Letteratura scientifica selezionata sul tema "Women's clothing History Pictorial works"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Indice
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Women's clothing History Pictorial works".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Women's clothing History Pictorial works"
1
Sadikhbayova, Sevda Rafig. "Vocal features of Vasif Adigozalov’s novel “carnation” by Ilham Nazarov (countertenor)". Scientific Bulletin 4 (2021): 78–85. http://dx.doi.org/10.54414/uuvq7156.
Testo completoAbstract (sommario):
The study highlights the peculiarities of national dress in the work of domestic artists in the aspect of their comparison with the historical types of women's costumes in the Karabakh region of Azerbaijan. The author examinessamples of women's costumes of Karabakh, stored in the funds of the NationalMuseum of the History of Azerbaijan, comparing them with the artistic elements captured in the works of Azerbaijani masters of the brush. In particular, the author highlights the work of Badura Afganli, Najafkuli Ismailov, Ashraf Geybatov and other artists who reflected women's costumes in their works based on the pattern of Karabakh clothing. The author notes that the characte- ristic features of women's national costumes are embodied in the works of Azer-baijani artists, a generalized image of national clothing was created. Nowadays, this type is successfully developed by designers, representing the traditional culture of the country on a global scale.
2
Wang, Guojun. "The Prefatory Self: Images of the Author in Traditional Chinese Drama". T’oung Pao 107, n. 1-2 (12 aprile 2021): 95–132. http://dx.doi.org/10.1163/15685322-10701003.
Testo completoAbstract (sommario):
Abstract This article considers representations of Chinese opera authors in the prefatory space of their theatrical works. Despite the longstanding tradition of portraiture and drama production in premodern China, existing materials suggest that pictorial depictions of the authors started to appear in play scripts primarily during the Qing dynasty. How are those images related to theatrical works and their authors? Instead of treating authorship as a type of ownership, this article studies the multifaceted nature of authorial images by examining the depiction of the authors’ hairstyles and clothing alongside other content in the front matter of those plays. Situating the phenomenon within the histories of Chinese drama, clothing, and book culture, this article argues that authors increasingly appeared in late imperial Chinese drama in their social roles, moving from the prefatory space to the drama script proper.
3
Artac, Berna Yıldırım, e Emine Koca. "A Period Analysis on Values Shaped by Culture: Turkish and Armenian Women's Clothing". European Scientific Journal, ESJ 14, n. 32 (30 novembre 2018): 131. http://dx.doi.org/10.19044/esj.2018.v14n32p131.
Testo completoAbstract (sommario):
Written works such as miniatures, engravings and travel books, which contain visuals related to the Ottoman State, are considered to be documents bearing witness to history and imparting information about the daily life of the Ottoman Empire. These documents contain visuals of the people living in the Ottoman State, imparting, among other information, clues on the characteristics of the clothes of the period. In the Ottoman state cultural interaction often overrode attempts to create boundaries in the forms of clothing belonging to distinct communities. The resulting similarities in clothing form the starting point of this study. Focusing on the examination of clothes belonging to Turkish and Armenian women who lived in the Ottoman Empire in the18th and 19th centuries, this study aims to determine the similarities and differences between the clothing cultures of the two communities. A total of 22 images reflecting the everyday clothing of Turkish and Armenian women were examined with the help of a clothing examination form repared by the researchers. The visuals were analyzed according to form and usage, design features were explained, and the similarities and differences between the women's garments were interpreted.
4
Petrova, S. I., e A. N. Prokopeva. "Yakut tangalai clothing: cut, trimming, and technologies". VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, n. 1(60) (15 marzo 2023): 151–62. http://dx.doi.org/10.20874/2071-0437-2023-60-1-13.
