Tesi sul tema "Decoration and ornament"
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1
Dürfeld, Michael. "Das Ornamentale und die architektonische Form : systemtheoretische Irritationen /". Bielefeld : Transcript, 2008. http://www.loc.gov/catdir/toc/fy0804/2008423180.html.
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FARRELL, GAVIN R. "ORNAMENT: SEMANTICS AND TECTONICS IN CONTEMPORARY URBAN ARCHITECTURE". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1115929765.
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Reid, Bronwyn. "Cast architectural ornament : plaster and compo". Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214384.
Testo completoAbstract (sommario):
Plaster and compo are both materials used for cast architectural ornamentation. Preserving, repairing, and in-kind replacing cast architectural ornamentation is necessary to maintain the integrity of a space. Plaster and compo are visually and texturally very similar materials. Compo was invented to be a less costly substitute for plaster. Whereas the two materials are easily mistaken for one another, they are chemically quite different. The ingredients and methods used to create the two separate materials exemplify this difference. Understanding the differences is key to successfully preserving the ornaments and, thus, the spaces in which they are located. Repairing plaster with compo or compo with plaster can lead to the destruction of cast architectural ornaments. Furthermore, chemical paint removers that are safe to use on plaster can deteriorate compo. It is necessary to thoroughly understand the nature of the materials so that informed decisions can be made about their treatments. The study addresses the similarities and differences, the maintenance, deterioration, repair, and replacement of the two materials.Department of Architecture
4
Raksadeja, K. "Digital and interactive media analysis of myths and traditions expressed in Thai fairground art". Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.
Testo completoAbstract (sommario):
The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.
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Duckworth, Chloë N. "The created stone : chemical and archaeological perspectives on the colour and material properties of early Egyptian glass, 1500-1200 B.C". Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13935/.
Testo completoAbstract (sommario):
The Late Bronze Age in Western Asia and Egypt witnessed an explosion in the production of so-called 'vitreous materials', in particular the earliest glass. From its outset, this material appeared in an enormous variety of colours and colour combinations, the manufacture of which demanded a high degree of technological know-how. The unique properties of glass also rapidly came to the fore, most notably the potential of glass to be worked while hot. Archaeometric research into early Egyptian glass has tended to focus on chemical and isotopic analysis as a means to assign provenance to its raw ingredients. To this end, the use of a technique new to archaeology, ToF-SIMS, is developed here in order to investigate the origin of the colorant opacifiers used in glass production. But questions about manufacturing technology and stages of production are also vital to an understanding of the role and perception of glass, and the aforementioned technique is complemented by electron microprobe analysis, revealing a surprising complexity of production, primarily related to coloration. Furthermore, it has been argued that the terms used to refer to glass in epigraphic sources indicate that it was primarily produced in order to imitate, or substitute for, precious stones of value in Late Bronze Age Egypt and Mesopotamia (primarily lapis lazuli, carnelian and turquoise). Recent research into the archaeological and ethnographic understanding of colour naming and classification is applied to these sources along with an investigation of the material properties of glass itself. It is suggested that, far from being an imitation, the artificiality of glass - as a man-made material - was deliberately, sometimes spectacularly, proclaimed. Central to this is the use of colour, in particular in terms of transformation, and the aforementioned complexity of production. It is argued that only through combining the numerous approaches to the evidence taken here - scientific, linguistic-historical, and archaeological - can the perception of glass, and the motivations behind its production, be determined.
6
Parkerson, Sarah Lawrence. "Variations in gold : the stylistic development of the picture frames used by James McNeill Whistler". Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4471/.
Testo completoAbstract (sommario):
The picture frames used by the American painter James McNeill Whistler developed stylistically throughout his career. This thesis identifies these developments, defines the characteristics indicative of each design, and contextualises their creation within Whistler’s larger body of work. First-hand examinations of over a hundred frames, in both the United Kingdom and the United States, resulted in challenging the generic understanding that a ‘Whistler frame’ is characterised only by reeded ornamentation. These physical examinations are cross-referenced with the significant amount of correspondence existing between Whistler and his contemporaries, thanks in large part to the publication of the on-line edition of The Correspondence of James McNeill Whistler. This thesis argues that the stylistic developments present in Whistler’s frames are directly linked to his understanding and perception of the frame’s function. Chapter 1 outlines that a picture frame can serve one of three functions: (1) as a decorative art object linking the painting to the environment, (2) as a decorative art object dividing the painting from the environment, or (3) as an extension of the painting. This thesis also applies the additional approach that the picture frame functions as an indicator of the provenance for both the painting and frame. Chapter 2 explores this method of provenance by examining Whistler’s reframing habits. Chapter 3 explores Whistler’s friendship with Dante Gabriel Rossetti and his early designs from 1864. These frames are observed as extending the painting to become a cohesive whole. Chapter 4 documents Whistler’s earliest attempt at painted frames and their development into incised ornament. Chapter 5 explores the effect that Whistler’s interior designs (including the Peacock Room) had on his frames. Chapter 6 focuses on the frame created during the 1880s and addresses the framing of Whistler’s works on paper. Chapter 7 examines Whistler’s working relationship with Fredrick Henry Grau and the preparations made for the 1892 Goupil Gallery exhibition Nocturnes, Marines and Chevalet Pieces.
7
Beats, Kate A. "Size, surface and shape : experiencing the Athenian vase". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50045/.
Testo completoAbstract (sommario):
This study provides an alternative framework for the interpretation of the painted and plain Athenian vase during the Late Archaic and Classical period. The primary focus is on the way in which the vase came to interact with society. As a commodity with a practical use, the vase was permitted to circulate in social spaces in Athens. As a consequence of this contact, the accumulated meaning became more symbolic than practical. For instance, due to its use within the domestic sphere, the vase became a symbol of domesticity. This development of symbolism involves a transformation in the perception of the vase as something more than a practically functioning thing. The functions that the vase performed were meaningful in themselves. For the purposes of exploring the manifestation of this transformation, this study draws upon an anthropological theory of art as well as theories which interpret the experience of viewing. Although the painted vase is discussed alongside plain vessels, its decorative component is considered as a further expression of communication between the vase and society, Athens in particular. The manifestation of this communication between the vase, context and user is isolated to three characteristics in this study; size, surface and shape. Alterations in these components reduce the practical function of the vase in favour of its symbolic qualities. These factors are discussed over five chapters. In so doing, this study offers a radically revised interpretation of the vase as an object which is entirely context dependent and came to represent the communication between commodities and society.
