louvre), has been a long and winding road with many poor and only a few high quality drawings and photos. This has had a strong impact on the appraisal and interpretation of the palette and its figural decoration. Although it seems obvious that detailed observation and documentation is of utmost importance for any in-depth study, this was nevertheless often neglected. Besides an overview of the visualisation history of the Hunters’ Palette, two variants for the possible reconstruction of its missing fragment are also presented.
36
Lupanova, Yevgenia M. "French Scientific Instruments at M. V. Lomonosov’s Museum MAE (Kunstkamera) RAS". Vestnik of Saint Petersburg State University of Culture, n. 1 (58) (2024): 39–44. http://dx.doi.org/10.30725/2619-0303-2024-1-39-44.
Testo completoAbstract (sommario):
The collection of scientific instruments stored at M. V. Lomonosov’s museum at MAE (Kunstkamera) RAS is a unique assemble of material historical sources presenting the history of world sciences at the period of encyclopedism. The article contains the detailed characteristics of seven scientific instruments (sundials, clock, telescope, electrostatic machine) – the technique description, date, specifics of practical usage, by the opportunity – biographic data of experts. The introductory part is devoted to the specifics of French scientific instruments making business in the 18th century – its incompetence in comparison with British, Swiss and German ones emanating from political circumstances and religious attitudes; from the other point of view French instruments are distinguished by refined decoration – luxury not typical for any other nation. The conclusion contains enlightenment potential of the collection under consideration.
37
Cherry, John. "The enamelled baldric of Thomas Randolph, 1st Earl of Moray (c 1280–1332)". Proceedings of the Society of Antiquaries of Scotland 150 (30 novembre 2021): 49–62. http://dx.doi.org/10.9750/psas.150.1302.
Testo completoAbstract (sommario):
The baldric of Thomas Randolph, 1st Earl of Moray (died 1332), a companion in arms of King Robert I, was made in the first half of the 14th century and taken to England before 1604, since which time it has been attached to the Savernake horn, now in the British Museum. It is elaborately decorated with champlevé and translucent enamel, and bears the arms of argent three cushions gules within a royal tressure, which were adopted by Thomas Randolph after he was created Earl of Moray in 1312. The baldric shows Scottish heraldry and ownership, and so appears to be an example of Scottish enamelling. This article examines both the enamel decoration and the life of Thomas Randolph and suggests that there is a greater probability that it was made in France, possibly Paris or Avignon, rather than Scotland.
38
Grew, Francis, e Nick Griffiths. "II. The Pre-Flavian Military Belt: the Evidence from Britain". Archaeologia 109 (1991): 47–84. http://dx.doi.org/10.1017/s0261340900014028.
Testo completoAbstract (sommario):
The fittings from the military belt—heavy semicircular buckles with inturned scrolls and rectangular mounts with relief or niello decoration—are common finds at Colchester, Hod Hill, Richborough and other early Roman sites in Britain. Identical pieces have been recovered in even greater numbers from the contemporary forts and fortresses along the Rhine and Danube frontiers. Although well known (Ritterling 1913, 148–55; Webster 1969, 122–3), they have yet to be studied and published as a group, a process which would yield valuable information about their spatial distribution, the relative popularity of different decorative schemes and, possibly, about the centres of manufacture. The following is a synthesis and discussion of the British finds only (fig. 1); it is based on a thorough search both of the published literature and of museum collections, particularly those in the south of England and the Midlands.
39
Pudlis, Agnieszka. "Powstanie i cechy palety barw Kangxi wucai 康熙五彩 oraz falangcai 珐琅彩 – spotkanie kultur a estetyka podwójnej obcości. Część I: Problematyka terminologii i badań nad porcelaną eksportową". Gdańskie Studia Azji Wschodniej, n. 23 (31 agosto 2023): 24–53. http://dx.doi.org/10.4467/23538724gs.23.002.18148.