Testo completoAbstract (sommario):
Costume of the 17th–18th cc. is a little-studied subject in the history of the Yakut costume. This is due to the fact that costume of this period can be studied only on the materials of the funerary monuments of Yakutia (Eas-tern Siberia). There are scanty written and pictorial sources of this period, and they do not provide detailed infor-mation about the material and technique of making clothes. One of the outstanding examples of the clothing of that time is tangalai - ritual women's clothing with short sleeves embroidered with beads and metal plaques, which in the literature is called fur coat or caftan. Due to its beauty and ritual purpose, tangalai represents a most inte-resting and controversial element of the wardrobe. Such waistcoats were widespread among Turkic-Mongolian peoples of Eurasia and are often associated with the wedding ceremonial and status of married women. The aim of the work is to identify specifics of the make, cut, and decor of tangalai. For this purpose, four samples of clo-thing identified as tangalais were selected from museum collections. All samples were found in female burials of Central and Northern Yakutia and consist of fragments of the base and decorative trim in different states of pres-ervation. A comparative analysis showed that according to the material, cut, and principle of manufacture all sam-ples represent variations of the same type of clothing. Suede made of deer or elk skin, smoked and painted, was used as the basic material. The skin was supplemented with an edging made of expensive and rare furs, which at that time included beaver fur. Beads of predominantly blue color were used in all the samples, supplemented with white and black beads, metal stripes and pendants. Beaded embroidery emphasized certain parts of clothing: shoulders, chest, and back. Accentuation of similar zones preserved in elegant women's fur coats until the beginning of the 20th century. The manufacture of such clothing implied a complex and lengthy technological process from the processing of raw materials to the connection of all the numerous elements. The high quality of the processing of leather and fur and complex beaded decor indicate the presence of professional seamstresses and a more complex organization of the Yakut society of those times. Needle beds, scissors, and workpieces of fur and beads in very rich women's burials, as well as the folklore motifs on this subject may indicate the significance of the sewing workmanship.
5
Jamal, Fatima Salah, e Awfa Hussein Mohammed. "Fashion and Feminism: A Theoretical and Historical Background". Journal of Tikrit University for Humanities 30, n. 12, 2 (30 dicembre 2023): 90–114. http://dx.doi.org/10.25130/jtuh.30.12.2.2023.14.
Testo completoAbstract (sommario):
The study explores the relationship between fashion and feminism. Throughout history, fashion has been considered as a mechanism of oppression, focusing on the historical role of restrictive garments such as corsets in the objectification of women due to patriarchal influence and societal norms. In the context of corsetry, the paper traces the origins of these garments and their role in physically and metaphorically constraining women to fit into the narrow and idealized standards of beauty dictated by patriarchal societies. It delves into how these oppressive clothing items have been portrayed in literary texts, highlighting the struggles of female protagonists against societal constraints. The study further examines how the feminist movement has actively challenged and rejected these restrictive garments, defying norms and advocating for women's autonomy in clothing choices. The analysis of literary works from various eras reveals how authors have captured and critiqued the oppressive nature of these garments, exposing the damaging effects on women's physical well-being. The study further explores the performative aspects of fashion within the context of patriarchy, drawing upon Judith Butler's theory of performativity to critically analyze the ways in which gender is constructed and reinforced through clothing. The study then delves into the contemporary portrayal of clothing as a means of empowerment and autonomy for women, with focus on chick lit genre. It discusses how authors within this genre have utilized fashion as a form of self-expression, empowerment, and agency.
6
Ivanenko, Olena. "The semantics of the traditional women's headscarf as a source of modern design innovations". Collection of scientific works “Notes on Art Criticism”, n. 39 (1 settembre 2021): 16–21. http://dx.doi.org/10.32461/2226-2180.39.2021.238674.