8
Clay, E. S. "A material-led investigation into the creative potential of British 'waste' wools for fine craft felt-making". Thesis, Bath Spa University, 2013. http://researchspace.bathspa.ac.uk/1734/.
Testo completoAbstract (sommario):
This thesis describes the practical investigation and analysis of traditional materials and processes used in the production of hand made felt. Specifically, the research examines the potential of certain British wool types that are currently undervalued (and often overlooked in the production of fine craft felt). These wools are frequently referred to as ‘waste’ wools. The research further explores aspects of the UK’s wool economy and the problematic issue of waste wool. The aim being to locate and articulate the creative potential of a selection of these wools within the field of fine felt craft practice, and in so doing raise an awareness of their potential diversity and relevance. The investigation questions felt’s marginal status within the textile hierarchy, and problematizes notions of the familial and self-conscious attributed to felt craft by some of its makers. By examining distinctions between craft and industrial felt production, the research considers both the opportunities and limitations of these relationships within the context of designer maker practice. The purpose and focus of this material-led examination is to develop inventive, progressive methods in fine felt craft and couture application seeking material currency with appropriate use of waste wools for handwork production. The practical experimentation was conducted using a practice-led research approach through which materials and sampling methods emerged within a studio-based environment. The study focuses on the use of carding, wet and dry felting and post felting manipulation of surface design using hand-pleating applications. Whilst not specifically suggesting new techniques in felt-making, the modification of existing processes has formed a central part of the contribution to new knowledge created within the work. Therefore the qualitative nature of the research methodology establishes a new perspective on both the value and integrity of British waste wools for the production of fine craft felt-making. The portfolio of fabrics produced confirmed the suitability of materials for fine craft felt-making and further suggested their appropriateness for product development and use. The fabric prototypes and exposition collection evidence new design concepts, situating the practical investigations in a cultural and critical context and in so doing reposition the material in a more valuable and original light. The sampling process identified key areas for innovation and aesthetic appeal suggesting that further research could be developed using other wools and wool blends. From this thesis emerges a vibrant platform for fresh interpretation and potential for British waste wools in fine craft felt-making, further strengthening the creative interplay between material and technique.
9
White, Andrew J. "Post medieval pottery in Lincolnshire 1450-1850". Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/28497/.
Testo completoAbstract (sommario):
This thesis investigates the manufacture and use of ceramics over four centuries in Lincolnshire, and considers the evidence for date and function of the pottery itself and for the social standing and economy of the potters, late survivors of the medieval peasant craftsman tradition. Documentary and physical evidence are both searched to produce the most comprehensive possible list of sites and potters names, and to highlight the areas of doubt where neither type of source can give sufficient proof. The methods of pottery production are also examined and two specific types of vessels are discussed in detail as examples of the search for -=origins. From this point the search widens to consider the importation principally by sea of pottery from other parts of the country and from Europe, and the prices of such wares are compared with prices of local products. This leads to certain conclusions about the economic pressures on local potters and their adjustments to deal with new problems and changing expectations. Contemporary sources, depositional evidence and context are next used to study the names and function of pottery, and finally the principles of dating are discussed, and a series of pottery groups are analysed to test the reliability and transferability of dating. Throughout pottery making is compared with comparable trades and Lincolnshire's position with that of the wider ceramic world.
10
Towle, Andrew C. "A scientific and archaeological investigation of prehistoric glasses from Italy". Thesis, University of Nottingham, 2002. http://eprints.nottingham.ac.uk/11741/.
Testo completoAbstract (sommario):
Ancient glasses are invariably complex materials, in which the specific chemical composition and microstructure capture aspects of their technologies. The chemical characterisation of glasses in specific archaeological contexts has given useful insight into the peculiarities of diverse glass-making technologies. In addition such studies generate more general information upon an important range of phenomenon, including the pyrotechnological milieu, empirical knowledge of sophisticated chemistry, organisation of production, access to significant raw materials and long-distance trade. This study examines a wide selection of glass artefacts recovered from archaeological contexts in Northern and Central Italy from approximately 1200 BC to 200 BC. The earliest material is from the Final Bronze Age, and extends the characterisation of an established glass type, which is unique to Europe and distinct from the contemporary technologies of the Eastern Mediterranean. Using a combination of X-ray fluorescence analysis, electron microprobe and scanning electron microscopy glass artefacts from a thousand-year period from the same region are investigated. The shifting technologies permit the discussion of localised production and importation of glass from elsewhere. The chemical analysis reveals a complex picture of glass production, which defies the expected pattern, and there is evidence for new compositional types, which may yet prove to be diagnostic of highly localised production. The changing compositions are discussed in relation to the broader archaeological context.
11
FitzGerald, Claire. "Women, craft, and the object : Birmingham 1880-1930". Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/81961/.
Testo completoAbstract (sommario):
This thesis addresses the overlooked contribution of female graduates of the Birmingham Municipal School of Art to the Arts and Crafts movement, during the period of 1880 to 1930. Despite the special status which the Birmingham School enjoyed in its time, Birmingham’s Arts and Crafts movement as a whole has been relatively little studied. The role of women artists within this regional phenomenon has been even further neglected. Employing an object-led approach, this thesis uses artworks as the starting point and main vectors for the exploration of issues tied to materiality, technique, collaboration, authorship, politics, religion, regionalism and gender. The work of Georgie Gaskin (1866-1934), Celia Levetus (1874-1936), Kate Bunce (1856-1927), Myra Bunce (1854-1919), Florence Camm (1874-1960), Margaret A. Rope (1882-1953), and Mary Newill (1860-1947) will be studied in detail. It will be argued that these women artists were integral to the renewal of book-illustration, the revival of the artistic technique of painting in tempera, stained glass making and embroidery. A web of interactions crucial to their professional success will be traced based on geographical proximity, shared workspaces, and social connections. Craftswomen’s role as educators will also be investigated, revealing them as shapers and not merely followers or consumers of the movement. Informed in particular by the theoretical writings of the philosophers Arthur C. Danto, Jacques Rancière and feminist art historian Griselda Pollock, this thesis will offer a valuable update to a field largely untouched by current academic debates and saturated with survey publications. Combined with extensive archival research and the close inspection of artworks, this study aims to go beyond the additive approach of reinsertion. It seeks to provide a critical discussion of the materialisations of women’s participation in the formation of culture.