Testo completoAbstract (sommario):
This essay focusses on issues connected with research into the history of exported porcelain from the Far East. To this end, it discusses the literary context of the expressions “the family of roses” and “the family of greens,” and also the genesis, main features, and current terminology relating to the two most widespread techniques of glaze-painting decoration (Kangxi wucai 康熙五彩 and falangcai 珐琅彩). The article discusses the most important techniques of decoration that preceded the development of the Kangxi wucai palette and the relations between technological development and the taste of the period. It also indicates the important items in Polish collections, especially in the National Museum in Gdańsk. From the holdings of this museum, the author selects a plate decorated with wild geese on Lake Taihu. An analysis of the plate – with regard to the technology of its production, aesthetics, and iconography – is the main element in the article. Polish items are presented in the context of important European collections: the British Museum, the Victoria and Albert Museum, the Musée Guimet, the National Museum in Oslo, and the Museo Correr in Venice. The author formulates a new term in art theory: the aesthetics of double foreignness. It makes it possible to give a name to a phenomenon that develops in the process of reception and analysis of objects produced in one developed and isolated civilization, intended for and commissioned by a second civilization.
40
Koo, Hyein. "The Design and Characteristics of White Porcelain Vessels for Royal Marriage Ceremonies in Late Chosŏn: porcelain jar with dragon design in underglaze cobalt blue with inscription of chŏnjiugimssijason(傳之于金氏子孫) at the British Museum". Korean Journal of Art History 319 (30 settembre 2023): 5–43. http://dx.doi.org/10.31065/kjah.319.202309.001.
Testo completoAbstract (sommario):
The aim of this study is to analyze the designs of <i>chujun</i>(rice wine jar) and <i>hwajun</i>(flower vase), white porcelain vessels used in Chosŏn’s royal marriage ceremonies, and to identify how their use differed according to the status of the person being married. Furthermore, I propose the circumstances under which the <i>paekchayongjun</i>(white porcelain jar with dragon design) stored at the British Museum was produced.</br><i>paekchach’ŏnghwajuhae</i>, a type of white porcelain jar for rice wine with decoration of dragons in underglaze cobalt blue, stands out among white porcelain vessels used in royal marriages as it was reserved for the king or the crown prince. Those made in late Chosŏn are taller than fifty centimeters in height and decorated with a design of two dragons with five toenails, foliage patterns around the mouth, palm leaf patterns around the shoulders, and lotus petal patterns at the bottom. Originally, the use of blue and white porcelain had not been granted for the marriage of princes and princesses who were not heirs to the throne, but <i>ch’ŏnghwayonghwajun</i>, a type of white porcelain jar with the decoration of dragons in underglaze cobalt blue was permitted as flower vases in the early eighteenth century(1721-1753). However, as King Yŏngjo increasingly advocated frugality, <i>ch’ŏnghwayonghwajuns</i> were replaced with simple white porcelain in 1764, marking the latest date for <i>ch’ŏnghwayonghwajuns</i>. The surviving examples of <i>ch’ŏnghwayonghwajun</i> are almost identical in pattern to paekchach’ŏnghwajuhaes, but are smaller in size — about thirty centimeters tall — and the dragons only have four toenails.</br>Based on evidences, I propose that the jar stored at the British Museum was likely used at the wedding of Princess Hwasun and Kim Hanshin in 1732, the eighth year of King Yŏngjo’s reign. This vessel likely represents the King’s wishes for the birth of grandchildren by the princess, and was inherited by her descendants, Kim I-ju, Kim Noyŏng, Kim Nogyŏng, and Kim Jŏnghŭi.
41
Tochilova, Nadezhda. "The Rejection of Zoomorphic Elements as One of the Important Characteristics of the Borre Style Development in the Applied Art of Old Russia (by wooden finds from Novgorod the Great)". Stratum plus. Archaeology and Cultural Anthropology, n. 5 (29 ottobre 2021): 157–65. http://dx.doi.org/10.55086/sp215157165.
Testo completoAbstract (sommario):
The article deals with the development of Borre style outside of Scandinavian countries. The Borre ring-chain and gripping beasts were the most widespread elements of Scandinavian territories, whilst ribbon plates and scale ornament were popular outside of it. This process is more characteristic for the Baltic area and on the British Isles. Another region of this art dissemination was the territory of northwest Rus’. The article focuses on the analysis of carved wooden objects from the archaeological collection from Novgorod the Great. This makes it possible to present the development of Borre style in the art of the Ancient Rus’. The result is an analysis and attribution of decoration, which allows to attribute some motives to the category of images created under the influence of the Viking Age art and to trace the development and preservation of artistic traditions from the 10th to 13th centuries.
42
HIGGITT, REBEKAH. "A British national observatory: the building of the New Physical Observatory at Greenwich, 1889–1898". British Journal for the History of Science 47, n. 4 (12 novembre 2013): 609–35. http://dx.doi.org/10.1017/s0007087413000678.