Testo completoAbstract (sommario):
The purpose of the article is to reveal the influence of the semantic-symbolic system of traditional women's clothing on the formation and development of trends in a modern design using the example of a scarf. Methodology. Comparative-historical and historical-typological methods have been applied in order to identify the tendency in the development of a headscarf as an element of a woman's costume; the hermeneutic method, which helped to understand and interpret signs and symbols as components of traditional culture; systemic method (for considering the system of symbols of a woman's headscarf as a cultural and artistic phenomenon); the method of art history analysis (according to M. Bakhtin and A. Losev); a method of a functional nature (for identifying the main functions of the elements of a semantically sign system and revealing their significance for expressing aesthetic, sacred and ethical motives), etc. Scientific novelty. The semantics of the headscarf as an element of the female national costume, the peculiarities of the coloristic and compositional solutions of the decorative design of the female headscarf are investigated, the main ornamental motifs and forms are analyzed in the context of their use in modern design; revealed and substantiated the influence of the semantic-symbolic system of the traditional women's headscarf on the development of modern clothing design; the semantisation of the elements of the system of symbols of the traditional women's headscarf has been carried out; the features of the integration of the elements of the ornament of the traditional national headscarf into the designer clothes of the 20th century are characterized; analyzed the problems of meaning and its expression by means of pictorial and colored symbols in a modern woman's headscarf. Conclusions. Preserving the ancient sacred symbolism of the canvas, characteristic of the mythological consciousness, as well as mastering the centuries-old experience of Christian understanding, the headscarf has remained an integral part of the traditional female costume for many centuries. In the design of the 21st-century women's scarf. semiotics of color is actively used, which acts as a symbolic guideline for associations that have developed in history, culture, and philosophy. Floral images are the aesthetic value of the subject environment and are realized in the process of artistic creativity of designers, enriching the aesthetics of human ecological space. At the present stage, the appeal of domestic clothing designers to the ethnic style makes it expedient to deepen the understanding of its semantical sign system. Revealing the peculiarities of the semiotics of the color of a traditional Ukrainian women's headscarf, research and analysis of its symbolism provide a modern designer with an almost unlimited dimension for creativity and contribute to the strengthening of national self-awareness.
7
Oelbauer, Daniel. "Sichtbarmachung von Kriminalität. Gestaltungsund Funktionsweisen von Gefangenenkleidung im 19. und beginnenden 20. Jahrhundert". Kultúrne dejiny 13, n. 2 (2022): 226–47. http://dx.doi.org/10.54937/kd.2022.13.2.226-247.
Testo completoAbstract (sommario):
Clothes make the man. This is especially true for those who are outside the norm, such as prisoners. In her study of prison violence, Bereswill emphasizes that the misappropriation of clothing through threats is part of everyday prison life. On the one hand, this strengthens the position in the prisoner hierarchy. On the other hand, the need for new clothes is also satisfied. A discussion of prisoner clothing, if one wants to disregard the concentration camp prisoner clothing, has so far only been rudimentary. The reason for this seems to be that a more extensive study of clothing does not represent a worthwhile research object due to “its everyday banality”. There are empirical, contemporary-oriented works on clothing in prison from a cultural and legal perspective. They dealt with the functions and meanings of clothing and fashion in women's prisons. Ash's study of the development of prison clothing from a historical perspective with contextual references to legal, social and, in particular, fashion history refers to the Anglo-American world. In her analysis of striped concentration camp clothing, Schmidt provides some information on the history and development of prisoner clothing in German prisons in the 19th and 20th centuries. Due to their respective focus of interest, the studies by Ash and Schmidt lack a more detailed reference to the penal system, which Einsiedler emphasizes very clearly. The following investigation approaches prisoner clothing in the context of their design and functionality, which has so far received little attention. The central thesis is that prisoner clothing serves the purpose of prison-specific rationalization and enforcement of prison discipline in the sense of the concepts of Foucault and Goffman. The focus is on the following questions: What was the prisoner’s clothing made of and what did it look like? Which “general” functions did it fulfill and which further functions did it fulfill in the context of the prison? What were the implications of this for the prisoners? Were these subject to change?
8
Koltsova, Tatiana Mikhailovna. "Handicraft workshop of the Shenkur Holy Trinity maiden monastery of the 18th century". Secreta Artis 5, n. 2 (6 dicembre 2022): 30–57. http://dx.doi.org/10.51236/2618-7140-2022-5-2-30-57.