12
Pleasant, Elizabeth A. "Ornamentation, representation, and experimental drawing". Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/21606.
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Prickett, Douglas B. "Ornamentalism /". Online version of thesis, 1990. http://hdl.handle.net/1850/10938.
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Wong, Chun-ming. "Cantonese opera on the temple ridge conservation of Shek Wan ceramic figurines on the ridge of the Hung Shing Temple at Apleichau /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B4218874X.
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Odom, Jason Scott. "An investigation of the ornamental joint". Thesis, Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/23120.
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Alves, Francine D. A. C. C. O. "A arquitectura e o mosaico romano de pavimento-relações-interacções". Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2002. http://dited.bn.pt:80/30055.
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Vieira, Eduarda Maria Martins Moreira da Silva. "Técnicas tradicionais de fingidos e de estuques no norte de Portugal-contributo para o seu estudo e conservação". Master's thesis, Instituições portuguesas -- -Universidade de Évora, 2002. http://dited.bn.pt:80/30074.
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Boram-Hays, Carol Sue. "A history of Zulu beadwork 1890-1997 : its types, forms and functions /". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488195154357662.
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Smith, Michèle Mariette Hayeur. "A social analysis of Viking jewellery from Iceland". Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/1000/.
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20
Allen, Joanne. "Choir stalls in Venice and northern Italy : furniture, ritual and space in the Renaissance church interior". Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3603/.
Testo completoAbstract (sommario):
This thesis seeks to re-establish the significance of choir stalls in Venice and northern Italy and seeks to place stalls in their artistic, liturgical and spatial context. Although now situated in remote locations in the church, stalls were once highly prized items of furniture and considered to be praiseworthy artistic structures in their own right. As the location for religious ritual, the elevated status of the choir area was reflected in the detailed and sophisticated design of its wooden furniture. Through an analysis of visual and documentary material, stalls will be brought to the fore to consider broader questions. What can documents reveal about Renaissance workshop practices and the relationship between craftsmen and patrons? How did the form of stalls reflect their use in religious ritual and the organisation of sacred space? How did choir furniture develop as an independent medium within the artistic context of the Renaissance church interior? Four main topics will be considered in the first four chapters: the visual history of stalls; the contracting procedure; the use of stalls in liturgical practices; and changes to choir placement. Chapter One reconstructs the stylistic history of north-Italian choir stalls from the fourteenth to early sixteenth centuries and contains an excursus on the development and meaning of intarsia iconography. Chapter Two focuses on choir contracts, which confirm that choir furniture was a considerable investment and a potential source of rivalry between church communities Chapter Three moves the focus away from stalls as material objects to their role in liturgical practices. An excursus on the established use of misericords in Carthusian liturgy will demonstrate the close interaction between form and function in stall design, and places Italian stalls in the context of their European counterparts. The placement of choirs in the church interior will be examined in Chapter Four using case studies of choir placement in different secular and religious houses, in particular the Franciscan Observants, Franciscan Conventuals and the Dominicans. Although changes in choir placement are often associated with liturgical reforms implemented by the Council of Trent, church renovations in fact occurred well before this period. Two Venetian case studies demonstrate the value of examining individual choir precincts in their original stylistic and spatial context. Chapter Five focuses on stalls in the Benedictine nuns’ church of San Zaccaria in Venice, completed by the Cozzi workshop in 1464. The choir precinct in the Frari in Venice is amongst the best-preserved choir precincts in Italy and is discussed in detail in Chapter Six; the circumstances of its construction are closely related to new choir furniture in the Santo in Padua. Specific terminology is explained and collated in the Glossary and an Appendix contains transcriptions and translations of significant documents.
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Knittler, Konstanze Amelie. "Motivations and patterns of collecting : George Salting, William G. Gulland and William Lever as collectors of Chinese porcelain". Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2811/.
Testo completoAbstract (sommario):
The collecting of Chinese ceramics had become an increasingly popular activity in late 19th-century Britain. Whereas the 18th century was characterised by an interest in porcelain for the purpose of interior design, the political developments between China and Britain enabled a new approach to Chinese cultural identity; different Chinese material became available in the wake of the Second Opium War (1856-1860) and the subsequent sacking of the Imperial Summer Palace of Yuanmingyuan, and this material entered Britain for the first time. Due to the opening of China to foreign merchants, Britons now could move freely in the country and gain access to ‘luxury goods’ such as porcelain. As a result, a different taste for Chinese porcelain emerged and developed, which would reflect on the collecting scene in Britain. This thesis examines the motivations and collecting patterns of three British collectors (George Salting, William G. Gulland and William Lever) in the context of late 19th- and early 20th-century Chinese porcelain collecting. All three men built significant collections in the given period, which entered national institutions by gift and/or bequest, as well as a purpose built gallery in one case. Nonetheless the collectors’ achievements in the field of Chinese ceramics have not been analysed extensively and therefore the present thesis aims at complementing the existing research. The study makes predominant use of primary unpublished material on the three collections, which enables conclusions to be drawn on the incentive and approach of these collectors in accumulating Chinese artefacts during this period. In consideration of those findings, it will be argued whether their collecting encouraged an underlying common motif and how their tastes matched the general concept of collecting porcelain in the late 19th and early 20th centuries. The first chapter provides an introduction to the subject, and will be followed by a historical abstract of 19th-century collecting in Britain and a review of the published literature in the second chapter. The third chapter examines the collecting activity of the oldest collector, George Salting, by analysis of his purchase activity and the bequest of his Chinese porcelain collection to the Victoria and Albert Museum. The fourth chapter considers the collecting of William G. Gulland, whose first-hand experience of East Asia prompted him to collect and publish books on Chinese porcelain. The fifth chapter will look into the collecting principles of William Lever, whose Chinese collection stands in contrast to his overall British taste. The conclusion in the sixth chapter will summarise the major points of the preceding chapters and it will put the achievements of the three collectors into perspective with the general idea of collecting Chinese porcelain in Britain in the period under discussion.