Testo completoAbstract (sommario):
AbstractOver its long history, the buildings of the Royal Observatory in Greenwich were enlarged and altered many times, reflecting changing needs and expectations of astronomers and funders, but also the constraints of a limited site and small budgets. The most significant expansion took place in the late nineteenth century, overseen by the eighth Astronomer Royal, William Christie, a programme that is put in the context of changing attitudes toward scientific funding, Christie's ambitious plans for the work and staffing of the Observatory and his desire to develop a national institution that could stand with more recently founded European and American rivals. Examination of the archives reveals the range of strategies Christie was required to use to acquire consent and financial backing from the Admiralty, as well as his opportunistic approach. While hindsight might lead to criticism of his decisions, Christie eventually succeeded in completing a large building – the New Physical Observatory – that, in its decoration, celebrated Greenwich's past while, in its name, style, structure and contents, it was intended to signal the institution's modernization and future promise.
43
Swadling, Pamela, Robin Torrence, Jill Hasell, Susan Davies e Simon Bickler. "Conus armshells in British New Guinea: the effects of economic change on cross-cultural engagement". Memoirs of the Queensland Museum - Culture 13 (2022): 309–26. http://dx.doi.org/10.17082/j.2205-3239.13.1.2022.2022-10.
Testo completoAbstract (sommario):
In late nineteenth century British New Guinea armshells made from conus shells were an essential element of ceremonial exchange among communities resident along the southern coast and in the islands of the Massim region. A comparative analysis of the size and nature of decoration on conus armshells within the Official and Personal collections assembled by Sir William MacGregor, Administrator and Lieutenant Governor (1888–1898) illustrates the effects of economic change on the availability of objects used to broker cross-cultural exchanges. The abundance of trade goods available to local communities combined with high rates of inflation in the number of armshells required for marriage payments in the region around Port Moresby led to a severe shortage of these valuables. In the Trobriand Islands, which were experiencing an economic boom due to the high demand for pearls by western traders, large valuable objects used in the Kula ceremonial exchange system were also rarely given to outsiders. This study illustrates the impact of varying social and economic conditions on local decisions about social engagements involving cultural valuables.
44
Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere". Culture and Cosmos 21, n. 1 and 2 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0631.
Testo completoAbstract (sommario):
Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cartoon for Mars is part of the collection of drawings at the Birmingham Museum of Art, UK, and the drawing Morning Star is located at Lady Margaret Hall in Oxford, UK. In the creation of the Planets cycle, Burne-Jones was inspired by cultural events of the time, such as British scientific astronomical discoveries and British and Italian humanistic sources in literature and visual arts portraying astronomy. This essay examines – art historically and iconographically – only one of the eight planets, the cartoon of Luna (The Moon) as an astral planetary formation and a celestial sphere. This study is composed of two sections. The first section discusses the history of the artistic commission and the second section explains some of Burne-Jones’s cultural sources for the Planets cycle and the Moon, both of which partake of heavenly and terrestrial realms.
45
Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere". Culture and Cosmos 21, n. 0102 (ottobre 2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0231.
Testo completoAbstract (sommario):
Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cartoon for Mars is part of the collection of drawings at the Birmingham Museum of Art, UK, and the drawing Morning Star is located at Lady Margaret Hall in Oxford, UK. In the creation of the Planets cycle, Burne-Jones was inspired by cultural events of the time, such as British scientific astronomical discoveries and British and Italian humanistic sources in literature and visual arts portraying astronomy. This essay examines – art historically and iconographically – only one of the eight planets, the cartoon of Luna (The Moon) as an astral planetary formation and a celestial sphere. This study is composed of two sections. The first section discusses the history of the artistic commission and the second section explains some of Burne-Jones’s cultural sources for the Planets cycle and the Moon, both of which partake of heavenly and terrestrial realms.
46
Carter, Michael. "Cracking the Code: the Warden Abbey Morses, Luxury Metalwork and Patronage at a Cistercian Abbey in the Late Middle Ages". Antiquaries Journal 91 (25 luglio 2011): 175–93. http://dx.doi.org/10.1017/s000358151100014x.