Testo completoAbstract (sommario):
The article is devoted to previously unknown works of pictorial embroidery of the synodal period. The artworks represent the local cultural center of the Russian North and are published for the first time. In the first half and the middle of the 18th century, a unique gold-embroidery workshop, which reached a high artistic level, was formed in the Shenkur Holy Trinity Convent on the Vaga river. The creation of liturgical fabrics in the monastery was carried out not only by nuns, but also by so-called “belitsy”, women who lived in monastic cells without being tonsured, as well as residents of the city of Shenkursk. Mother Superior Euphemia (1727- 1749) and her sister Xenia were famous craftswomen, they embroidered on multi-colored fabrics with gold, silver and silk threads. Shrouds of Christ, intercessions of the Holy Virgin and epigonations made in the Shenkur Monastery are featured in several museum collections, mainly in the North. The handicraft workshop existed in the monastery for only a short period of time: from the beginning of the 18th century until the closing of the monastery in 1764. The Vaga craftswomen created their works on the basis of the ancient Russian gold embroidery tradition. The identification and attribution of liturgical fabrics enabled one to uncover distinctive features of Shenkur products: idiosyncratic technologies, rare iconography and peculiar style dating back to the art of the Baroque era. Liturgical clothing and epigonations made by the Vaga craftswomen were ordered and purchased for the bishops' councils of Arkhangelsk and Kholmogory, they are present in the collections of Nikolo-Korelsky, Antoniev-Siya and Solovetsky monasteries. Correspondingly, Shenkur church textiles and fabrics were used in the churches of the Vologda diocese. The article offers an unprecedented systematization of a completely new unexplored layer of museum objects. A number of conclusions are drawn on account of unknown written and visual sources found in museums and archives of the country. The second half of the nineteenth century saw the revival of women's handicraft in the Shenkursky Monastery. The article is illustrated by works found in the museum collections of the Arkhangelsk region, primarily the Arkhangelsk Museum of Local Lore. The scope of the study includes a completely new significant range of cultural monuments belonging to North Russian tradition. The results can be widely used in identifying and attributing works of pictorial embroidery.
9
Zhabreva, Anna E. "Male Costume of Serbia and Montenegro on the Frontispieces of 19th Century Books (From the Slavic Literature Fund of the Russian Academy of Sciences Library)". Vestnik of Saint Petersburg University. Arts 11, n. 1 (2021): 83–101. http://dx.doi.org/10.21638/spbu15.2021.106.
Testo completoAbstract (sommario):
The article analyzes eight frontispiece portraits of Serbian and Montenegrin statesmen from the 12–19th century as well as one collective ethnographic image of an inhabitant of the Bay of Kotor. These consist of prints found in seventeen Serbian and Montenegrin 19th century publications which were found in the Slavic Literature Fund of the Russian Academy of Sciences (Saint Petersburg). The portraits are considered as works of book graphics, as historical and ethnographic sources. They were compared with other pictorial sources — originals of portraits, images of genuine clothing and jewelry, as well as ethnographic materials. There are detailed descriptions of the costumes depicted in the portraits, the names and characteristics of the clothes, hats and decorations. As a result of the comparison, it was found that some engravings are fictitious images, while others, made from pictorial lifetime originals, can serve as important material for the reconstruction of Serbian and Montenegrin appearance and costume, including specific historical figures. An attempt was made to reveal the relationship of the costume of the ruler at the end of the 18th — first half of the 19th century both with the fashion trends of the era, and with his national identity and political views. These aspects manifested themselves with particular vividness in the portraits of Milos Obrenovich, Karageorgy, Vladyka Daniel and Peter Petrovich Njegos. The analysis of portraits in chronological order made it possible to touch upon the theme of Serbian and Montenegrin costume history, which has been insufficiently studied in the Russian press.
10
Ningtyas, Novira Wahyu, e Lisa Sidyawati. "Legenda Desa Jatikerto sebagai Inspirasi Kreasi Penciptaan Motif Batik Tulis untuk Busana Wanita". JoLLA: Journal of Language, Literature, and Arts 3, n. 7 (30 luglio 2023): 1061–80. http://dx.doi.org/10.17977/um064v3i72023p1061-1080.