22
White, Gillian. "'That whyche ys nedefoulle and nesesary' : the nature and purpose of the original furnishings and decoration of Hardwick Hall, Derbyshire". Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/1200/.
Testo completoAbstract (sommario):
This study considers the nature and purpose of the original furnishings and decoration of Hardwick Hall. It analyses surviving artefacts, inventories, accounts and other documentation, as well as other comparative contemporary literary and visual sources. It seeks to reveal more about Bess of Hardwick's motives and processes in creating the interior of Hardwick. The Introduction includes a brief biography of Bess and a survey of existing literature on Hardwick. It also indicates the scope for new work. Chapter Two provides a context for the later chapters by considering the organisation of space within the building and its social significance. In order to understand the relationship between the two Hardwick Halls a detailed analysis of the Old Hall's whole layout is offered for the first time. Chapter Three analyses the furnishings as physical objects. It asks what Bess owned, how she acquired it, how she used it and how her practices compared with other peoples'. Discussion is based on the 1601 inventory, Bess's household accounts, surviving artefacts and other comparative material. Bess's unpublished will and earlier inventories of Chatsworth and Northaw are also included in the analysis and presented as appendices. Chapter Four analyses three iconographic themes: the assertion of identity, the government of the self, and the government of the nation. This is done by making detailed case studies and seeking to interpret the objects through contemporary ideas, sources and examples. Chapter Five summarises the chief fmdings and interprets them in the context of Bess as a patron, her resources, influences and motivation. The principal conclusions are that Bess did not invest heavily in creating Hardwick, that she did not create a palace for her royal grand-daughter and, most surprisingly, that she did not seek to build a house for the Cavendish dynasty. Instead, she created a personal monument.
23
Zamberlan, Lisa Art College of Fine Arts UNSW. "The pleasure of appearances". Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43281.
Testo completoAbstract (sommario):
Decoration holds a contested position in built environment scholarship. Largely marginalised by Modernist claims of material and structural integrity, decoration is often sidelined as the most temporal and superficial of built environment practices. A common misunderstanding is that decoration and interior design merely make built space fashionable. The thesis challenges the misconception of interior design as gratuitous embellishment, and demonstrates how a reconsideration of the term decoration makes new insights available for both contemporary practice and scholarship in interior design. I contend that if decoration can be considered a vehicle through which ideas, such as the cultural veneration of appearances and the social motivations of fashion are explored, it can be understood as representative of contemporary cultural concerns.
24
Harwood, Haupuru. "Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003". Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.
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Min, Hyerim Choi. "Encountered surfaces /". Online version of thesis, 1993. http://hdl.handle.net/1850/11971.
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Dugan, Moi. "Narratives on clay /". Online version of thesis, 1993. http://hdl.handle.net/1850/11769.
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Czarnocka, Anna Honorata. "Aspekte der "Chinoiserie" in der französischen Lackkunst des XVIII. Jahrhunderts Inaugural-Dissertation ... /". Bonn : [Rheinische Friedrich-Wilhelms-Universität?], 1989. http://catalog.hathitrust.org/api/volumes/oclc/48102962.html.
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement". Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.
Testo completoAbstract (sommario):
This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Wedge, Tracey Leigh. "Constructing splendour : the wardrobe of Robert Dudley, Earl of Leicester (1532/3-1588), consumption and networks of production". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/377483/.
Testo completoAbstract (sommario):
This thesis examines the networks involved in the production of the wardrobe of Robert Dudley, Earl of Leicester (1532/3-1588). It is clearly demonstrated that Leicester’s dress placed him alongside his contemporaries within the nobility. A successful and well functioning wardrobe network was crucial to achieving the required standard of dress. Establishing the identity of the individual members of the network enables the further examination of each person’s role within the network, and in dressing Leicester. Comprised of English masters embedded in their livery company politics and punctuated with foreign masters, the network provides an insight into business practice and social interaction in sixteenth century London.
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Baker, Rosemary M. "Nineteenth century synthetic textile dyes : their history and identification on fabric". Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/372624/.
Testo completoAbstract (sommario):
Textile dyes have been the subject of many studies from the varied perspectives of historians, conservators and scientists. Most of these have focused on natural compounds but nineteenth century synthetic dyes form the basis of this thesis. The dual areas of interest have been the social history of those dyes developed between the introduction of Mauveine in 1856 and the end of the century and the investigation of novel spectroscopic methods for their identification in situon textiles. Although the first synthetic dye was manufactured in England, the centre of the industry soon moved to Germany and Switzerland. Education an d contacts in Switzerland or Germany were important in advancement in the field as can be seen in the previously unresearched biography of J.J. Hummel who, through his Swiss step-father, was able to travel to Zurich to study and subsequently progressed from working as a cotton printer to become the first professor of textile dyeing at the Yorkshire College, later Leeds University. Evidence was found in newspapers and popular periodicals for three other factors which had an important influence on the attitude to synthetic dyes in England. One was English reluctance to invest in speculative ventures rather than the established textile industries. The second was the possession of colonial holdings and overseas trade networks which encouraged continued research into imported natural products. Thirdly the particular form of the Arts and Crafts movement in England emphasised the craft means of production in a way which the equivalent aesthetic in Germany did not. Nineteenth century dye manuals show that there was no exclusive use of either natural or synthetic dyes in the trade despite the fashion in artistic circles for ‘natural’ colours. The identification of synthetic dyes on textiles is important in textile history and conservation especially in the context supplied by the investigations described above into the usage of the dyes. It is highly desirable in the field of cultural heritage to devise analytical techniques which are non-destructive and non-sampling. Dyed wool and silk samples were prepared using 12 dye compounds. Different techniques were tested and Fourier transform Raman spectroscopy was able to provide diagnostic spectra for a variety of synthetic dyes. Clear features in the spectra could be used to identify the dye class and to distinguish between dyes of the same class. This technique allowed the detection of dyes on the textile for the first time and it was applied successfully to original samples from dye manuals. One unknown mauve sample was also analysed and a combination of infrared and Raman spectroscopy allowed a definite identification of the dye as a triphenylmethane and tentatively as Methyl violet. This study combines investigations into material culture and social history and demonstrates the use of science together with historical research to reveal new insights into the history of textile dyes.