Testo completoAbstract (sommario):
AbstractThe three copper-gilt and enamel plaques from Warden Abbey are the most important examples of late medieval metalwork from an English Cistercian abbey. They are currently exhibited at the British Museum and dated to the mid-fifteenth century. A reinterpretation of the monograms decorating the plaques allows their patron to be identified as Abbot Walter Clifton (c1377–97). An analysis of the plaques’ style and iconography also suggests a late fourteenth-century date. Clifton's personal devotions and an unusual aspect of the plaques’ iconography can be explained by reference to the spirituality of the Cistercian Order. The plaques’ closest parallel is a roundel decorated with the badge of Richardii. Evidence from inventories and comparison with Continental material suggests that the Warden plaques were, in all probability, morses, used to fasten a cope.
47
Goja, Bojan. "Giovanni Vendramin i iluminacije u inkunabulama samostana Sv. Frane u Šibeniku". Ars Adriatica, n. 5 (1 gennaio 2015): 115. http://dx.doi.org/10.15291/ars.521.
Testo completoAbstract (sommario):
The article analyses the illuminations of two incunables which are housed in the monastery of St Francis at Šibenik. The front page of the incunable of John Duns Scotus’ Scriptum in quattuor libros Sententiarum Petri Lombardi (Johannes de Colonia et Johannes Manthen, Venice, 1477) is decorated with high-quality figural and phytomorphic illuminations. In the corners of the decorative frame in the upper margin are the figures of a heronand a monkey. Vertical sections of the frame are filled with flowers, leaves and berries in the colour blue, green and cyclamen pink and with numerous stylized golden burdock flowers (Arctium). The central part of the frame in the upper and lower margin is filled with dense, symmetrically placed thick leaves in the colour blue, green, purple and cyclamen pink with a stylized golden burdockflower (Arctium) appearing here and there. In the centre of the page is a crest composed of two fields separated by a horizontal line; the upper on is red and the lower one white. Two winged putti are set in the corners andthey hold red ribbons. Each wears a necklace made of red corals and classical sandals on their feet. They landscape around them is arid and there is only one tree, its bark dry, standing in it. The rocky ground with jagged edges is covered in small stones. The distinctly painted winged putti, the depiction of the landscape and the dense vegetal decoration filling the frame in the upper and lower margin demonstrate noticeable similarities with the works of Giovanni Vendramin, a prominent representative of Paduan Renaissance miniature. Thefront page of the aforementioned incunable at Šibenik can be attributed to him; he may well have been helped by his workshop and collaborators. First and foremost, it ought to be mentioned that the decorative frame on one of the opening pages (c. 4v) in an Antiphonary at Ferrara features identical type of leaf decoration as the one that fills the upper and lower margin in the incunable at Šibenik. Here too, the playful putti wear classical sandals and necklaces made of red coral. Furthermore, putti with identical physiohnomies – wearing coral necklaces and classical sandals while holding ribbons in their hands – can be found on fol. 2r in the incunable of Marcus Tullius Cicero’s Orationes (Venice, Christophorus Valdarfer, 1471, Philadelphia, The Rosenbach Museum and Library, Inc 471ci). The landscape in which the putti are depictedis also arid and marked by a single dry tree rising from the ground covered with small stones. Identical putti can be seen on the cover of the incunable of Marcus Tullius Cicero’s, Tusculanae Quaestiones (Venice, N. Jenson, 1472, London, British Library, C.1c.10, fol. 1). The landscape is also depicted in the same way. An excellent comparative example can be found in the winged putti standing on an all’antica structure on the cover of the manuscript of Jacopo Camphora’s, De immortalitate animae (London, Brittish Library, MS Add. 22325) which is decorated with architectural forms. The left and the upper margins of the opening pages of Book I and Book III of Gaius Julius Caesar’s Commentariorvm de bello Gallico (Milan, Antonius Zarotus, 1477) are decorated with frames filled with white vine scrolls on red, green and blue background with white dots. The decoration extends beyond the ornamental frames and reaches into the gold initials G and C. Although the decorative frames were not completely finished, it can be ascertained that they were made with great skill and are of high quality. This frame type was frequently used by Giovanni Vendramin and the examples from Šibenik are very close to some of his works, especially those made for Jacopo Zeno, the Bishop of Padua (Padua, Biblioteca Capitolare).