Testo completoAbstract (sommario):
Desa Jatikerto awalnya diberi nama Bedali. Akan tetapi, karena banyaknya penduduk baru yang berdatangan, maka diadakan musyawarah kembali dengan warga setempat yang menghasilkan keputusan mengganti nama Bedali menjadi Jatikerto. Pada masa sekarang masih banyak generasi muda belum mengetahui bagaimana sejarah terbentuknya desanya sendiri. Melihat kondisi tersebut, menjadi landasan penciptaan karya batik tulis ini untuk mengenalkan kepada masyarakat khususnya generasi muda Desa Jatikerto untuk terus menjaga dan mengingat sejarah. Tujuan penciptaan ini mendeskripsikan ide konsep dari legenda Desa Jatikerto, proses berkarya, dan hasil serta penyajian karya. Penciptaan ini menggunakan metode S.P Gustami dengan melalui tiga tahap yakni eksplorasi, perancangan, dan perwujudan. Karya yang diciptakan berupa enam karya batik tulis yaitu: Jatisakur, Jatisawan, Jatisandung, Jatisala, Jatisaban, Jatisaladan yang disajikan dalam bentuk busana wanita. Karena busana merupakan bahan yang tidak terlepas dari kebutuhan manusia khususnya wanita. Kata kunci: legenda; Desa Jatikerto; batik tulis; busana; wanita Jarikerto Village Legend as Creation Inspiration Written Batik Motif for Women’s Clothes Jatikerto village was originally named Bedali. However, due to the large number of new residents arriving, another consultation was held with the local residents which resulted in the decision to change the name Bedali to Jatikerto. At this time there are still many young people who do not know the history of the formation of their own village. Seeing these conditions, it became the basis for the creation of this written batik work to introduce to the community, especially the younger generation of Jatikerto Village to continue to maintain and remember the history of the village. This creation describes the concept ideas from the legend of Jatikerto Village, the process of creating, and the results and presentation of the work. This creation uses the S.P Gustami method using three stages, namely exploration, design, and embodiment. The works created are in the form of six written batik works, namely: Jatisakur, Jatisawan, Jatisandung, Jatisala, Jatisaban, Jatisala and presented in the form of women's clothing. Because clothing is a material that cannot be separated from human needs, especially women. Keywords: legend; Jatikerto Village, batik tulis; clothing, women
Libri sul tema "Women's clothing History Pictorial works"
1
Franco, Giacomo. Habiti delle donne venetiane. Venezia: Centro internazionale della grafica, 1990.
Cerca il testo completo
2
Mohrbutter, Alfred. Das Kleid der Frau: Ein Beitrag zur künstlerischen Gestaltung des Frauen-Kleides ... Hannover: Edition "Libri rari" im Verlag Th. Schäfer, 1985.
Cerca il testo completo
3
M, Spera Vincenzo, a cura di. Antichi costumi femminili di tutti i paesi della Basilicata. Matera: G. Barile, 2007.
Cerca il testo completo
4
Gilbert, François. La femme romaine au début de l'Empire. Paris: Errance, 2007.
Cerca il testo completo
5
U, Na-yŏng. Hŭgyosŏk i kŭrinŭn Hanbok iyagi. Sŏul-si: Hansŭ Midiŏ, 2019.
Cerca il testo completo
6
Bourvon, Bernadette. Pascal Jaouen. Quimper: Palantines, 2011.
Cerca il testo completo
7
Bourvon, Bernadette. Pascal Jaouen. Quimper: Palantines, 2011.
Cerca il testo completo
8
Mønsted, Tilde. Hovedtøj. Copenhagen]: Fabrik Books, 2020.
Cerca il testo completo
9
author, Tauchert Sina, a cura di. Helenas Töchter: Frauen und Mode im frühen Griechenland. Darmstadt: Verlag Philipp von Zabern, 2015.
Cerca il testo completo
10
Fiell, Charlotte. Fashion sourcebook 1920s. [London]: Fiell Publishing, 2011.
Cerca il testo completo