31
Holroyd, Sophia Jane. "Embroidered rhetoric : the social, religious and political functions of elite women's needlework, c.1560-1630". Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/2356/.
Testo completoAbstract (sommario):
This thesis focuses on the Elizabethan and Jacobean aristocracy and upper gentry to yield the first detailed study of the elite needleworking woman as fashioner of her social personage, and of the objects she produced as indices of social persona, religious conscience and political agency. The first chapter explores how needlework mediates between wtiwomeann d their social context. It surveys the way in which needlework, both as practice and as object, functioned as a vehicle for projecting persona and personage into a social context which interpreted needlework according to complex value systems of personal virtue and the husbandries of conspicuous wealth. The chapter explores needlework as a site for intellectual expression. The theories developed in the first chapter are tested in a case study of Bess of Hardwick, whose textiles show her construction of a virtuous aristocratic persona proclaiming its self-assured place in the social hierarchy. Chapter Two is the first study to consider the needlework of Elizabethan and Jacobean Catholics in the light of the Protestant proscription of iconic vestments. It recovers the history of lost needlework from English convents on the Continent, and of the English recusants' covert provision of vestments to Jesuit missioners. The first detailed case studs' of Helena Wintour's vestments reads Wintour's Jesuit-influenced Marian floral emblems and iconography alongside Hawkins's meditation handbook Partheneia Sacra to theorise Wintour's devotion to the Immaculate Conception, and explores the vestments' relationship to the liturgy and their iconographical importance to the Mass. Chapter Three considers needlework gifts as political currency within patronage structures at the Elizabethan and Jacobean courts. Narrated with a contemporary vocabulary of grace, needlework gifts contribute to the construction of court-crown relations, symbolised by needlework gifts in Jacobean court masques. Through needlework gifts a `feminine commonwealth' availed itself of power structures at the court of James's consort that parallel his departments, and the women's political agency in a female political hierarchy is seen encoded within gifts of needlework in the Queen's Courts final masque. The case study uses Mary's needlework gifts to Elizabeth as an index of changes in their relationship. Mary's needlework joins parallel texts such as poetry, portraiture and planned masques in developing an iconographical vocabulary centring on the Judgement of Paris, with which diplomatic negotiations sought to clarify the Queens' relative positions.
32
Callaghan, Angela. "The ceiling of Skelmorlie Aisle : a narrative articulated in paint". Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4891/.
Testo completoAbstract (sommario):
The intention of this thesis was to demonstrate that, with in-depth analysis, a carefully and deliberately constructed narrative could be revealed within the ceiling paintings of Skelmorlie Aisle, Largs, Scotland (c.1638). The ceiling adorned a burial aisle, which was erected by Sir Robert Montgomerie, seventh of Skelmorlie, in honour of his wife, Dame Margaret Douglas. The paintings, executed by Edinburgh apprentice James Stalker, are the only surviving example of the genre signed and dated by the artist. The ceiling was composed of forty-one individual compartments each one containing different combinations of emblems, designs, human figures, animals, birds and heraldic representations. Of the forty-one compartments, four of these contained landscape paintings, depicting the seasons, and their associated labours. Two unusual paintings were also executed each containing representations of a female figure on the land and by the sea. By a study of semiotics, this dissertation systematically re-constructed the narrative concealed within the paintings. This revealed the intrinsic meaning of the iconography. The thesis argued that simple observation revealed very little information relating to the understanding of the paintings and in-depth study was required to elucidate this. The narrative began with an exploration of seventeenth-century nobility with a particular focus on the patron, Sit Robert Montgomerie of Skelmorlie. It then considered the role of architecture and design in Early Modern Scotland with a discussion on domestic architecture and burial aisles. An exploration into the painted ceiling in seventeenth-century Scotland was also included as was a consideration of the role of the artist and patron. A focus on the sources available to artists in Scotland during the Early Modern period, followed with a particular investigation into those used within the ceiling iconography of Skelmorlie Aisle. Whether it was intended that the ceiling iconography was to be read in a specific order was also included. These initial stages provided a platform from which an in-depth analysis of the iconography within the paintings, could be undertaken. The methodology applied here was that composed by German born art historian Erwin Panofsky. Panofsky argued that identifying objects, shapes and forms did not convey why certain components were chosen or what they meant. The first step was to ascertain the genesis of the sources, as this provided a greater understanding of the narrative and why they were chosen by Montgomerie. The research revealed that, with the exception of generic designs of floral patterns and scrollwork, the iconography within the paintings was not chosen at random; each component was selected for a very specific reason. When all of the factors were considered and the iconography analysed in depth, the full narrative became exposed.
33
Popp, Sigrid. "Die Fresken von St. Vigil und St. Zyprian Studien zur Bozner Wandmalerei um 1400 /". Access full-text online, 1996. http://edocs.tu-berlin.de/diss/1996/popp%5Fsigrid.pdf.
Testo completo
34
Lillywhite, Marie-Louise. "The counter reformation and the decoration of Venetian churches 1563-1610 : San Giacomo dall'Orio, Santa Maria dell'Umiltà, the Redentore and San Giorgio Maggiore". Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58313/.