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COHEN, DEBORAH. "BUYING AND BECOMING: NEW WORK ON THE BRITISH MIDDLE CLASSES Gender, civic culture and consumerism: middle-class identity in Britain, 1800–1940. Edited by Alan Kidd and David Nicholls. Manchester: Manchester University Press, 1999. Pp. xi+223. ISBN 0-7190-5675-4. £14.99. The Victorian parlour: a cultural study. By Thad Logan. Cambridge: Cambridge University Press, 2001. Pp. xvii+282. ISBN 0-521-631182-3. £40.00. Shopping for pleasure: women in the making of London's West End. By Erika D. Rappaport. Bognor Regis, UK: J. Wiley for Princeton UP, 2001. Pp. xiii+323. ISBN 0-691-04476-7. £13.95." Historical Journal 46, n. 4 (dicembre 2003): 999–1004. http://dx.doi.org/10.1017/s0018246x03003418.
Testo completoAbstract (sommario):
The history of consumption in nineteenth-century Britain has largely been told as the story of the middle classes. Increasingly, as the three books under review demonstrate, the reverse is also true. The middle classes, they argue, derived their identities in significant measure from their consumerist habits rather than their relation to the means of production or the body politic. That was, as one might imagine, especially the case with women. What they bought, how they shopped, where they lived: these things came to define who a person was. How dramatically the literature on the Victorian middle classes has changed is apparent even from this brief description. Most obviously, the research focus has shifted from structures to identities. The old subjects – the professions, the movements (free trade, the franchise, anti-slavery), evangelical religion – are hardly anywhere to be seen in these volumes. Instead, they take up topics more often associated with French history: urban culture, shopping, interior decoration. With this shift in subjects has also come, either implicitly or explicitly, a sense that the defining characteristics of the British middle classes must be sought in the realm of culture, not politics or production.
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Mehmood Malik, Ayesha, Ar Farhana Naz e Ar Rimsha Imran. "CONSERVATION CHALLENGES IN PRESERVATION OF CULTURAL HERITAGE OF PAKISTAN: MARYAM ZAMANI MOSQUE; THREATS, AND RISKS". Pakistan Journal of Social Research 05, n. 01 (31 marzo 2023): 358–68. http://dx.doi.org/10.52567/pjsr.v5i01.1016.
Testo completoAbstract (sommario):
Maryam Zamani mosque has its religious significance. This mosque is about 4000 years old. Jahangir built this mosque after his mother and later on Raja Ranjit Singh converted the mosque to a gunpowder factory and then the British returned the mosque to the Muslims. Recently the WCLA (walled city authority) documented and conserved some parts of the mosque. This research aims to study the impacts of the conservation and and restoration works that includes the shrine and ablution parts of the mosque. The methodology adopted for this research is through site surveys, documentation of the conservation report by WCLA. The research findings indicate that the conservation attempt is arguable because conservation of the heritage buildings should be in their original context. Walled city of Lahore authority did a short-term solution of this by filling cracks with plaster, but they did not pay attention to its material and its decoration. Another cause is ignoring this heritage site for decades and the material of this mosque is also outdated. Other than authorities, people should also take responsibility toward heritage buildings. Cultural heritage should be respected because respecting the heritage means respecting the forefather’s efforts. Keywords: Damage mapping, Cracks, Conservation, Lahore, Maryam Zamani, Mosque
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Nádai, Zsófia, Ágnes Kolláth e Bianka Gina Kovács. "A Unique Iberian Majolica Fragment from the Marketplace of Győr (Hungary)". Hungarian Archaeology 12, n. 3 (2023): 35–45. http://dx.doi.org/10.36338/ha.2023.3.5.
Testo completoAbstract (sommario):
This paper explores the origin, chronology, and connections of a majolica vessel found during excavation in the marketplace of Győr. The piece is of exceptionally high quality and counts as exceptional in the archaeological record of Hungary. It is adorned with painted cobalt blue motifs and lustre decoration. Its analogies are known from major museums’ collections, including the Metropolitan Museum, the British Museum, and the Louvre. Based on these, its place and time of origin could be identified as the 15th-century Valencia in today’s Spain, more specifically, Manises (now a district of Valencia) and between the 1430s and 1450s (based on the detailed chronological framework established from excavation results in the area). According to written sources, ceramic vessels and architectural ceramics were produced in Manises, a workshop following Hispanic Moorish traditions, to be exported to distant lands and on the order by noble families and princely courts, thus influencing, for instance, the majolica production of Italy. Following the expansion of the Kingdom of Aragon during the reign of Alfonso V, the Manises ware also became important in the court in Naples. The diplomatic relations between the royal courts of Aragon and Hungary can be accounted for the appearance of such a vessel in the territory of the Kingdom of Hungary