Testo completoAbstract (sommario):
This thesis examines the effects that the religious changes heralded by the Counter Reformation and the decrees regarding religious imagery and the Eucharist promulgated at the Council of Trent had on the decoration of Venetian churches from the close of the Council in 1563 until the first years of the seventeenth century. Although politically Venice shielded her independence from the power of the Papacy, she nonetheless responded in conformity to the Tridentine decrees and played an important role throughout the Cinquecento as a centre for religious renewal. In turn this had an important impact on the fabric and decoration of the city’s churches, particularly in the last two decades of the Cinquecento. Focusing on four Venetian churches that were the objects of extensive decorative programmes during the late Cinquecento; San Giacomo dall’Orio, Santa Maria dell’Umiltà, the Redentore and San Giorgio Maggiore, this thesis combines archival and visual evidence to reach a deeper understanding of how the decoration of the Venetian church changed in this period. The central tenet of this thesis is that Venice made an important and early contribution towards developing the ‘ideal’ visual response required by the Council of Trent. In the immediate aftermath of the Council of Trent until the end of the century Venice enjoyed a period of important artistic renewal and achievement. This ‘golden age’ emerged in the years following Trent and in a period characterised by ongoing war and ravaging pestilence. Yet far from discouraging creative genius, the contemporary religious and political upheaval appears to have challenged artists and patrons to ever greater achievements. It thus appears that the conditions imposed by the Council of Trent created a framework within which artists could better represent the values of the renewed Catholicism of the late sixteenth century.
35
Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.
Testo completoAbstract (sommario):
Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.
36
Hui, Yat-chuen Alexander. "Lingnan in a mustard seed the cultural significance of Shiwan doll-figure decorated pottery roof ridges on temples in Hong Kong and Macau /". Click to view the E-thesis via HKUTO, 2003. http://sunzi.lib.hku.hk/hkuto/record/B31476946.
Testo completo
37
Mills, Lori. "Floralware /". Online version of thesis, 1989. http://hdl.handle.net/1850/10924.
Testo completo
38
Pecharka, David Michael. "That which best serves : materials in response to needs as an approach to architecture : the influence of bricks and brickwork". Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23374.
Testo completo
39
Fuller, Corey Lee. "The changing visual identity of churches : from symbols to branding /". Read thesis online, 2009. http://library.uco.edu/UCOthesis/FullerC2009.pdf.
Testo completo
40
Cunningham, Dawn K. "(Re-)constructing a passion the pontile of Modena Cathedral /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1058618800.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains xxi, 298 p.; also includes graphics Includes bibliographical references (p. 275-298). Available online via OhioLINK's ETD Center
41
Kaplan, Craig S. "Computer graphics and geometric ornamental design /". Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6887.
Testo completo
42
Holt, Alexia. "Reviewing Chanel : a catalogue raisonné and critical survey of the dress designs by Chanel published in British and French Vogue, 1916-1929". Thesis, University of Glasgow, 1997. http://theses.gla.ac.uk/5391/.
Testo completoAbstract (sommario):
Founded on the premise that the existing literature on Gabrielle ‘Coco’ Chanel does not give a comprehensive, balanced and objective survey of the dress designs produced by the house from 1916-1929, the thesis ‘Reviewing Chanel’ provides a catalogue raisonné of the designs shown in British and French Vogue during this period. This representative sample of Chanel’s work facilitates the very necessary and overdue re-assessment of Chanel’s early career and contribution to twentieth century fashion. Part One of the Introduction includes a review of the existing literature on Chanel and explains the rationale behind the production of a catalogue of the dress designs reproduced in British and French Vogue. Part Two serves as the introduction to the twenty-eight essays which outline the principal developments in each of the dress design collections presented by the house between 1916-1929. Each essay provides an analytical summary of the key themes and developments of the collection and relates Chanel’s work to that of the other leading houses in Paris during this period.
43
Thickpenny, Cynthia Rose. "Making key pattern in Insular art, AD 600-1100". Thesis, University of Glasgow, 2019. http://theses.gla.ac.uk/41009/.
Testo completoAbstract (sommario):
Key pattern is a type of abstract ornament characterised by spiral shapes which are angular rather than curved. It has been used to decorate objects and architecture around the world from prehistory onward, but flourished in a unique form in Insular art (the art of early medieval Britain and Ireland, c. AD 600-1100). Ornament of many kinds was the dominant mode in Insular art, however, key pattern has remained the least studied and most misunderstood. From the 19th century, specialists mainly have relied on simplified, line-drawn reproductions rather than original artworks. These 'correct' hand-made details, isolate patterns from their contexts, and in the case of Insular key pattern, de-emphasise its important physical structures. This resulted in misunderstandings of key pattern's structure and an inability to recognise evidence for medieval artists' working processes. Postwar art historians and archaeologists then largely abandoned study of ornament structure altogether, in critical reaction to this earlier method. For two centuries, academics have overlooked the artists' role in pattern-making, and how their creative agency is reflected in patterns' internal structures. In response, this thesis presents a new, artist-centred method for the study of Insular key pattern, which adapts Michael Brennan's pioneering approach to Insular interlace (a different pattern), to suit key pattern's distinct structure. Close examination of objects and monuments, rather than idealised 'types', has revealed how Insular artists themselves understood key pattern and handled it in the moment of creation. The core of the thesis is an analysis of key pattern's structural properties, i.e. its physical parts and the abstract, often mathematical concepts that Insular makers used to arrange and manipulate these parts, in order to fix mistakes, fulfill specific design goals, or invent anew. Case studies of individual artworks support this analysis and demonstrate how key pattern is a vehicle for accessing Insular artists' thought processes, as they improvised with the pattern's basic structures for maximum creative effect. For the first time, this thesis also places Insular key pattern in its global context, via comparative analyses of key patterns from other world art traditions. This investigation has confirmed key pattern's origin in prehistoric basketry and weaving technologies and explains why Insular key pattern's geometric complexity remains unparalleled. The adaptation and expansion of this new analytical method for key pattern also proves its applicability to any type of ornament from any culture, making it immediately useful to art historians and archaeologists. This thesis therefore represents a larger paradigm shift that brings ornament study into the 21st century.
44
Alazemi, Einas. "The role of fashion design in the construct of national identity of Kuwaiti women in the 21st century". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/359887/.
Testo completoAbstract (sommario):
The main objective of this research is to investigate the relationship between national identity and fashion among Kuwaiti women. The research findings propose that Kuwaiti women are able to use fashion to contribute to the construct of their national identity in the twenty-first century. A multi-method approach to the investigation was adopted. Firstly, critical analysis was used to grasp the concepts of national identity and fashion, and conclusions were drawn. Secondly, a case study method was used to collect data from a prominent, iconic Kuwaiti woman, Fatima Husain. Data was collected by undertaking critical analysis of her book and of publications about her by others, as well as an interview with her. Finally, primary data was obtained through interviews with prominent designers from Kuwait and the United Arab Emirates, and from a structured questionnaire survey of women from these two countries. Thematic analysis was used to identify the key themes that were then analysed to establish the nature of the relationship between fashion and national identity among Kuwaiti woman. Five major themes and several other sub- themes were identified, analysed and discussed. These five major themes are discourses on individualism, symbolism, morality, ethnicity and parochialism. The main conclusions were: (i) national identity is a complex, multi- perspective concept not amenable to a universal definition. The position taken in this study was the modernist perspective, that is, national identity is a socially constructed process which continues to evolve according to context. Put in simple terms, it is a process in transition; (ii) there is no universal theory to explain fashion, which can be considered multi-‐ disciplinary. This study concluded that the theory of fashion is rooted in social theory, behavioural science theory and economics theory, and it also involves aspects such as social class, behaviour (e.g. imitation, innovation) and disposable income. An analysis of fashion trends in Kuwait showed a significant shift in women’s fashion over the last 80 years; (iii) the Kuwaiti woman is ethnic, educated, independent, moral, wealthy, modest, decent, dignified, elegant and conspicuous. She has fine taste, is able to make clothing choices, is at times parochial but is ultimately able to use fashion to communicate her image and hence construct her national identity. However, therelationship between fashion and identity appears to manifest itself in two major ways – traditional dress and day dress. The study concludes with the design of a logo as part of the practical design element of the study. The primary elements of the logo were based on the findings of this research which were taken into account in the design. The logo therefore extended the theoretical findings using visual analysis. The objective is to have the logo manufactured for commercialisation.
45
Kettley, Sarah. "Crafting the wearable computer : design process and user experience". Thesis, Edinburgh Napier University, 2007. http://researchrepository.napier.ac.uk/Output/2418.
Testo completoAbstract (sommario):
The purpose of the research described in this thesis was to develop a design methodology for Wearable Computing concepts that could potentially embody authenticity. The Wearables community, still firmly rooted in the disciplines of engineering and ergonomics, had made clear its aspirations to the mainstream market (DeVaul et al 2001). However, at this point, there was a distinct lack of qualitative studies on user perceptions of Wearable products. A review of the market research literature revealed significant consumer demand for authenticity in goods and services, and it was this need that drove the program of research. The researcher's experience as a contemporary jeweller led her to question the positivist design processes of Wearable Computers. The ‘borg'-like aesthetics that had come to characterise these products reflected their origins in the laboratory, and implicit configurations of the user appeared to be acting as a barrier to wider adoption. The research therefore looked to Craft as a creative process with a fundamentally different working philosophy to begin building a new methodology for Wearables. Literature reviews of authenticity and Craft were conducted to provide the theoretical framework necessary for a practice-led enquiry into the design process. Further empirical work was undertaken in the form of the comfortBlanket, a concept design project, and a small survey of makers to provide a set of protocols for craft informed design processes. Following this, a suite of wirelessly networked jewellery was designed for a friendship group of five retirement aged women, and built in collaboration with the Speckled Computing Consortium, Scotland. The user centred methodology is informed by Actor Network Theory to account for the agency of the researcher and the event of task based analyses, and includes lifeworld analysis techniques drawn from a range of disciplines such as psychology and experimental Interaction Design. Three data sets collected over the course of two years were analysed using Grounded Theory, and a novel visualisation tool was developed to illustrate potential commitment to the novel concept designs. The methodology revealed a story of what the women made of the jewellery, how they enacted these understandings, and where this process took place. It was found that evaluating concept designs for the everyday and for authenticity require different approaches and that the design process does not end with the user, but with a reflexive analysis by the designer or researcher. In many respects the proposed methodology inverts standard design practices, presenting as many questions as it seeks to resolve. The methodology is presented as a contribution to emerging communities of practice around Wearable Computing, and to those developers seeking to position their products in the everyday. It is a challenging process that embodies authenticity in its post-structural treatment of functionality, the user and evaluation. Finally, the implemented wireless jewellery network represented the first application of Speckled Computing, and it is anticipated that the theoretical frameworks arrived at will also be of interest to Interaction Design and Contemporary Craft.
46
Mutch, Andrew C. "A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramics". Thesis, St Andrews, 2008. http://hdl.handle.net/10023/604.
Testo completo
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Şerifaki, Kerem Böke Hasan. "Conservation problems of historic wall paintings of taxiarhis church in cunda, ayvalık/". [s.l.]: [s.n.], 2005. http://library.iyte.edu.tr/tezler/master/mimarirestorasyon/T000393.pdf.
Testo completo
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Pereira, Daniela Scridelli. "Interiores e exteriores da etiqueta e da decoração = genero, posição social e historia de vida". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280379.
Testo completoAbstract (sommario):
Orientador: Heloisa Andre PontesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-15T05:41:36Z (GMT). No. of bitstreams: 1 Pereira_DanielaScridelli_D.pdf: 4002084 bytes, checksum: 388dea417d834eed9f7ae53c20f4cb79 (MD5) Previous issue date: 2009
Resumo: Ao partir da percepção de um imaginário social que associa a etiqueta e a decoração à "coisa de dondoca", "coisa de rico" e "coisa de mulher" consolidou-se como um veio fértil a busca por compreensões que evidenciassem outros sentidos e olhares sobre o universo do "refinamento". Assim, esta tese teve como primeira frente de reflexão os manuais de etiqueta e de decoração, as revistas especializadas em decoração e os programas televisivos a fim de compreender a constituição de um repertório cultural utilizado por consultores e pelo público interessado na legitimidade da experiência do "refinamento". No entanto, com a observação participante nos cursos sobre esses temas, o segundo aporte de pesquisa, vistos, especialmente, como searas femininas, outros significados atravessados por diferenças de classe, raça e sexualidade emergiram. Nesse sentido, ao me debruçar sobre as malhas do "refinamento", diferentes significados puderam vir à tona afastando visões essencializadoras sobre temas que poderiam, a princípio, ser considerados "menores"
Abstract: Giving the perception of social imaginaries that thinks of etiquette and decoration as a "thing of riches", a "thing of women" and a "thing of high class rich women who are vain and idle", the search for an understanding of other meanings and views on the universe of "refinement" consolidates itself as a fertile thread to be explored. Thus, the present thesis has as its first front of thinking the etiquette and decoration manuals, the magazines specialized in decoration and the television shows, in order to understand the constitution of a cultural repertoire used by consultants and by the public interested in the legitimacy of the "refinement" experiment. Notwithstanding, with the records of the author's participant observation taken in etiquette and decoration classes, meant as a second contribution for the present thesis, which were seen, especially, as feminine fields of activity, other meanings crossed by class, race, and sexuality differences emerged. In this sense, while the investigation of the meshes of "refinement" was conducted, different meanings could emerge, which stood off from essentializing visions on subjects that could, at first, be considered "minor" subjects
Doutorado
Antropologia
Doutor em Ciências Sociais
49
Battezzati, Ligia Cristina. "A personalização dos ambientes domésticos através do uso dos estilos vintage e retrô na decoração contemporânea". Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/609.
Testo completoAbstract (sommario):
Este trabalho consiste no estudo sobre a utilização dos estilos vintage e retrô nos arranjos domésticos, considerando a ordem decorativa, as relações entre moda e decoração, os significados atribuídos aos artefatos, a construção e a representação de identidades. A pesquisa tem como objetivo compreender as características do vintage e do retrô, explorar suas maneiras de apropriação e constituição enquanto estratégias para a personalização dos ambientes domésticos. Tem como principais fontes os discursos encontrados nas revistas Casa Claudia e Casa e Jardim, especializadas em decoração, publicadas no período de 2002 a 2011. Nas reportagens, tanto os textos quanto as imagens são recursos importantes para a compreensão dos tipos de arranjos caracterizados como vintage, cuja principal propriedade está no uso de artefatos do passado, ou como retrô, classificados como objetos que se aproveitam de recursos tecnológicos atuais, mas que remetem ao passado. Através de algumas reportagens veiculadas, pretendo discutir a importância da cultura material como recurso para a construção de modelos de estilo de vida. Embora o discurso das revistas privilegie o entendimento do vintage e do retrô como formas de personalização e expressão das individualidades, quero destacar seu caráter social e cultural, evidenciando o conjunto de regras e significados que regulam suas formas de uso.This work is a study on the use of vintage and retro styles in domestic arrangements, considering the decorative order, the relationship between fashion and interior design, the meanings attributed to artifacts, the construction and representation of identities. The research aims to understand the characteristics of the vintage and retro, explore their ways of appropriation and constitution as strategies for customizing home environments. Its main sources discourses were found in Casa Claudia and in Casa e Jardim magazines, specializing in decoration, published between 2002-2011. In the reports, both the texts and images are important features for understanding of the types of arrangements characterized as vintage, whose main property is the use of artifacts from the past, or as retro, classified as objects that take advantage of current technological resources, but that refer to the past. Through some articles published, I intend to discuss the importance of material culture as a resource for building models lifestyle. Although the discourse of magazines favors the understanding of vintage and retro as forms of customization and expression of individuality, I want to highlight their social and cultural nature, showing the set of rules governing their meanings and forms of use.
50
Lu, Zhiyong. "Decorative metallic threads of Famen temple silk : their categorization, application, and technology". Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30974/.
Testo completoAbstract (sommario):
This thesis surveys the ninth-century metallic threads decorating silks discovered at Famen temple in Shaanxi province, China. In this research, metallic threads decorating Famen silks have been studied and documented in detail in order to understand how they were produced and how they were applied. Samples of metallic threads were selected and optical microscope and SEM/EDS were used to determine their morphology and composition. Problems regarding the current terminology used to describe metallic threads are briefly considered, and a systematic renaming of different types of metallic threads is suggested. Analysis results show that most Famen metallic threads were made of gold strips without substrate wound around a fibrous core, and that very few are silver strips without substrate wound around a fibrous core. Silver strips with paper substrate wound around a fibrous core are found among Famen silks, providing very early examples of this type of metallic thread in the world. Technical evidence demonstrates that the Famen metallic strips were cut from hammered metallic foil. It was found that metallic threads of different metal composition with different physical characteristics were selected according to the decoration techniques used and the function of the silks. The use of metallic threads with different grades of evenness in dimension and morphology for different decoration techniques was also found. The gold contents of these gold threads are all very high, and the thicknesses of the gold strips are large. All these characteristics are probably related to the function of Famen silks as objects of Buddhist worship that had been donated to the temple by members of the Tang imperial family and other high-ranking people. Technical investigation into the manufacture of modern traditional Chinese metallic threads was carried out in this research. Combined with analysis of the morphological, structural, and material nature of Famen metallic threads, the key technical characteristics of modern traditional metallic threads were found, which provided important evidence for deducing the manufacturing techniques of Famen metallic threads. Successful reconstructive experiments that produced metallic threads similar to Famen metallic threads were carried out in the laboratory by the author. The use of other known related techniques to produce Famen metallic threads was eliminated on technical grounds. With the above evidence, the manufacturing of Famen metallic threads, especially how the metallic strips were wound around the fibrous core, are reasonably deduced here. By investigating a number of currently accessible Chinese historical metallic threads from other periods, the evolutionary principles of Chinese metallic threads are concluded. The special characteristics of Famen metallic threads, the reasons determining these characteristics are better understood, and their role in the development of Chinese metallic threads is assessed.